Orel/1141a 6ecitta of Pectel Fine C.-WI/lase CI4isine Arts is Entertainment flp Portrait Of The Artist As A Woman LIEL LEIBOVITZ The Jewish Week 38259 West Ten Mile Road Farmington Hills, MI 48335 A (Between Haggerty Road & Halsted Road) Tel: 248.615.8866 248.615.8877 Fax: 248.615.8899 Open 7 Days a Week From 11 am to 12midnight 1026710 NO COUPON NECESSARY SPECIALS Free rice pudding for all lunches 100/ 0THRU DEC. 31, 2005 OFF LUNCH & ALL DINNERS Authentic Greek With Touches Of Italy & Spain • Daily Specials • Carry-out & Catering • Private Parties I $5 ANYDAY-7 DAYS A WEEK NO COUPON NECESSARY! ANYDAY-7 DAYS A WEEK JUST MENTION THIS AD! OFF ALL BOTTLES OF WINE HOURS: 6263 Orchard Lake Rd. • N. of 15 Mile Rd. Sugar Tree Plaza • West Bloomfield- Mon-Thurs 1 1-1 0 • Sat 1 1-1 1 Sunday 4-10 248-855-3993 1017180 1 st annual center Jewish book fair book club night meet Ellen Feldman, author of The Boy Who Loved Anne Frank wednesday, november 2 • 7:30 p.m. $25 advance registration (Includes pre-sale copy of book & private dessert) 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 in preparation for this special opportunity in r41.4 .71.12:1111 THE CENTER jEwisH BOOK FAIR 10 2 71 9 C2 Jewish Communky Center • D. Dan & Betty Kahn Building Eugene & Marcia Applebaum Jewish Community Campus 6600 West Maple Road • West Bloomfield • www.jccdet.org What a Shayna Punim!! Was your mug in the Jewish News? Would you like a copy of the photo or article for framing? G ( 4 You can order reprints of photos and articles that have appeared in any of our publications. For price and size information, call Pam at 248.354.6060 ext. 219 or use the online order form at: www.detroitjewishnews.com/reprints 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,