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Now a Poem Begins II was recently pur-
chased by the Library of Congress.
“I found an edition at the John King
bookstore in Detroit and picked out
pages that have plants mentioned in
the Old Testament. The poet would
have been in Israel at the time the edi-
tion was formed.”
Boxes with black trims have 22
glass tiles, one for each letter of the
Hebrew alphabet. Avadenka turned
prints that she made into the tiles.
“The language was important
because Rahel wrote poetry in
Hebrew,” Avadenka says. “There also
are travel books I’ve collected that I
thought related to her life.”
A two-sided folding screen forms
another large piece, All My Paths Twist,
from another line in a Rahel poem.
“The dark side of the screen has
black and gold letters with blue pho-
tographic images,” Avadenka explains.
“The Hebrew letters were printed on
my own press representing building
blocks of the poet. The blue segments
form a picture collage of pioneer
women working in Israel.
“The white side is meant to suggest
a different kind of visual language.
There are triangles pointing to the left
to suggest the direction of the Hebrew
language. The horizontal lines are
meant to evoke notebook pages used
by students to write Hebrew.
“Along the bottom are collages of
photographs I took when I was work-
ing in Israel. They show the landscape
I could see from the print shop.”
Harlene Appelman, executive direc-
tor of the Covenant Foundation, is
pleased with the results of the grant.
“I have followed Lynne’s work as I
worked in Michigan,” says Appelman,
who has held administrative edu-
cational positions at Congregation
Shaarey Zedek, the Jewish
Community Center and the Jewish
Federation of Metropolitan Detroit.
“We were looking for projects to
teach people about Israel, and I think
the finished work is striking. The inte-
gration of artifacts is a brilliant way of
highlighting the life of Rahel.”
Because of a long-standing relation-
ship shared by the foundation and
the university museum, Appelman
thought the exhibit would be a good
match and recommended it.
As Avadenka was planning her proj-
ect, she realized that she shared some
similarities with Rahel.
“When Rahel was 19, she left
Russia for Israel, and my first trip to
Israel was at 19,” Avadenka says. “She
worked on a kibbutz, and I worked on
a kibbutz for a while.”
As part of the exhibition commit-
ment, Avadenka is teaching a four-
part series to fine art majors at Stern
College for Women, part of Yeshiva
University. The exhibit catalogue is
another teaching tool.
The Rahel presentations come at
the time of another highlight for
the artist — receiving the Career
Achievement Award in the Field of
Art and Art History from the Duffy
Department of Art and Art History
at Wayne State University, where
she earned bachelor’s and master’s
degrees.
“This was a great honor,” Avadenka
says. “I’ve been part of the Detroit arts
community for a long time and spent
a lot of time at Wayne.”
Avadenka offers advice as artistic
director at Signal-Return, a com-
munity printing facility located at the
Eastern Market in Detroit.
“This is my third year as director,
and I helped get Signal-Return its
nonprofit status,” she says. “I have
worked to secure funding for the facil-
ity as an art center.
“We’re a community letterpress
print shop with a collection of wood
and metal type. We hold workshops
and partner with universities to let
their graphic design students under-
stand the history of printing.
“We also partner with other arts
and cultural organizations to produce
free programming, have a monthly
poetry reading and host book signings
and book release parties.”
Signal-Return, funded by grants
and corporate donations, is organizing
a festival sponsored by a Knight Arts
Challenge grant.
“That festival will happen a year
from now,” Avadenka says. “We’re
in the planning mode to showcase
exhibitions and offer workshops and
demonstrations. We need to raise
$35,000.”
*
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April 28 • 2016
61