|
Allen
and case
Anna
Pinto
Bill
Majors |
 Ilse
Schreiber-Noll, a German born painter/print-maker, who studied under
Antonio Frasconi and now teaches alongside him at SUNY Purchase, talked
about her collaborations with poets, including Joseph Brodsky, Octavio
Paz, and, most recently, Galway Kinnell. Her setting of Kinnell's newly
published translation of The Duino Elegies, by Rainer Maria Rilke,
provided the context for the evening's musical
afterpiece (see
below). Schreiber-Noll divides her work into two categories:
one-of-a-kind books, or books of extremely limited editions, which she
tends to construct with collage technique and layers of thick, lurid,
paint, applied in abstract patterns, and books in larger limited editions,
intended for a wider audience, employing woodcuts. Schreiber-Noll is
herself a poet of considerable force, as she demonstrated by reciting a
poem she penned for Joseph Brodsky. (Copy in Word)
The morning presentations concluded with Lynne
Allen, a printmaker/book artist (Center For Innovative Print and
Paper)--although not before Dane delivered an introduction so superlative,
that it may have been the only time in the Symposium's history that an
introduction cried out for an encore. Allen talked about the importance of
content. Mixing images of her work with photographs of her Native American
grandmother and great-grandmother, she sought to demonstrate the
connectedness of her early social protest art to her recent
autobiographical art, which is centered on the lost lifeways of her Native
American ancestry. Allen experiments freely with mediums and materials
(see, for example her moccasin books), a technical sophistication and
versatility matched by a predilection for subtlety and nuance: in her
prints, books, and sculptural models, vivacious playfulness and ironic
fetishism invariably modulate into lucid views of injustice and menacing
social conditions that imperil our survival, both as individuals and as a
community. |
Charrière
and Jawarr
Stengle
and Dubansky
Lois
Morrison |
