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January 31, 2003 - Image 71

Resource type:
Text
Publication:
The Detroit Jewish News, 2003-01-31

Disclaimer: Computer generated plain text may have errors. Read more about this.

"The second version shows a black
mark on the heart indicating where
the city had been hurt, and I did it
because the old 'I IP NY' didn't seem
complete anymore with the aware-
ness that we were vulnerable.
"There was an experience of pain
that made me want to say that
because of the hurt, the love was
greater than ever," says Glaser of the
work he did on his own without a
commission.
The revised logo was produced on
a poster distributed by students at
the High School of Art and Design
and soon filled store windows all
over New York. Glaser worked with
a radio station to use the poster as a
fund-raising campaign for money to
rebuild their antenna.
The artist, whose posters hang in
the Israel Museum in Jerusalem, has
done trade market identity designs
for a peace organization that
attempts to reconcile Israeli and
Arab conflict. He believes his Jewish

background has influenced his work
markedly.
"I think the emphasis on intellec-
tual pursuits and learning, which is
certainly characteristic of my
upbringing and stemming from
much of Jewish belief, has been
enormously helpful to me," he says.
"The sense of being an outsider
also has served me well. I think
being detached from the larger cul-
ture is an advantage for artists. It
gives a different sense of objectivity
and makes an artist less inclined to
accept the belief system of the cul-
ture in which the artist lives." ❑

"Between the Lines: Propaganda
in Contemporary Illustration"
will be on view through Feb. 15
at Center Galleries, 301 Frederick
Douglass, Detroit. Gallery hours
are 10 a.m.-5 p.m. Tuesdays-
Saturdays. (313) 664-7800.

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Jews having long, crooked beaks.
"Even today there is the caricature
of the evil, conniving Jewish nose. In
the European press, you see Israel
bashing and, in cartoons, Sharon, who
doesn't even have a typical Roman
nose, is given a Jewish nose.
"Israeli soldiers are also given that
Nazi-era cartoon nose. You want to
think it's a thing of the past, but there
is no difference between that and
1938."
With the rise of anti-Semitism
around World War II, German Jews
who wanted to "remain as inconspicu-
ous as possible" turned to rhinoplasty
(plastic surgery of the nose), believing
"if altering a small matter — a distinct
nose — could make matters easier, such
a change was welcome," Glaser says.
After the war, "nose jobs" were
becoming more common in America,
including for Jews. But at that time,
the all-American, gentile look was the
most desirable.
"A smaller, non-ethnic nose was the
aesthetic ideal, rather than a Semitic
nose," says Dr. Daniel G. Sherick, a
board certified plastic surgeon with a
special interest in rhinoplasty at the

Center for Plastic and Reconstructive
Surgery at St. Joseph Mercy Hospital in
Ann Arbor.
"Plastic surgeons used to make all
noses smaller by getting rid of the
hump and reducing the size."
Over the years, however, the trend
has changed. 'Wanting to lose Semitic
identity is not as prevalent," Dr. Sherick
says. "What has become important is
balancing the nose with the rest of the
face, which may mean leaving the nose
with some ethnicity and not trying to
make it so delicate.
"Girls used to have rhinoplasty as a
rite of passage, almost like their bat
mitzvah, but now are becoming more
selective and independent in their desire
to do so."
Of course, accepting your ethnic nose
is also a given for many Jewish women.
Look at Barbra Streisand and Sarah
Jessica Parker, whose imperfect noses
are considered appealing.
"There is nothing wrong with an eth-
nic nose," says Glaser, who has three
daughters. "I feel very strongly that
before people jump into getting their
nose 'fixed,' they ought to get a second
and third opinion." [1]

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1/31

2003

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