Arts & Entertainment
OAKLAND UNIVERSITY'S PROFESSIONAL THEATRE COMPANY
from page 69
important representation of his intent
Law, on display for "Between the
Lines," was completed in 1987 for
the American Bar Association as it
commemorated the bicentennial of
by Larry Shue
the United States Constitution.
The imagery — the head of justice
with the traditional blindfold and
the parallel lines to reference
Grecian columns often used in legal
symbolism — would seem to incline
viewers toward a positive impression
of the sponsoring organization.
"All the work that I do is basically
work of persuasion," says Glaser, 73,
who has designed newspapers and
magazines, corporate identity pro-
grams and architectural projects.
"That is what people in graphic
design find themselves doing."
Glaser, like Tinkelman, never
wanted to have his work restricted to
a wall hanging. Instead, he liked the
idea of being public, useful and a
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Educated at the High School of
Art and Design in New York City,
Glaser went on to the Cooper Union
Art School and the Academy of Fine
Arts in Bologna, Italy.
As he took on diverse assignments,
some at his own behest, he became
the subject of many exhibitions
worldwide and has seen his work
become part of museum collections.
Among Glaser's vast number of
notable projects are the founding of
New York Magazine, interior design
of the New York restaurant Trattoria
Dell'Arte and the development of
brochures for Steelcase, a furniture
company based in Michigan.
Glaser's "I I ► NY" logo is said to be
the most frequently imitated logo
design in history.
"I did the original 'I 1/ NY' logo on
commission, and after 9-11, I did
another version of it — IP NY More
Than Ever,'" explains Glaser, currently
designing a New York museum to be
dedicated to Himalayan art.
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from page 68
"That's when I learned I was
Jewish," says Glaser, who was raised
Christian. "My father's family had
been tailors in Poland and came to
Oregon to become farmers, and they
assimilated as quickly as they could.
"They went to church but main-
tained their Judaism at home. They
kept their religion a secret since there
were no other Jews around.
"My father was raised Christian
and his mother was Christian, but
my grandfather would walk to our
house on Friday nights and say
prayers on our heads in Hebrew. I
had this weird current of Judaism
running under my life but didn't
Ultimately, Glaser looked into her
family history and learned of her
Jewish roots. All the while, she says,
she had "this obsession" with her eth-
nic nose, which motivated her to
research the history and functions of
She also suffered from recurrent
sinus infections and underwent four
surgeries for the problem.
With all this, Glaser decided. to
channel her information and write
The Nose: A Profile of Sex, Beauty and
Survival (Atria Books, $24).
Still A Stereotype
In her book, Glaser, who has written
for numerous magazines and authored
Strangers to the Tribe: Portraits of
Interfaith Marriage, explores barbaric
nasal medical treatments, the science
behind the nose, Freud's sexual con-
nection, the sense of smell and the his-
tory of "nose jobs."
The book also touches upon the
social ramifications of having a promi-
nent schnozzle —something Glaser
knows firsthand. "It's a symbol of
being different, not feeling quite at
home in the world," she says.
Glaser, who converted to Judaism
after marrying Stephen Engelberg, edi-
tor of The Oregonian newspaper and
former writer for the New York Times,
is also well aware of the anti-Semitic
implications and stereotype of the
"The Nazis claimed they could
detect Jews by the size of their nose,"
she says. "In Europe in the 1930s and
'40s, drawings and cartoons showed