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Portrait Of The
Artist As A Woman
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1 st annual center Jewish book fair
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reception and book signing with author Even Feldman ($30 at the door)
Discussion will be led by area journalist Suzanne Chessler
Call 248.432.5577 to purchase your book now
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1027360
for example, evokes, with its flesh tones
and blood-red hues, a sensation of an
open wound, the canvas seeming corpo-
real, the paint meaty.
The painting, which Snyder refers to
in the exhibit's catalogue as her break-
through work, is also indicative of
another theme that would later become
visible in Snyder's art, and would mark
photograph of the artist Joan
Snyder, on the second page of
the catalogue of her new retro-
spective at The Jewish Museum in New
York City, captures her artistic essence
well. She is dressed in pants printed
with vertical stripes
and a shirt printed
with horizontal ones.
She is splayed on an
ottoman, a weary
look on her face.
Behind her is a wall,
decorated with pho-
tographs and abstract
paintings. Leaning
against the wall are
an upright lamp, a
TV antenna, a loose
wire hanging from a
mounted speaker. All
these items give the
wall the appearance
of a grid.
Snyder considered her 1969 painting "Lines and Strokes" her
It was a grid that
first great work. It's a prime example of the technique that
made Snyder
made her famous — brush strokes against a grid pencil.
famous. In the early
1970s, she achieved
wide acclaim from
critics and audiences alike with her
her as a groundbreaker — femininity.
"stroke" paintings, abstract affairs fea-
Together with such remarkable women
turing horizontal strokes with brushes
as Miriam Schapiro and Helen
laden with bold colors against a pen-
Frankenthaler, Snyder created works that
ciled grid on the canvas. This method
were clear and distinct reactions to the
created a riveting effect — abstract
male-dominated art scene of the time.
paintings, famous for unruliness, juxta-
That reaction is evident in both theme
posed against the most orderly of
and form. The latter is easier to notice:
frameworks. Unlike the paintings of
Throughout the retrospective one comes
Jackson Pollock, for example, in which
across abstract impressions of the female
color runs wild and without order,
body, usually dominated by pink tints
Snyder's paintings are compartmental-
and often featuring legs splayed open,
ized and complex, forcing the viewer to
breasts and distinct female anatomy. But
decipher the painting one bit at a time.
— and herein lies Snyder's great contri-
bution to the art world — her femi-
nism, and femininity, are obvious even
Lyrical Abstractionist
in the more abstract and non-thematic
work.
Such deciphering, as visitors to the new
and superbly curated exhibit are likely to
By working with layers, with grids,
discover, is a great pleasure. Unlike the
with repetitive forms or movements she
striking nature of a Pollock or the opaci-
creates a personal, intimate order that
ty of a de Kooning, Snyder's abstracts are takes the viewer into its trust. To use
warm, inviting and often rich with nar-
once again a comparison to that overtly
masculine artist that influenced her so
rative, so much so that she has often
been referred to in the seemingly oxy-
much, while Pollock overwhelms the
moronic title "lyrical abstractionist."
viewer with sheer force created by the
Her 1969 painting Lines and Strokes,
energy of his disobedient color drips,