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Murray
Tinkelma n:
"There's an
accessibility
to illustration
that doesn't
exist in other
areas of the
visual arts,"
he says.

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Milton
Glaser: 'All
the work
that I do is
basically
work of

persuasion."

Friendly Persuasion

Above, left to right:

Two renowned Jewish artists participate in Center Galleries exhibit
examining propaganda in contemporary illustration.

SUZANNE CHESSLER
Special to the Jewish News

urray Tinkelman has
thought of himself as
a hired gun. Milton
IfilE Glaser has thought of
himself as a persuader.
Gil Ashby has thought of both of
them as great contemporary illustra-
tors with messages to convey visual-
ly.
So he sought samples of their
works as he curated "Between the
Lines: Propaganda in Contemporary
Illustration," an exhibit running
through Feb. 15 at Center Galleries
in Detroit.
Tinkelman and Glaser, with long
and prize-winning careers, are
among 22 artists whose works are
being featured for their capacity to
inform, sell, educate or — like the
late, great illustrator Al Hirschfeld
— entertain.
While Tinkelman is showing a
newspaper drawing, Glaser is repre-
sented by five posters.
"This exhibit is basically personal

1/31

2003

68

propaganda," says Ashby, illustra-
tion chair at the College for
Creative Studies, which operates the
gallery. "It shows the creation of
visual language and is part of the
continuum of narrative picture
making.
"Figurative art always has been
strong in the illustration arena, and
many of the pieces we show come
across as visual journalism."
Other artists with works in the
exhibit include Rudy Gutierrez,
Marshall Arisman, Doug Fraser,
Andy Warhol and Glenn Barr. The
range of images reach from political
subjects to CD decorations.
Gutierrez, who is represented by
drawings that address New York
issues, will speak about the topic of
propaganda when he appears as
part of the Woodward Lecture
Series at 7:30 p.m. Thursday, Feb.
13, in the Walter B. Ford II
Building auditorium.
"I have taken liberty with the
term propaganda and focused on
the agenda of the individual artists,
who are utilizing opportunities to

express personal positions through
personal symbolism," Ashby says.
"Sometimes, it is for clients
through assignments, and [other
times it is] in self-directed work.

Murray Tinkelman's "Bonefish Rising,"
created to accompany a New York Times
"Op-Ed" piece, addresses ecology issues.

Milton Glaser's "Law," on display for
"Between the Lines," was completed in
1987 for the American Bar Association
as it commemorated the bicentennial
of the United States Constitution.

"There was an experience of pain that
made me want to say that because of
the hurt, the love was greater than even"
says Glaser of the revised version of his
m ost famous logo.

Odyssey Of The Nose

New book looks at a feature that often is used
in anti-Semitic propaganda.

a

ALICE BURDICK SCHWEIGER
Special to the Jewish News

abrielle Glaser's nose was the key to her identity.
Raised in rural Oregon, she looked different from
her friends and neighbors, who were descendants
of Scandinavians. "Everyone around me had these
little noses, but not me," she says. "I had blonde hair, but
,
my nose made me different and I didn't know why.
It wasn't until Glaser graduated college that the mystery of
her distinct facial feature was solved.

ODYSSEY OF THE NOSE

on page 70