Dancing with the Dark: Joan Snyder Prints 1963-2010, the First Monograph and Comprehensive Exhibition Dedicated to the Prints of This Celebrated Artist

dancing with the dark joan snyder prints 1963–2010 dancing with the dark joan snyder prints 1963–2010

Marilyn Symmes with an essay by Faye Hirsch

Zimmerli Art Museum at Rutgers University Prestel | new YOrk copyright page TK

Contents

7 Foreword and Acknowledgments Suzanne Delehanty

11 “see what a life” the prints of joan snyder Faye Hirsch

65 private/not private: an illuminated chronology of joan snyder Marilyn Symmes

151 catalogue of the prints Marilyn Symmes with Joan Snyder and Mira Dancy

167 Notes

171 Selected Bibliography

173 Index

176 Zimmerli Art Museum Staff

176 Lenders?

Frontispiece Altar, 2010. Digital print, color lithograph, chine collé, color etching, color woodcut (printed in the manner of an intaglio) and collograph; 85.7 x 80 cm

3 1 (33 ⁄4 x 31 ⁄2 in.). Collection of the artist (cat. 68) Foreword and Acknowledgments

In 1963, an aspiring artist and art student at Rutgers University made her first prints. Nearly five decades later, she has become a nationally recognized artist, a 2007 MacArthur Fellow, and the creator of an admirable body of work, and those early prints, along with many others, have returned to Rutgers. The Zimmerli Art Museum at Rutgers is proud to present Dancing with the Dark: Joan Snyder Prints 1963-2010, the first monograph and comprehensive exhibition dedicated to the prints of this celebrated artist. While there have been a number of exhibitions and catalogues about her paintings, Snyder’s prints are less well known. This project surveys the extraordinary range of her graphic achievement and her significant contributions to American printmaking. A pioneering feminist artist since the late 1960s, Snyder infuses her works with physical energy and vibrant color to powerfully explore aspects of nature and humanity and to express deeply personal experiences. Some of her prints boldly address the use of language in art and celebrate nature and sexuality, while others are meditations on mortality and mourn those who have died of AIDS and other causes. The seventy prints featured in Dancing with the Dark reveal Snyder’s adventurous, sometimes unorthodox, approach to printmaking. The visual eloquence and vigorously applied techniques in her prints invite engagement with raw emotional power. In fact, the book’s and exhibition’s title, Dancing with the Dark, drawn from the title of one of Snyder’s woodcuts, alludes to both her exploration of life’s darker experiences in much of her imagery and her use of dark pigments in numerous prints. Snyder’s links to Rutgers University and the Zimmerli Art Museum are many. She was born in New Jersey, graduated from Douglass College, and holds a Master of Fine Arts degree from Rutgers. She has long championed women’s rights and women’s role in the arts, an area of study pioneered at Rutgers. Until the 1970s, Rutgers’ Douglass College, then among the largest women’s colleges in the United States, had no women on its art faculty, and thus no readily available role models for its students. To rectify this situation, Snyder proposed founding the Women Artists Series—an initiative that was met with enthusiastic Fig. 1 Oasis, 2006. Color digital print with support by the director of the Mabel Smith Douglass Library. The series, offering exhibitions four-color screenprint and hand-applied of emerging and established artists, was launched at the library in 1971, with Snyder as its Prismacolor; [image] 45.7 x 50.5 cm first curator. Now called the Mary H. Dana Women Artists Series, it continues as a program 7 (18 x 19 ⁄8 in.); [sheet] 52.7 x 56.5 cm

3 1 of the Institute of Women and Art in partnership with the Rutgers University Libraries. (20 ⁄4 x 22 ⁄4 in.). Zimmerli Art Museum at Rutgers University, Gift of the Brodsky Center Since its founding in 1966, the Zimmerli has built a notable collection of works on paper. for Innovative Editions (cat. 64.9) The presentation of Dancing with the Dark highlights these deep holdings as well as the

7 printmaking career of a respected American artist. Numbering thanks for her most capable management and dedicated profes- Sarah McNear kindly responded to Symmes’s requests for vital For photography, we especially thank the late Jack Abraham and some 60,000 objects, works on paper represent a major part of sionalism, which resulted in this fine exhibition and publication. information on Snyder’s work. Bryan Whitney. For his counsel regarding publishing matters, we the permanent collection, with particular strengths in modern Marilyn Symmes joins me in also expressing our gratitude On the “home front” Marilyn Symmes’s research benefited extend our great appreciation to Christopher Sweet; and for her and contemporary American prints, French nineteenth-century to the many individuals at Rutgers and from around the country from the dedication of Rutgers graduate students from the splendid presentation and design of this book, we deeply thank prints and rare books, and Russian and Soviet nonconformist art. who have generously contributed to her research and planning for university’s Department of Art History and the Mason Gross Laura Lindgren, graphic designer. In 1983, in order to increase its representation of contemporary this project. From the early stages of this project, the Zimmerli School of the Arts, who contributed significantly to the project’s Zimmerli staff members diligently worked with their character- graphic art, the museum established the Rutgers Archives for has collaborated with Rutgers colleagues Ferris Olin, director of bibliography. We particularly thank Jenevieve DeLosSantos, as istic collegiality on important aspects of Dancing with the Dark, Printmaking Studios (known as RAPS), which documents the the Institute for Women and Art and the cocurator of the Dana well as Alexa Arroyo, Ellen Brueckner, Anna Bushman, Nicole and we gratefully acknowledge them all for their instrumental collaborative relationship between artists and master printers in Women Artists Series; Judith K. Brodsky, founder of the Brodsky DeAugstine, and Reshma Nayyar. Several Rutgers colleagues roles in this project. For their particularly indispensible participa- American printmaking. Snyder has made prints with several distin- Center for Innovative Editions at the Rutgers Mason Gross School generously shared their expertise and eased access to key tion in this major project, we thank Joanna Broughton, director of guished RAPS members: Maurice Sánchez from Derrière L’Étoile of the Arts and cocurator of the Dana Women Artists Series; and resources necessary for researching Joan Snyder’s career: Sara development; Bernadette Clapsis, accountant; Roberto Delgado, Studio in New York; and Eileen M. Foti, Randy Hemminghaus, and Joan Marter, professor in the Department of Art History, to offer Harrington and Joe Consoli, Rutgers art librarians; and Fernanda preparator; Alfredo Franco, curator of education; Christine Anne Q. McKeown from the Brodsky Center for Innovative Editions public programs featuring Joan Snyder and her art for campus Perrone, librarian for the University Archives and Special Col- Giviskos, associate curator, nineteenth-century European art; at the Rutgers Mason Gross School of the Arts. and community audiences. lections. The first stages of this project also benefited from the Leslie Kriff, registrar; Beth McKeown, assistant curator, Morse The study of works on paper at Rutgers and at the Zimmerli The printers who have collaborated with Joan Snyder have enthusiasm and vision of Marti Mayo, Zimmerli interim director Research Center for Graphic Arts; Kiki Michael, assistant registrar; took another leap forward in 1995, when the Zimmerli created the been most helpful in responding to various queries; we would (January 2008–March 2009), and Janet Landay, former interim Margaret Molnar, associate registrar; Bonnie Schubert, educa- David A. and Mildred H. Morse Research Center for Graphic Arts like particularly to thank Andrew Mockler (Jungle Press Editions, development associate. tion and communications assistant; Edward Schwab, manager to further encourage the study of American and European draw- Brooklyn); Maurice Sánchez (Derrière L’Étoile Studio, New York); I extend my special thanks and gratitude to the museums and of operations; and Stacy Smith, manager of publications and ings, photographs, prints, and original illustrations for children’s Bruce Crownover, Joe Freye, Andrew Rubin, Jason Ruhl, with the individuals who facilitated Marilyn Symmes’s study of Joan communications. books. Thousands of students and scholars from Rutgers and Amy Newell, Paula Panczenko, and Timothy Rooney (Tandem Snyder prints in their collections and assisted with loans to this While Rutgers University provides vital overall funding for the beyond have visited the Morse Research Center in the last fifteen Press, Madison, Wisconsin); Bob Townsend (R. E. Townsend exhibition. Our thanks particularly go to Jacqueline M. Atkins, Zimmerli, exhibitions and publications of this scope are dependent years, while more than a half million visitors have enjoyed the Studio, Georgetown, Massachusetts); and our colleagues Randy Sofia Bakis, Karen Barlow, and Robert Metzger from the Allentown upon special support. The Zimmerli Art Museum’s newly formed special exhibitions drawn from collection or—as in the case of this Hemminghaus, Barbara Madsen, and Anne Q. McKeown, with Museum of Art, Pennsylvania; Clifford S. Ackley, Patrick Murphy, Annual Exhibitions Fund is the anchor for projects of this size and retrospective of Joan Snyder’s work—inspired by the works on Krystina Comer, Dennis Hull, and Sandra Sewing (Brodsky Center Stephanie Loeb Stepanek, and Winona Packer at the Museum importance, and we extend our thanks to the Voorhees Family paper in our trust. for Innovative Editions and Mason Gross School of the Arts at of Fine Arts, Boston; Tara Cuthbert, Ruth Janson, Catherine J. Endowment,NOTE TO EDITORS . . . WE ARE STILL FINE TUNING In December 2007, when the Zimmerli Art Museum first Rutgers). Other master printers—Eileen M. Foti, Jane Kent, Paul Morris, Liz Reynolds, Kevin Stayton, Eugenie Tsai, and Marguerite THIS the Estate of Mahan, The XXXX Yavitz Foundation and contacted Joan Snyder with the idea for a major exhibition Levitt, Jennifer Melby, James Miller, and Carol Weaver—were Vigliante of the Brooklyn Museum, New York; and Emily Talbot Arlene and Stephen(sp) Cypen for taking the lead in the launching and book on her prints, she was immediately receptive. She equally kind in responding to our calls for information. and Deborah Wye at the Museum of Modern Art, New York. We initiative - this will be fine tune . We are grateful for support from has wholeheartedly encouraged the project’s development The galleries that have championed Snyder’s art over the especially appreciate the individuals who have kindly lent works to the Dorothy Dehner Foundation through the good offices of Joan and has worked closely with the museum ever since; we are decades have enthusiastically responded to many queries with Dancing with the Dark, allowing the Zimmerli to present Snyder’s Marter, the foundation’s president and professor of art history deeply indebted to her for being a generous and gracious warm encouragement for this project. We extend our appreciation printmaking accomplishments in their fullness: Derrière L’Étoile at Rutgers, and from xxxxxxx (other funders to be announced- partner in this important endeavor. Her studio assistant, Mira to Betty Cuningham, New York; Nina Nielsen, Boston; and Elena Studio, New York; Eileen M. Foti; Jane and Happy Traum- confirm IFPDA?). Xxxxxxxxx [another sentence to be inserted if funding Dancy, has also been an indispensable member of the project Zang, Woodstock, New York. We also extend our thanks to Diane that can use name; Leon Wieseltier and Jennifer Bradley; and comes from other grants or donors] The generous support of team; we are grateful for her many contributions, particularly Villani, Diane Villani Editions, New York, for clarifying important private collectors who wish to remain anonymous. The publication these donors has made this exhibition and book possible. CV and in documenting Snyder’s prints with curator Marilyn Symmes. aspects about the Joan Snyder prints she published. also benefited greatly from those collectors who kindly permitted CB:We will have to plug in this info later. Joan Snyder’s family has been warmly supportive throughout, Marilyn Symmes’s curatorial colleagues kindly shared with her us to illustrate the Joan Snyder paintings in their possession. We invite you to enjoy Joan Snyder’s inspiring art and her and we especially thank Maggie Cammer, Molly Snyder-Fink, and information about Snyder’s prints. We thank the following for the Marilyn Symmes joins me in also expressing our gratitude distinctive contributions to printmaking in America. Orlando Richards. insights that have enriched the shaping of this project: Aprile Gal- to Faye Hirsch, a senior editor for Art in America and a widely Suzanne Delehanty Marilyn Symmes, director of the Zimmerli’s Morse Research lant, Smith College Museum of Art, Northampton, Massachusetts; respected authority on contemporary printmaking, for her insight- Director Center for Graphic Arts and curator of prints and drawings, has Joann Moser, Smithsonian American Art Museum, Washington, ful essay on Snyder’s remarkable prints and creativity. For their admirably served as the organizing curator, editor, and coauthor D.C.; and Elaine Mehalakes and Elizabeth Wyckoff, Davis Museum expertise and thoughtful guidance in shaping this book’s text, of Dancing with the Dark: Joan Snyder Prints 1963–2010, from and Cultural Center, Wellesley College, Massachusetts. Joy we thank Carolyn Vaughan and Cynthia Newman Bohn, editors. preliminary research phases to its striking realization. I extend Weiner, Smithsonian’s Archives of American Art, New York, and

8 foreword and acknowledgments foreword and acknowledgmentS 9 “see what a life” the prints of joan snyder Faye Hirsch

At the center of Joan Snyder’s 1997 print My Work . . . is a marvelous hybrid: the image of a heart, part valentine and part anatomical, which is also a vulva (fig. 00; cat. 56.9). With its bloodred and umber radiating lines and pink halation, the heart/vulva seems to pulsate with energy in the middle of a field offloating, hyphenlike strokes and words. These words name elements that often appear in, indeed often constitute, Snyder’s art—grid, totems, blossoms, fields, moons, paint—yet, should there be any question about the subject of the print, written in emphatic block letters across the bottom of the piece is the line, “MY WORK HAS BEEN ABSOLUTELY FAITHFUL TO ME.” The heart/vulva, roughly cut and stained in wood block and etching, is the perfect emblem for the relationship between art and interiority, feeling and gesture, that is the claimed, if often contested, territory of expressionism. Yet this is a very particular expressionism, linked to female sexuality,1 and its foil is the double meaning of “work,” which signifies both the oeuvre of the artist and the labor it has entailed. The print’s working proofs (figs. 00–00; cats. 56.1, .2, .4, .6, .7), so splendid in their own right that they challenge the viewer to puzzle over the final choice of the editioned version, serve merely to emphasize the labor and experimentation that lie behind the image, seemingly so wild and so free.2 Snyder has been prolific in both painting and print. Her 2005 retrospective at the Jewish Museum in New York focused on paintings; until now, there has been no survey of her prints, which she began making while still a student.3 Apart from a hiatus from 1966 to 1972, she has produced them all along—more steadily in her later years, to be sure—and she is quick to acknowledge their importance to her. When, for example, Snyder was in the process of moving in 1999 and did not have access to her studio, she turned to printmaking, working for months at Jungle Press Editions (located at the time in lower Manhattan) on the impression from the Fig. 2 My Work…, 1997, monoprint series In Times of Great Disorder (figs. 00 and 00; cats. 61.1–2). “I knew it would edition. Five-color etching, soft ground etching, help,” she wrote, “to have an ongoing project while I did not have a usable studio. And ongo- aquatint, spit bite, scraping, and color woodcut; 4 3 3 ing it was. It took a year . . . 3 months longer than the renovation.” The 110 works in Dancing [plate] 40 x 50.1 cm (15 ⁄4 x 19 ⁄4 in.); [sheet]

1 56.5 x 63.5 cm (22 ⁄4 x 25 in.). Collection of the with the Dark: Joan Snyder Prints 1963–2010 telescope the arc of Snyder’s career, touching artist (cat. 56.9) on nearly all the themes she has explored in painting as well as print. While the prints

11 Fig. 3 My Work . . . , 1997, proof. Woodcut printed in dark red over etching Fig. 4 My Work . . . , 1997, proof. Woodcut printed selectively in bright red with Fig. 5 My Work . . . , 1997, proof. Woodcut printed in bright red and etching, Fig. 6 My Work . . . , 1997, proof. Single-color line etching and single-color

3 1 3 3 (words printed in black); other words handwritten in felt-tip marker pen and etching (words) printed in black; [image/plate] 40 x 51.5 cm (15 ⁄4 x 20 ⁄4 in.); with some words written in ballpoint pen and graphite; [image/plate] 40 x aquatint with pink-red watercolor; [plate] 40 x 50.1 cm (15 ⁄4 x 19 ⁄4 in.);

1 1 3 3 1 1 1 1 graphite; [image] 40.6 x 50.8 cm (16 x 20 in.); [sheet] 55.9 x 75.5 cm (22 x [sheet] 56 x 75 cm (22 ⁄4 x 29 ⁄2 in.). Collection of the artist (cat. 56.2) 50.1 cm (15 ⁄4 x 19 ⁄4 in.); [sheet] 56.5 x 75 cm (22 ⁄4 x 29 ⁄2 in.). Collection of [sheet] 56.5 x 75 cm (22 ⁄4 x 29 ⁄2 in.). Collection of the artist (cat. 56.4)

3 29 ⁄4 in.). Collection of the artist (cat. 56.1) the artist (cat. 56.3) Fig. 8 My Work . . . , 1997, proof. Two-color woodcut over single-color line Fig. 10 My Work . . . , 1997, proof. Color woodcut over color etching, a variant

3 3 3 3 Fig. 7 My Work . . . , 1997, proof. Color woodcut over single-color line etching etching and four-color aquatint; [image/plate] 40 x 50.1 cm (15 ⁄4 x 19 ⁄4 in.); Fig. 9 My Work . . . , 1997, proof. Etching and woodcut printed in color and of editioned print; [image/plate] 40 x 50.1 cm (15 ⁄4 x 19 ⁄4 in.); [sheet] 55.9 x

3 7 1 1 3 3 1 and two-color aquatint; [image/plate] 40 x 55 cm (15 ⁄4 x 19 ⁄8 in.); [sheet] [sheet] 56.5 x 75 cm (22 ⁄4 x 29 ⁄2 in.). Collection of the artist (cat. 56.6) hand-painted; [image/plate] 40 x 50.1 cm (15 ⁄4 x 19 ⁄4 in.); [sheet] 56.5 x 75 cm (22 x 29 ⁄2 in.). Collection of the artist (cat. 56.8)

1 5 1 1 56.5 x 75.2 cm (22 ⁄4 x 29 ⁄8 in.) Collection of the artist (56.5) 75 cm (22 ⁄4 x 29 ⁄2 in.). Collection of the artist (cat. 56.7)

12 “See What a life”: The prints of joan snyder Dancing with the Dark 13 Fig. 11 In Times of Great Disorder V, 2000. Monoprint (lithography, Fig. 12 In Times of Great Disorder XII, 2000. Monoprint (lithography, monotype, and woodcut monoprint, hand-inked by the artist); 75 x 75 cm monotype, and woodcut monoprint, hand-inked by the artist); 75 x 75 cm

1 1 1 1 (29 ⁄2 x 29 ⁄2 in.). Collection of the artist (cat. 61.1) (29 ⁄2 x 29 ⁄2 in.). Collection of the artist (cat. 61.2)

often address issues she first develops in her paintings, they are impossible—to grasp in its entirety, and in all its details. Nonethe- independent and self-sufficient objects that she fully conceives less, one can formulate some general observations about her in relation to the demands of particular media and processes. In prints, beginning precisely with their open-ended inventiveness, a Times of Great Disorder evolved from combined-media paintings quality that makes them so invaluable an object of study, not only such as Crushed Green Light (1998; fig. 00), in which a kind of for the light they cast on Snyder’s richly material art in general gridded window at the center is framed on all four sides by a thick but also for the insights they offer about printmaking during the border filled with colored disks. Taking on not only the imagery decades in which she produced them. One feels a very particular of that painting but also the practice of mixing materials, Snyder engagement in the intensely personal imagery, which is often and the printer, Andrew Mockler of Jungle Press, developed linked to events in her life or to broader social issues, and in the the eighteen prints in nine stages, incorporating lithography, layered, complex surfaces and processes. The number of works monotype, woodcut, relief printing, and pastel. Though they follow the artist printed herself is a fact worthy of remark, adding to the an identical compositional format,5 the prints vary considerably in sense that she has a personal stake in her prints. (It was only in the their specifics, from color to surface articulation. mid-nineties that Snyder disposed of her own press—a Vandercook Fig. 13 Crushed Green Light, 1998. Oil, acrylic, papier-mâché, charcoal, Indeed, unlike some painters who also make prints—those who that the printer Maurice Sánchez had traded to her in the early wooden dowels, and plastic beads on canvas; 101.6 x 101.6 cm (40 x 40 in.). 6 might seek a tidy, uniform edition that is easily marketed—Snyder eighties —and began making prints exclusively outside her studio.) Collection of the artist has a proclivity for variant editions, monoprints, and monotypes, In the 1970s, when Snyder reached artistic maturity, the American resulting in a printmaking oeuvre that is vexingly difficult—if not print renaissance was in full bloom, and in a sense her print

14 “See What a life”: The prints of joan snyder Dancing with the Dark 15 making activities benefited from the fact that the early, widespread critical reception of her work translated by the end of the decade into invitations from publishers and collaborative workshops. Snyder’s own hands-on experience is something she carried with her into collaborations from the late seventies onward; she was never naïve about prints. “She’s so smart in the way she thinks about prints and has so much experience,” says Jennifer Melby, the New York printmaker with whom Snyder created My Work . . . (published by Diane Villani Editions). Its eight working proofs make apparent the subtlety of Snyder’s decisions. “Things seemed to progress very naturally,” observes Melby. “She was so experienced that she knew how to get what she wanted, and fearless in the way she used all techniques and matrices.”7 Snyder has gravitated to smaller ateliers; once she has established a satisfying working relationship with a printer, and if circumstances permit, she will return. And in collaborating with so many different printers, Snyder has avoided a common trap: the uniformity that can result from working too often with the same artisans. The “look” of her prints has remained fluid.8 “Printmaking is magical, though a lot of work,” she observes. “You don’t know what you’re going to get. Ultimately you gain control through proofing. I prefer working with printers who are familiar with my work, and with my process, and I also appreciate someone who can give suggestions.” One such printer is Mockler, who spent time in Snyder’s Brooklyn studio in 1994 helping her to complete some monoprints before undertaking their first collaboration. (“Because he’s a painter, he understands my sensibility. I trust him.”9) That produced Snyder’s Our Foremothers (published by the Jewish Museum, New York) (see fig. 00; cat. 49), which was also among the first projects undertaken at Jungle Press after Mockler founded it in 1995. Since then, Snyder has completed ten additional projects there—more than at any other atelier. Wild Roses (2010; fig. 00; cat. 69) is typical of Snyder’s Jungle Press projects, consisting of layers in various media: a lithographic run of washes and stains as the ground, and later passes in etching and woodcut, the latter intaglio-printed as she prefers (that is, oil paint is pushed into the grooves of the wooden block and the flat surface wiped before it is run through the press—a method

Fig. 14 Wild Roses, 2010. Color lithograph, etching, and woodcut;

3 3 72 x 97.5 cm (28 ⁄8 x 38 ⁄8 in.). Collection of the artist (cat. 69)

16 “See What a life”: The prints of joan snyder that she learned from Robert Townsend in Provincetown in 1993 and continued with Mockler and Melby). The image is a field of large pink and red roses in full bloom alternating with smudgy black curving forms resembling small boats or seedpods (as in Seedcatchers with Ghosts, the 2008 series at Jungle Press; see figs. 00–00; cat. 67.1–4). Crushed pastel in periwinkle blue, applied in a final pass, dusts the surface.10 Interspersed are a few words in small, off-kilter letters: “Oh Mary” and “Oh Boogie.” These refer to the artist Mary Hambleton, a longtime friend of Snyder’s who had just died (“Boogie” is the nickname given by Snyder’s daughter, Molly Snyder-Fink, to Hambleton, who was her babysitter). Wild Roses is thus a memorial, and one of Snyder’s loveliest prints. The surface seems to melt away into translucent depth, while the flowers and pods in their wobbly, transgressed grid materialize as off-register and bleary, as if stained with tears. The content is personal, autobiographical; the forms look as though they improvised their way into existence, rather than emerging from premeditated forethought—a beguiling, if somewhat deceptive, hallmark of Snyder’s work. Even the overall dusky pink tonality is classic Snyder, unapologetic in its feminine, sentimental associations: it is a color that Mockler says they worked hard to arrive at, beginning with their first collaboration, and they have used it often since.11

The first prints Snyder ever made were five woodcuts that she completed in 1963, during her first (nonmatriculated) year in the graduate art department at Rutgers University.12 Though she had hardly any formal art training, she sensed the dramatic potential of black-and-white woodcut. Snyder had learned about German Expressionism in her senior year of college, and she had grown enamored of the early Modernist movement. As she has said, wryly, “I was a German Expressionist! It’s in the blood. My ances- tors were Russian and German.” For a period after graduating from college, Snyder had lived with one of her professors and the professor’s family on a farm in rural New Jersey; her relationship with the teacher, who she has said was her “muse,” was

Fig. 15 Farm Landscape, Yellow House, 1963. Oil on canvas; 81.2 x 45.7 cm (32 x 18 in.). Collection of the artist

opposite: Fig. 16 Landscape, October 1963. Woodcut; [image] 37.5 x 29.2 cm

3 1 7 3 (14 ⁄4 x 11 ⁄2 in.); [sheet] 55.6 x 44.2 cm (21 ⁄8 x 17 ⁄8 in.). Collection of the artist (cat. 1)

18 “See What a life”: The prints of joan snyder jpeg from web

1 Fig. 18 emil Nolde (German, 1867–1956), Prophet, 1912. Woodcut; [image] Fig. 19 Woman Undressing, 1964. Lithograph; [image] 52.1 x 33 cm (20 ⁄2 x

5 3 11 3 32 x 22.2 cm (12 ⁄8 x 8 ⁄4 in.); [sheet] 49.9 x 36.5 cm (19 ⁄16 x 14 ⁄8 in.). The 13 in.); [sheet] 66 x 48.3 cm (26 x 19 in.). Collection of the artist (cat. 8) Museum of Modern Art, New York, Given anonymously (by exchange) – credit line to be confirmed from MoMA Photo credit to come

emotionally fraught and lingered problematically for years. The tion as characterization: the day Snyder made it, John F. Kennedy Fig. 17 Portrait of Emily, November 1963. house in which they all lived was the subject of several German had been assassinated, and she stayed up all night printing. The Woodcut; [image] 55.9 x 28.8 cm (22 x Expressionist–tinged paintings of 1963 (fig. 00) and also of the closeness of this representation to Emil Nolde’s famous 1912 3 11 ⁄8 in.); [sheet] 76.2 x 45.7 cm (30 x 18 in.; print Landscape (see fig. 0; cat. 1), roughly carved into moody woodcut The Prophet (fig. 00), with its similarly raw, suffering irregular). Collection of the artist (cat. 5) alternations of light and dark. The teacher herself is the subject of subject with prominent eyes, is apparently coincidental; Snyder NOTE – THIS WORK BEING CONSERVED, SO will re-PHOTOGRAPH AFTER TREATMENT. the largest and most ambitious of the five prints, Portrait of Emily says she did not know the Nolde print at the time. This new photo be be inserted here; may have (fig. 00; cat. 5), a bust-length portrait in which the figure’s face is Snyder did not return to woodcut until 1984, more than DIFFERENT PHOTOGRAPHER CREDIT deeply furrowed, as if in suffering. It is perhaps as much projec- twenty years later. While still in graduate school, she made a

Dancing with the Dark 21 Fig. 20 painting for Screams & Whispers, 1972. Oil on paper; 44.5 x 76.2 cm

1 (17 ⁄2 x 30 in.). Collection of the artist right: Fig. 21 Whispers/Screams, 1972. Screenprint; [image] 91.4 x 152.4 cm (36 x 60 in.); [sheet] 101.6 x 167.6 cm (40 x 66 in.). Collection of the artist (cat. 10)

few lithographs, including one (1964; fig. 00; cat. 8) of a woman undressing (“I was just giving myself an assignment to do the nude”) and another, similarly focusing on just the lower half of a body, of an “angel” (1966; see fig. 00; cat. 9), a figure that appears, for example, in the early painting Altar III (1965–66; see fig. 00), where it is a somewhat abstracted pink form above which appear sketchy images of breasts cupped by collaged gold tassels. In fact, Snyder has never been fond of lithography as a medium in itself; she mainly considers it a “tool,” as in the lithographic grounds that she works on at Jungle Press. After receiving her Master of Fine Arts degree from Rutgers in 1966, Snyder did not make another print for seven years, during which time she was developing her painted iconography—the abstract “flock/membrane” landscapes (which she considers to be her earliest feminist imagery), strokes, and grids, imagery that has been much remarked on in literature on the artist—and getting married, to the photographer Larry Fink in1969.13 She was also gaining some fame—beginning in 1971 with solo shows at two New York galleries, Paley & Lowe and Bykert Gallery, and at Michael Walls Gallery in San Francisco, and the publication of an article by Marcia Tucker in Artforum.14 In the wake of these successes, she was approached in 1972 to do a print for the American Dance

22 “See What a life”: The prints of joan snyder Dancing with the Dark 23 Fig. 22 Woman-Child, 1972. Oil, acrylic, sparkle paint, and spray enamel on canvas; 192.9 x 274.3 cm (6 x 9 ft.). Private collection

Festival in New London, Connecticut; she contributed a small choppy strokes spill through the faintly gridded composition. The Fig. 23 Report Card from the portfolio Yale at Norfolk Prints 1973, 1973. painting (fig. 00) that was scaled up into the large screenprint occasional stroke of glitzy gold in the print parallels the presence 1 Etching; [plate]: 22.8 x 29.2 cm (9 x 11 ⁄2 in.); [sheet] 38.1 x 48.3 cm (15 x Whispers/Screams (fig. 00; cat. 10). (Again, screenprint is not of glitter in the painting. 19 in.). Collection of the artist (cat. 11) a medium she likes, and she has rarely worked in it.) Although During the ensuing decade, Snyder’s print production was she did not receive “a lot” of money for the commission, she sporadic, and entirely dedicated to intaglio, culminating in says, “It was a boost for a struggling artist.” It is the only one of Resurrection Etching (1978–81). She had made her first etchings her prints, however, that directly reflects her stroke paintings of while teaching at the Yale Summer School of Music and Art in those years; as in Woman-Child (1972; fig. 00), brightly colored, Norfolk, Connecticut, in 1973. Her contribution to the portfolio

24 “See What a life”: The prints of joan snyder Dancing with the Dark 25 Yellow (1977; fig. 00; cat. 14), another text piece in etching and aquatint, again with a gridded and lineated composition, which not only looks like notations for a painting in citing primaries (including “blue” in the lower left) but also contains rebellious, angry outbursts—not least of all “Joan Snyder motherfucker,” written in the lower right corner. In 1975, Snyder had access to the print shop at Rutgers, and working with Paul Levitt she produced the etching Imagine (fig. 00; cat. 13), an adventurous print in both technique and content. Horizontal in format, the image is divided into two unequal parts; at the left is a column of text, and at the right an image. The inspiration for the text was a poem by Frank O’Hara, “Autobi- ographia Literaria,” in which appear the lines, “And here I am, the / center of all beauty! / writing these poems! / Imagine!” Snyder’s text, a poem, begins:

Pink was flesh imagine yellow a place when I was a child. And our souls. Imagine symphonies can I make symphonies on the subject. Imagine the symbolism read and red Fig. 24 Etching for Sam, 1973. Etching, lift ground, and aquatint; [plate] 19.6

3 7 sometimes you. x 22.5 cm (7 ⁄4 x 8 ⁄8 in.); [sheet] 43.2 x 38.1 cm (17 x 15 in.). Collection of the artist (cat. 12) And pink was flesh.

She goes on to name husband and friends, then borrows from Yale at —Norfolk Prints, which contained forty-three prints by O’Hara: faculty members and students, was a ledgerlike image in which she recorded her students’ names and some observations on And here I am their personalities and work. The “entries” in Report Card (fig. 00; the center of all cat. 11) include commentary such as, “Laura/beautiful paintings beauty writing late,” “Earl/black and minimal,” “Ruth/angry hurt looks,” “Kevin/ these poems reveal yourself.” The same summer, she produced Etching for making these paintings Sam (fig. 00; cat. 12), made as a gift for her then psychiatrist. Frank O’Hara and me Like Report Card, the latter work was lineated and presented Imagine. a combination of abstract marks and words (colors—“yellow,” “purple”—as well as “women,” “flesh,” “lonely”). In composition it In her poem, Snyder expresses the excitement she feels during a is reminiscent of A Letter to My Female Friends (fig. 00), a paint- period of great personal and professional significance; her career Fig. 25 A Letter to My Female Friends, 1972. Oil and acrylic on canvas; ing from the previous year. These were her first prints combining had taken off, and she reflects on her life, which had begun in 152.4 x 152.4 cm (60 x 60 in.). Private collection abstract marks and text. Snyder named more colors in Red and what she considers cultural impoverishment and become some-

26 “See What a life”: The prints of joan snyder Dancing with the Dark 27 Fig. 26 Red and Yellow, 1977. Etching, lift ground, and aquatint; [plate] 39.7 x Fig. 27 Imagine, 1975. Soft ground etching and sugar lift aquatint; [plate]

5 5 1 15 5 1 54.9 cm (15 ⁄8 x 21 ⁄8 in.); [sheet] 56.5 x 76.2 cm (22 ⁄4 x 30 in.). Collection of 22.7 x 44.8 cm (8 ⁄16 x 17 ⁄8 in.); [sheet] 38.1 x 56.5 cm (15 x 22 ⁄4 in.). the artist (cat. 14) Zimmerli Art Museum at Rutgers University, Gift of the artist (cat. 13)

thing quite transformed: she was living as an artist, full-time. She in various etching techniques, including soft ground, which combination that she was to return twenty years later in the print mainly, though not exclusively, violence against women—and it had also become deeply immersed in the feminist movement. permitted her to print a piece of cheesecloth, incorporating My Work . . . . arose not only out of a general concern about the subject among She joined consciousness-raising groups beginning in 1971, the the sort of impure materials she was using in her paintings—is Snyder’s feminist preoccupations during these years could feminists16 but also because, with her consciousness raised and same year she initiated a series of exhibitions of women artists vulva-like in form, lush and full despite the absence of color. It also take a darker cast. In 1977, she created her largest painting to her travels around the country for teaching gigs and workshops, at Douglass College, her alma mater, which, although it was the emits scrambled letters at the right—“OH,” we read, and “COOL,” date: a massive, eight-part, 26-foot-long, combined-media painting Snyder was struck by stories of violence in local newspapers. She women’s division at Rutgers, had only male art teachers. She was “OOH.” In Imagine, Snyder expresses the intimate bond between entitled Resurrection (fig. 00).15 This was followed, in 1978, by began to collect clippings, aided by friends and family; these were a founding member of the feminist artists’ collective Heresies in her work and her life, fashioning that connection by means an etching of the same subject, which would not be completed, physically collaged onto the first two panels of the painting, follow- New York, established in 1975. The image in Imagine—created of both text and image—a highly sexual representation. It is a however, until 1981 (fig. 00; cat. 17.10). The subject was violence— ing a list of the names of the 102 victims mentioned in the articles.

28 “See What a life”: The prints of joan snyder Dancing with the Dark 29 Fig. 28 Resurrection, 1977. Oil, acrylic, fabric, wallpaper, collaged newspaper and tissue paper, glitter, papier-mâché, and graphite on canvas [eight panels]; 198.1 x 792.5 cm (6 ft. 6 in. x 26 ft.). Museum of Fine Arts, Boston, Gift of Sidney Singer 1986.1015a-h. Photograph © 2011 Museum of Fine Arts, Boston

30 “See What a life”: The prints of joan snyder Dancing with the Dark 31 Onto this social and political narrative Snyder grafted another tale, more personal in nature, and more poetically rendered. She grew convinced that Martins Creek Farm in rural Pennsylvania, where she and her husband lived, was haunted. There were rumors of violence in the distant past, and Snyder believed that a woman who once lived there had been raped and murdered, and that her spirit needed to be placated. (In fact, a murder had taken place: the woman had murdered a male worker on the farm—but Snyder found that out only later.) In the remaining panels, and in the right portions of the print, Snyder imagined the murder, the burial of the body, and the woman’s resurrection. Besides the newspaper, Snyder collaged onto the painting papier-mâché, wallpaper, fabric, and lace. The various proofs for Resurrection Etching, her most ambitious print up to this point, show her taking a similarly additive approach, trying out various etching techniques (including soft ground, again, to print a bit of lace containing the tiny image of a woman at the far right, who appears and disappears in the various proofing stages) and exploring color in both aquatint and watercolor in different proofs. (figs. 00-00; cat. 17.1-9). At the far left are the names, as in the painting, followed by the welter of clippings. Next, a hieratic angel presides over death, and, in a fairytale landscape, a cow marches up a hillside and the sun rises over a house. At the far right, the tiny lace figure is seen within misty dreamlike passages of tone, repre- senting the resurrection. Coincidentally, the making of this print, with its violent subject matter and peaceful resolution, occurred at a tumultuous period in Snyder’s life, during which she suffered a miscarriage, gave birth to her daughter, Molly, in 1979, and then saw her marriage fall apart. In the final print, swaths of color transgress the main black-and-white image and extend into the margins. They bring to mind smears—as in blood, or forensic samples—but also the notion of something taking place beyond the limits—as in a resurrection, the triumph over death. While the texts and scenes construct a narrative, the color acts with emotional force. In 1982, the print scholar and critic Richard Field announced, “We are in the midst of a new experimentation with the earliest form of the printed image, the simple relief print whose European

Fig. 29 Resurrection Etching, 1978–81, artist’s proof from the edition. Photo etching, soft ground etching, color sugar lift aquatint (from two plates), open

1 bite, and line etching; [plate] 60.9 x 89.5 cm (24 x 35 ⁄4 in.); [sheet] 75.2 x

5 1 105.4 cm (29 ⁄8 x 41 ⁄2 in.). Collection of the artist (cat. 17.10)

32 “See What a life”: The prints of joan snyder Dancing with the Dark 33 Fig. 30 working proof 1 for Resurrection Fig. 31 working proof 2 for Resurrection Etching, 1978–81. Photo etching, soft Etching, 1978–81. Photo etching, soft ground etching, sugar lift etching, and ground etching, sugar lift etching, open open bite (with some sections, at left, bite, and line etching; [image] 25.4 x 89.9

3 collaged); [image] 25.4 x 89.9 cm (10 x cm (10 x 35 ⁄8 in.); [sheet] 60.9 x 100.3

3 1 35 ⁄8 in.); [sheet] 60.9 x 100.3 cm (24 x cm (24 x 39 ⁄2 in.). Collection of the artist

1 39 ⁄2 in.). Collection of the artist (cat. 17.1) (cat. 17.2)

Fig. 32 working proof 4 for Resurrection Fig. 33 working proof 8 for Resurrection Etching, 1978–81. Photo etching, soft Etching, 1978–81. Photo etching, soft ground etching, sugar lift etching, open ground etching, color sugar lift aquatint bite, aquatint, line etching (sections of print (from two plates), open bite, and line are collaged), and watercolor; 60.9 x 101.6 etching, with notes and marks in graphite;

3 3 cm (24 x 40 in.). Collection of the artist 60.3 x 100 cm (23 ⁄4 x 39 ⁄8 in.). Collection (cat. 17.4) of the artist (cat. 17.8)

34 “See What a life”: The prints of joan snyder Dancing with the Dark 35 origins go back to the 14th century.”17 With the advent of Neo-Expressionism on the international scene, particularly among German artists such as Georg Baselitz and Anselm Kiefer (to whom Snyder has been compared, but in respect to her collaged field paintings), the lino- and woodcut aesthetic, with its blunt emotional force, was enjoying a resurgence. Field continued: “The woodcut has become a medium of unexpected significance. Much of this derives from its allusiveness to the art of the past. And yet these links rarely emphasize high style or academic conventions as much as they do the historically conditioned expectations of a primitive means of image-making. It is the avoidance of artifice, of technical sophistication, or of the polished persuaders of the media that underlies the appeal of the woodcut.”18

In 1983, twenty years after she had first made prints in this medium, Snyder returned to woodcut; the medium was in the air, as Field observed, but it also seemed the right choice at that point in her life. Her marriage had ended and she was raising Molly on her own. Intense emotions seemed to demand chiseling and gouging. She printed some woodcuts herself and four with Fig. 34 Things Have Tears and We Know Suffering, 1983–84, a variant proof. Chip Elwell, which were published by Diane Villani Editions. Elwell, Color woodcut hand-inked by the artist; [image] 45.7 x 45.7 cm (18 x 18 in.);

3 who died in 1986, has been credited with that period’s revival of [sheet] 66 x 64.4 cm (26 x 25 ⁄8 in.). Collection of the artist (cat. 23.1) color woodcut among American artists;19 he worked extensively, for example, with Richard Bosman, creating some of that artist’s most memorable images. elongated breast, takes its title and incorporates the words from Woodcut for Love’s Deep Grapes (1983; see fig. 00; cat. 20), Virgil: “sunt lacrimae rerum et mentem mortalia tangunt.” This is which Snyder printed herself, set the tone for what would follow, the lament Aeneas utters while gazing at a mural depicting the with its vaguely primitivistic forms (the stick figures in the sky, like Trojan War, in which he lost his comrades: Snyder roughly tran- a constellation, alluding to children’s drawings and by extension scribes this phrase, writing it in Latin and English, as translated to children) and carved words. “There is a sadness in things apart by a classicist friend who, after the breakup of Snyder’s marriage, from connected with human suffering,” it reads, alluding to a line sent her a letter with that quote by way of comfort.21 In the print, from Virgil’s Aeneid and, as if in reference to the circular forms the text is barely legible within vertical strokes of the chisel; it above, which Snyder refers to as eyes, “I saw stones weep.” 20 The is as if the surface of the print—itself treated very materially, print, and the wood block itself, were incorporated as the outer as a “thing”—is shedding tears. The actual text of the letter, in panels in the triptych collaged painting Love’s Deep Grapes (1984; which the friend describes the terrible pain she felt on the loss see fig. 00), which included, at the center, a bunch of plastic of a child, was also incorporated into Snyder’s 1984 painting, Oh grapes. Such interdependence among Snyder’s works in different Marie (fig. 00). In the lower corner of that painting is a grotesque, media was common during this time, though sometimes, as in Love’s Deep Grapes, the influences went from print to painting opposite: Fig. 35 Things Have Tears and We Know Suffering, 1983–84, rather than from painting to print. impression from the edition. Color woodcut hand-inked by the artist;

3 1 Things Have Tears and We Know Suffering (1983; figs. 00 and [image] 45.7 x 45.7 cm (18 x 18 in.); [sheet] 65.4 x 64.1 cm (25 ⁄4 x 25 ⁄4 in.). 00; cat. 23.1, 23.2), whose main image is a baby sucking on an Collection of the artist (cat. 23.2)

36 “See What a life”: The prints of joan snyder Dancing with the Dark 37 Fig. 37 The Witness, 1990. Color woodcut; [image] 30.5 x 28.3 cm (12 x

1 1 11 ⁄8 in.); [sheet] 43.2 x 31.1 cm (17 x 12 ⁄4 in.). Collection of the artist (cat. 37.1)

opposite: Fig. 36 Oh Marie, 1984. Oil, acrylic, graphite, paper, and nails on

7 wood; 45.4 x 45.7 cm (17 ⁄8 x 18 in.). Private collection

Dancing with the Dark 39 artists dramatically chiseled their plates, but where Rothenberg’s image is ghostly and ineffable, seemingly symbolic in intention though without an obvious referent, Snyder’s is deeply emotional. Although symbolic, her woodcuts (as well as her 1985 lithograph Can We Turn Our Rage to Poetry?; fig. 00; cat. 24) clearly convey their meaning, with no obfuscation—they are tied to the artist’s own deeply felt experiences or linked to human struggles in general. “Few women painters or printmakers have adopted the obviously primitivizing figuration of the Italian and German Neo-Expressionists,” wrote Field in 1987. “Rothenberg flirts with it. . . . But Joan Snyder is an exception. Her work is filled with images recollecting the drawings of children, the untutored, or the insane.”23 When compared with the more detached Rothenberg, or even some of the heroicizing German Neo-Expressionists to whom Field refers—Georg Baselitz’s Woman at the Window series of linocuts is an example (figs. 00 and 00), with its image dematerializing into abstraction through progressive states—the

Fig. 38 Mommy Why? 1983–84. Woodcut, black-and-white proof; [image]

3 30.5 x 51.7 (12 x 20 ⁄8 in. [at widest point]); [sheet] 50. 8 x 66 cm (20 x 26 in.). Collection of the artist

screaming face, its wide mouth agape; Snyder much later, in 1990, woodcut-printed a similar screaming face on fabric and paper in jpeg more than a dozen different impressions (The Witness; fig. 00; from cats. 37.1–3).22 web The most powerful of the woodcuts Snyder produced with Elwell is Mommy Why? (figs. 00 and 00; cat. 21), which exists in subtle variants due to the fact that the block was colored slightly differently each time, in oil paint. Gesticulating dramatically in the image are a small child and a naked woman, her hair, armpit, and vulva colored red in some examples, as if ablaze. Though the colors are variable, in each of the impressions the gouging reveals the white of the paper, making for a dramatic apparition. An earlier, somewhat similar, work, Head and Bones by Susan Fig. 40 Mommy Why? 1983–84, impression from the edition. Woodcut

Rothenberg (1980; fig. 00), another artist who was part of the 3 hand-inked by the artist; [image] 30.5 x 51.7 (12 x 20 ⁄8 in. [at widest point]); woodcut revival in the United States, offers a telling comparison [sheet] 50. 8 x 66 cm (20 x 26 in.). Collection of the artist (cat. 21) to Mommy Why? and other of Snyder’s prints of the time. Both

Fig. 39 Susan Rothenberg (American, born 1945). Head and Bones, 1980.

1 Woodcut, published by Multiples; [image] 33 x 28.5 cm (13 x 11 ⁄4 in.); [sheet]

1 1 64.8 x 46.3 cm (25 ⁄2 x 18 ⁄4 in.). National Gallery of Art, Washington, D.C., Gift of Mrs. Robert A. Hauslohner – confirm credit & photographer

40 “See What a life”: The prints of joan snyder Dancing with the Dark 41 Figs. 42 and 43 georg Baselitz (German, born 1938). Frau am Fenster (Woman at the Window), State I and State VI, 1979. Linoleum cut; [image]

1 7 1 69.9 x 49.4 cm (27 ⁄2 x 19 ⁄16 in.); [sheet] 86.4 x 61.2 cm (34 x 24 ⁄8 in.). The Museum of Modern Art, New York, Blanchette Hooker Rockefeller Fund– credit line to be confirmed; confirm titles- artist permission © Georg Baselitz

specificity of Snyder’s engagement during the mid-eighties is quite apparent. Snyder has a point to make in Mommy Why?: about an unsentimental, unsanitized motherhood, and also about the suffering of children. She has said that this is one of her favorite prints, and indeed, she would use a similar gape- mouthed mother’s face in several later works, such as Requiem/ Let Them Rest (1998; see fig. 00; cat. 57) and the Souls Series (1993; see fig. 00; cat. 40.1–22), an AIDS memorial.24 In the latter, an installation of woodcut-printed swatches of fabric, the face appears, repeated, as that of mothers mourning. It is set amid more numerous impressions of several ghostly faces, referring to the dead—one being a face that itself is also wood blockprinted on fabric in a contemporaneous painting, Faces (see fig. 00). During the period of her miscarriage and the breakup of her marriage, a crosslike or stick figure emerged, a “totem” as Snyder calls it, which makes many appearances in the works that followed. In some images, such as Kaddish (1988; see fig. 00; cat. 27) and For the Children (1987, 1988; see figs. 00–00; cats. 25, 26.1–2), it signifies the traumas suffered by children around the world, an issue that distressed Snyder during this period. One is reminded of the kind of allegorizing social engagement seen

Fig. 41 Can We Turn Our Rage to Poetry, 1985. Color lithograph; 76.8 x 112.4

1 1 cm (30 ⁄4 x 44 ⁄4 in). Collection of the artist (cat. 24) Fig. 45 Mourning/Oh Morning, 1983. Oil, acrylic, papier-mâché, cloth, plastic

1 grapes, and wood on linen; 198.1 x 365.7 cm (6 ⁄2 x 12 ft.). Collection of The Estabrook Foundation

in Käthe Kollwitz’s prints about death and agonizing grief. Like Beginning in the late eighties, Snyder began to make more Kollwitz, Snyder does not shy away from melodrama to make painterly prints, turning increasingly to monotype and to mono- a point. More ambiguous is Dancing in the Dark (1984; fig. 00; print processes that involved a complex material layering. Having cat. 22),25 in which two “totem” figures hold hands. It is based begun a group of “field” paintings in 1984, she was continuing on a drawing that Molly made in the sand at a Cape Cod beach to develop an iconography of meadows strewn with flowers or during a 1983 vacation. There is a related painting, Mourning/ moons or bearing at their center furrowed, rectangular plots or On Morning (1983; fig. 00), whose very title conveys the internal oval pools. Monotypes such as Yellow Ochre Field (1988; fig. conflict that arises when the milestones of life are at once of loss 00; cat. 28) and Green Brown Field (1989; fig. 00; cat. 30) can and gain. In the print, the two figures are submerged to their be compared with the painting Cantata in the Weed Field (1988; necks, and they are surrounded by a wide border filled with more fig. 00), with its golden hues and lightly raked patch; they share Fig. 44 Dancing in the Dark, 1984. Woodcut printed in two black inks;

7 1 totems, which resemble graves. Yet they are dancing, a celebra- an elegiac, lyrical attitude toward nature and the feeling that, [image] 58.4 x 50.8 cm (23 x 20 in.); [sheet] 73.3 x 63.8 cm (28 ⁄8 x 25 ⁄8 in.). Lent by Derrière L’Étoile Studio (cat. 22) tion of sorts within the dramatic lights and darks of the woodcut. after all the sturm und drang of the mid-eighties, a more serene As Field wrote, “The woodcut is . . . a medium of the night world in time was at hand (if the patch in the painting looks a little like a which [artists] can bare their souls, their unconsciouses.”26 gravesite, it’s not so fresh: there is new growth in the furrows). In

44 “See What a life”: The prints of joan snyder Dancing with the Dark 45 Fig. 46 Yellow Ochre Field, July 5, 1988. Color monotype; [image] 47 x 58.4 cm

1 (18 ⁄2 x 23 in.); sheet: 50.8 x 67 cm (20 x

3 26 ⁄8 in.). Collection of the artist (cat. 28)

Fig. 48 Cantata in the Weed Field, 1988. Oil and acrylic on linen; 152.4 x 213.3 cm (60 x 84 in.) Collection of Patricia Papper – confirm credit line

Fig. 47 Green Brown Field, 1989. Color monotype; [image] 48.2 x 58.4 cm (19 x 23 in.); [sheet] 53.3 x 79 cm

1 (21 x 31 ⁄8 in.). Collection of the artist (cat. 30)

46 “See What a life”: The prints of joan snyder Dancing with the Dark 47 Fig. 49 Large Moonfield #2, August 1989. Monotype with oil paint; [image] Fig. 50 The Swimmer, August 1989. Color monotype; [image] 30.5 x 45.7 cm

3 48.3 x 58.4 cm (19 x 23 in.); [sheet] 50.8 x 78.7 cm (20 x 31 in.). Lent by (12 x 18 in.); [sheet] 51.8 x 66 cm (20 ⁄8 x 26 in.). Museum of Fine Arts, Derrière L’Étoile Studio (cat. 33) Boston, Ernest W. Longfellow Fund, 1990.329 (cat. 32). Photograph © 2011 Museum of Fine Arts, Boston

Large Moonfield (1989; fig. 00; cat. 33), silvery orbs illuminate a might guess that the relative tranquility of Snyder’s prints in the subsequent prints. Having made Field of Flowers and Field of something to work with. There is a photogravure-etched night landscape. Increasingly, Snyder abandons the human figure, late 1980s is owed to the formation of the relationship, which has Moons in Provincetown, Snyder returned to work with Townsend plate made from a drawing on Mylar; that was the starting though Large Yellow Nude and Swimmer, two monotypes of 1989, persisted to this day. at R. E. Townsend Studio in Georgetown, Massachusetts, in 1996 block. It’s a gelatin process—really beautiful—it gives are luxuriously sensual exceptions (see fig. 00; cat. 31; fig. 00; For Snyder, an invitation to make prints at the Fine Arts Work and 1998. Given the way she paints, one can see the appeal of you continuous tone. Each time Joan has come to work cat. 32). Snyder was printing these works herself, occasionally Center in Provincetown, headed by the artist Michael Mazur, was Townsend’s process, as he describes it: here, we’ve worked off of Mylar drawings to get the major with the help of an assistant, in East Haven, Long Island, where significant. There she collaborated with Bob Townsend, who, images, then worked from there. Each artist who would she was living with her daughter. In 1989, they moved to Brooklyn she says, “constantly pushed me. He was very innovative. My Part of what I tried to do was to get some work on plates come in—the first two or three days were an incredible to live with Maggie Cammer, whom Snyder had met in 1987; one work there informed my painting”—and, as we have seen, her or in process before the artist got there so we would have struggle. No print is really finished the first week. It’s a lot

48 “See What a life”: The prints of joan snyder Dancing with the Dark 49 Fig. 51 Field of Moons from The New Provincetown Print Project Portfolio, Fig. 52 Field of Flowers from The New Provincetown Print Project Portfolio, 1993. Monoprint (color etching, aquatint, and woodcut, hand-inked by the 1993. Monoprint (color etching, aquatint, and woodcut, hand-inked by the artist and selectively printed in various colors, including oil paint; multiple artist and selectively printed in various colors; multiple printings; hand-

1 printings; hand coloring, pastel), variant impression in a series of eight; coloring, pastel), variant impression in series of four; 57.1 x 74.9 cm (22 ⁄2 x

1 1 56.5 x 71.1 cm (22 ⁄4 x 28 in.). Allentown Art Museum, Pennsylvania, Gift of 29 ⁄2 in.). Collection of the artist (cat. 43) Joan Snyder (cat. 44)

50 “See What a life”: The prints of joan snyder Dancing with the Dark 51 of fun to have all of these prints up and not necessarily trees and branches, etc., gorgeous . . . in bloom and with fruit. How think of them as finished. Sometimes there are up to ten could they not be a metaphor for life and death?” And there are press runs per print, using the same plates, or parts of the the words that appear so frequently in the later prints, in which plates—it’s just continually looking, to be aware of what Snyder seems bent on recording her life and work for posterity: areas can be useful. You never want to stop until the paper words in inscriptions carved and etched into wood and wax. becomes so saturated it’s screaming for you to stop.27

As Snyder relates, just as she arrived in Provincetown in 1993, As time passes, words seem to grow ever more important to the she received word that her father had died. “I had to fly home, artist, indeed entirely constituting See what a life . . . (2010; fig. bury him and come back and continue the project. The interesting 00; cat. 70), her most recent Jungle Press edition. As Snyder thing was that the portfolio we were working on, me and several has said: “I never write on a print or painting unless there is an other artists, was to be concerning AIDS.” Somber indeed is Field urgency. I feel self-conscious doing it, but sometimes I have to. I of Moons (fig. 00; cat. 44), Snyder’s contribution to the portfolio, don’t usually get praised for writing on work like, say, Twombly or a nocturne with a pool at the center, glimmering with the reflected Schnabel or Rauschenberg. I get nailed, usually by being called light from white moons floating across the picture plane. A pair a ‘feminist’ who ‘wears her heart on her sleeve,’ etc. etc. When of orange crosses seems to be planted on the banks of the pool. the boys do it they are considered very sensitive. Not me.” From In Field of Flowers (fig. 00; cat. 43), a great circle of multihued Report Card to See what a life . . . , words are a constant in the flowers rises from an turquoise-hued oval ring; written above is prints, as they have been in the paintings. Cy Twombly’s paeans the phrase, “Not to make us grieve,” and below, “but display the to the classical world are seen as integral to the expressive power changing nature of grief/not to make us cry.” (The lines are taken of his works, and a sign of his erudition as well—but Snyder’s from a 1990 essay by the writer and critic Michael Feingold in words are mostly seen in a literal relation to her content. Perhaps which he examines the power of art “to teach us the processes she is right—one reason for a lack of critical parsing may well be we are likely to endure” in facing the losses from AIDS.)28 that, in their unabashed emotional resonance, her words are a Strangely, when Snyder returned to work with Townsend in most emphatic sign of her feminism. Yet their function is as much Georgetown in 1996, Cammer’s mother had just passed away, and related to form as to content. Their presence endows the mute Snyder knew that the husband of Eileen M. Foti, with whom she gestures that surround them with speech, and, in turn, those mute was printing Another Version of Cherry Fall at the Rutgers Center gestures lend the texts emotional ballast. As in so many aspects for Innovative Print and Paper, was dying. The results were the of Snyder’s expressionism, her words can easily go unexamined; monoprints For F (see fig. 00; cat. 53) and Candles for Clem (see in fact, she wields them in many different ways. fig. 00; cat. 55), drifting with melancholy washes and blossoms In 1995, in preparation for making a benefit print for the friable as ash. Jewish Museum, Snyder asked her friend the artist Ardele Lister As she gets older, much of Snyder’s imagery has to do with and Ardele’s daughter Zoe Lister-Jones to help her compile a list mortality, in both her paintings and her prints. Yet rarely does of female characters from the Old Testament. In Our Foremothers one feel deep gloom in the works; more often the message is (fig. 00; cat. 49), those names are printed in all different colors one of transformation, or of nature held in fragile suspension. from top to bottom, side to side, in a random, nonhierarchical There are the overripe blossoms of Wild Roses, which as we composition that resembles graffiti on a wall. “Words are marks now see is just the most recent in a series of memorials. There and marks are words,” wrote the artist Harmony Hammond in the are the many cherry trees (such as fig. 00; cat. 45) and cherry blossoms, represented in abstract colored circles and squares in Another Version of Cherry Fall (1996; see fig. 00; cat. 52), the Fig. 53 Cherry Tree Series I, 1994. Monoprint (woodcut hand-inked by Rutgers collaboration. “Cherry trees,” she says, “the pinks, deep the artist and monotype), variant impression in a series of six; [image]

7 3 1 3 reds, the blurs, the smears, the little leaves, green or brown, the 86 x 60.3 cm (33 ⁄8 x 23 ⁄4 in.); [sheet] 90.2 x 60.3 cm (35 ⁄2 x 23 ⁄4 in.). falling cherries, the ones rotting on the ground, how graceful the Collection of Happy and Jane Traum (cat. 45)

52 “See What a life”: The prints of joan snyder jpeg from pdf In 1976, responding to the question “What is feminist art?” posed by Lucy Lippard, Ruth Iskin, and Arlene Raven to a number of artists, Snyder famously responded with a list: “Female sensibility is layers, words, membranes, cotton, cloth, rope, repetition, bodies, wet, opening, closing, repetition, lists, lifestories, grids, destroying t h e m . . .” 30 (see fig. 00). It is a long list that includes many of the motifs and materials found in her work—grids, seeds, flowers, etc.31 The prints themselves (Our Foremothers being a notable example) compile lists—beginning with Report Card, which is after all a list of her students. An especially poignant list is found in My Maggie (fig. 00; cat. 60), which was created at Jungle Press as a benefit for the Astraea Lesbian Foundation for Justice in 2000. It is an homage to Cammer; in it, various terms are written then crossed out, demon- strating the challenges lesbian couples face positioning themselves socially and legally. Nearly all crossed out—and sad, funny, and angry all at once—are “my Mrs.,” “my spouse,” “my companion,” “my judge” (a pun, since Cammer is a judge), “my love,” and others. Fig. 54 Anselm Kiefer (German, born 1945). Wege der Weltweisheit: At the bottom, in the largest letters and not crossed out, is the Die Hermannschlacht (Ways of Worldly Wisdom: Arminius’s Battle), 1978. Woodcut with oil on paper mounted on canvas; 196.2 x 239.4 cm phrase, “My Maggie.” Snyder rarely refers to lesbianism directly

1 1 (6 ft. 5 ⁄4 in. x 7 ft.10 ⁄4 in. The Museum of Modern Art, New York, partial and in her work, where it is nonetheless everywhere—specifically, in promised gift of UBS- confirm © Anselm Kiefer the work’s eroticism, so fundamental to its aesthetic. Arguably a lesbian list, this one culminates in a name that simultaneously resists classification and triumphs over erasure. first issue of Heresies (the publication of the feminist collective of In 1992, Snyder had returned to work with Maurice Sánchez that name) in 1977; “their repetition becomes not only an interior at Derrière L’Étoile Studio in New York, drawn to his technique monologue but also a dialogue with other women.”29 Produced of getting multiple impressions from a monotype through the literally in dialogue with women, and avowing a matriarchal—and use of offset printing. “Artists can draw on metal, Mylar, wood, Jewish—lineage, Our Foremothers seems a good illustration of whatever—it doesn’t matter,” says Sánchez. “Then we put that on Hammond’s point, some twenty years later. A registry that places the press, and the blanket picks up the image like an onion skin. her own friends and family amid the Old Testament matriarchs, So you can do it again and again.”32 This explains the fact that a it fashions a quasi-utopian realm in which identity trumps the monotype like Freshly Plowed Field (1995; fig. 00; cat. 47), from master narrative of history. Anselm Kiefer offered a critique of that Snyder’s last collaborations with Sánchez, at Smith College, exists Fig. 55 Our Foremothers, 1995. Color lithograph, etching, and woodcut; narrative earlier, in his 1978 woodcut Wege der Weltweisheit: Die in a series of five. In addition, an offset image does not reverse, 60.9 x 86.3 cm (24 x 34 in.). The Museum of Modern Art, New York, Hermannschlacht (Ways of Worldly Wisdom: Arminius’s Battle; fig. because it is printed first onto the blanket and drum, and then The Ralph E. Shikes Fund, 1996 (cat. 49) 00), which uses expressionism to more ironic effect. Beneath the onto a sheet of paper. In Even Art (1992; fig. 00; cat. 39), the scrawled title, within a roughly drawn bull’s eye, a dozen unidenti- uncharacteristic cursive writing (from printed graphite with a few fied Enlightenment-style busts—all but one of them men—are words highlighted in red) of the line “sometimes even art can’t arranged around a conflagration. However oblique, the message substitute for tears”—which paraphrases the lyrics of Paul Simon’s concerns the failure of reason, with the artist imagining history 1990 song “The Cool, Cool River” (“sometimes even music as a force of destruction. Snyder, by contrast, turns to feminism cannot substitute for tears”)—is surely attributable to this fact, to establish trans-temporal bonds—a reading of the past that since normally Snyder carefully prints her letters on her plates is positive, if fictional. In leapfrogging over its many omissions, in reverse, giving them a deliberately awkward look, somewhat Snyder presents her own sly critique of history. childlike, at times backwards.

54 “See What a life”: The prints of joan snyder Dancing with the Dark 55 Fig. 56 My Maggie, 2000. Color lithograph (from three lithographic plates)

1 1 and etching; 52 x 59.7 cm (20 ⁄2 x 23 ⁄2 in.). Collection of the artist (cat. 60)

opposite: Fig. 57 joan Snyder’s response to “What is Feminist Art?” December 27, 1976. Collection of the artist

56 “See What a life”: The prints of joan snyder Dancing with the Dark 57 Fig. 59 Even Art VI, 1992. Monotype with pochoir, using oil paint and monotype-printed graphite (pencil); [image] 60.9 x 86.4 cm (24 x 34 in.);

1 [sheet] 66 x 97.8 cm (26 x 38 ⁄2 in.). Collection of the artist (cat. 39)

Snyder asserts that she resorts to words out of a sense of and my mental state at the time I made it,” says Snyder, “so in Fig. 58 Freshly Plowed Field, 1995. Monotype; [image] 55.9 x 75.6 cm

3 5 1 urgency, and this is no doubt true. We see her using them to it I mention many different states of the mind and body . . . like (22 x 29 ⁄4 in.); [sheet] 65.1 x 85.1 cm (25 ⁄8 x 33 ⁄2 in.). Collection of the artist (cat. 47) express excitement (Imagine), or in protest (For the Children) sex, love, fear, anxiety, death.” Sometimes she makes literary and mourning (Wild Roses, Kaddish). They can be meditative. references, like “sunt lacrimae rerum,” the quote from The Aeneid In Altar (fig. 00; cat. 68), a large, complicated, combined-media in Things Have Tears. Breaking Ground (2008; fig. 00; cat. 66), a print created at Tandem Press in Madison, Wisconsin, words collaboration with the writer Eliza Griswold, is entirely a poem— appear amid falling blossoms, pods, and boats, in large, dissolving through scrambled with imagery. In Serene/Cries (2005; fig. 00; letters not very unlike Twombly’s. Among the words in Altar are cat. 63), the words are huge and appropriately liquid as they melt “ancient,” “aging,” “love,” “sex”: “It’s all about the idea of aging away before our eyes: “mamilla immortalis,” they read, referring

58 “See What a life”: The prints of joan snyder Dancing with the Dark 59 to breasts eternally flowing with milk. It is an image that bears comparison with works by Twombly naming gods or classical authors—such as his series of eight drawings from 1973 consisting entirely of the scrawled word “Virgil” or his 1976 lithographic portfolio Six Latin Writers and Poets (fig. 00). Indeed, there is probably no other artist whose work, particularly in its use of language, bears so clear an affinity to Snyder’s; though Snyder’s words, so closely linked to feminine subjects and subjectivity, have a kind of rawness that can mask their formal strategies. Wild Roses was a labor-intensive project, consuming some three months altogether. Mockler says that it was while they were going through the lengthy proofing process that Snyder began her next project, See what a life . . . (fig. 00; cat. 70). In contrast to Wild Roses, it is entirely a text—a passage from Henry David Thoreau’s journal entry of March 27, 1842: “See what a life the gods have given us, set round with pain and pleasure.” As if to register the impact of Thoreau’s words, Snyder repeats them, so that the phrase appears twice in succession, in large, emphatic

Fig. 61 Serene/Cries, 2005. Color digital print, lithograph in green, and carborundum plate in red and light green with chine collé; [image] 86.3 x

1 96.5 cm (34 x 38 in.); [sheet] 91.4 x 100.3 cm (36 x 39 ⁄2 in.). Zimmerli Art Museum at Rutgers University, Gift of the Brodsky Center for Innovative Editions (cat. 63)

block letters of various densities and colors, against patches of red, yellow, and blue. In Wild Roses words are frail, a faltering voice overwhelmed by the momentous blooms, but in See what a life . . . they are a bold image in their own right. In his journal entry, Thoreau is meditating on death; heartbreakingly for a man just in his mid-twenties, he writes: “No man knoweth in what hour his life may come. Say not that Nature is trivial, for to-morrow she will be radiant with beauty.”33 A similar mixture of ecstasy and imperma- nence is embodied in Wild Roses and See what a life . . . —like so many of Snyder’s prints, deeply emotional, steeped in mortality Fig. 60 Breaking Ground, 2008. Etching with pigmented inkjet (incorporating and a passion for life. the poem “Breaking Ground” by Eliza Griswold); [image] 40 x 50.2 cm

3 3 1 1 (15 ⁄4 x 19 ⁄4 in.); [sheet] 47 x 57.1 cm (18 ⁄2 x 22 ⁄2 in.). Collection of the artist (cat. 66) opposite: Fig. 62 Cy Twombly (American, born 1928). VIRGILIUS from the portfolio Six Latin Writers and Poets, 1975–76. Embossed color lithograph; overleaf: Fig. 63 See what a life . . . , 2010. Color etching and woodcut; 1 [image] 33 x 25.4 cm (13 x 10 in.); sheet xxxx. The Museum of Modern Art, [image] 45.7 x 91.4 cm (18 x 36 in.); [sheet] 62.2 x 106.7 cm (24 ⁄2 x 42 in.). New York – confirm credit line. © Cy Twombly. Collection of the artist (cat. 70)

60 “See What a life”: The prints of joan snyder Dancing with the Dark 61 Note – print not yet finished, so photo to come -- what appears here is proof image to be replaced

62 “See What a life”: The prints of joan snyder Dancing with the Dark 63 private/not private an illuminated chronology of joan snyder Marilyn Symmes

To be private Not to be private To run Not to run My soul How do you paint a soul Joan Snyder, 1970

Sometimes I am sure I know what my work is about—at other times it is a mystery to me. I am happy when I am working and understanding. My work is a language I create—coming from somewhere in my guts, brains, eyes. It is about different things—each painting is different and the same. It’s about life and art—my life, my art, other lives, other art. What else can I say? Joan Snyder, 1974

Joan Snyder’s art is not quiet or secret. Like a visual diary, her paintings and prints expose her anxiety, joy, passion, pain, rage, sexuality, or sorrow. As the artist herself said early in her career, her art is “private/not to be private.”1 She interweaves her most personal feelings, thoughts, and life experiences to create profoundly affecting pictures that explore humanity and nature with bold choices of colors, forms, and textured surfaces. Much has been written about Snyder’s paintings and how they relate to her life, but her prints have not been considered in the same way. This is curious since Snyder started Fig. 64 Woodcut for Love’s Deep Grapes, making prints at the very beginning of her career—during her first year as a fledgling artist, 1983. Color woodcut; [image] 50.8 x 38.1 cm (20 x 15 in.); [sheet] 66 x 50.8 cm (26 x 20 in.). in fact—and she has continued to make them, and vigorously so, throughout the decades Collection of the artist (cat. 20) since. This chronology, illuminated by the artist’s own words from published interviews,

Dancing with the Dark 65 Fig. 65 The Snyder Family, circa 1947 (from left to right: Joan, her mother, Fig. 66 Snyder’s student identification cards, Douglass College, New Edythe, Stephen, Suellen, her father, Leon). Photograph by unknown New Brunswick, New Jersey, 1958–59 and 1960–61. Collection of the artist Jersey studio. Collection of the artist

artist’s statements, unpublished writings, and personal diaries, as did household chores at the Snyders’ home at 512 South Second well as from conversations and correspondence with the author, Avenue, recalling that she “raised herself.” In her diaries, Snyder attempts for the first time to elucidate the artist’s extensive body acknowledged that she often suffered terrible anxiety during her Fig. 68 Portrait of Jona Mach, November 1963. Woodcut; [image] 29.5 x 25.1 of prints within the context of her biography. As a young artist, youth; her maternal grandmother, Dora Cohen (1878–1964), was 5 7 5 1 cm (11 ⁄8 x 9 ⁄8 in.); [sheet] 44.8 x 38.4 cm (17 ⁄8 x 15 ⁄8 in.). Collection of the 2 Snyder sought to increase opportunities for women artists and to the person who best fulfilled her emotional needs. artist (cat. 2) raise awareness about feminist causes. This aspect of her career had a significant impact on the content of her paintings and her Snyder attended Highland Park’s public schools—Lafayette School prints. In addition to closely looking at the prints themselves, (an elementary school that no longer exists), then Hamilton a senior in college, I took a beginning painting course and I did Fig. 67 Snyder’s Douglass College graduation, New Brunswick, knowing more about Snyder’s life and her paintings—guided by School. As a young girl and teenager, she painted as a hobby: “I a portrait of my brother and my sister-in-law. The teacher [Prit- New Jersey, June 1962. Left to right, front row: Dora Cohen (Snyder’s her own words and insights—contributes to a fuller understanding used to copy things from magazines. I copied a snow scene from grandmother), Joan Snyder, Harriet A. Snyder (Snyder’s sister-in-law); back chard] said to me, ‘What do you think of [Alexei von] Jawlensky?’ of this remarkable oeuvre. a magazine cover. I copied [paintings by Maurice] Utrillo. Plus I row: Edythe and Leon Snyder, Lou Lehrer (Harriet’s father), Suellen, and I said, ‘Who’s Jawlensky?’ I had never been to a museum in my used to make portraits of people. I was pretty good at making Sophie Lehrer (Harriet’s mother). Collection of the artist life. I’d never looked at a painting. I was really naïve. My teacher people look like themselves.”3 It would still be years before she showed me [slides of] Jawlensky’s paintings . . . and of course Chronology would take an art class, look at art books, or visit museums. At there was an incredible connection between what I was doing and Born on April 16, 1940, in Highland Park, New Jersey, to Edythe Highland Park High School, she first played the drums in the high who was on the faculty of Douglass from 1960 to 1986; Alman German Expressionism. It meant a lot to me that what I was doing Adelaide Snyder (1906–1992) and Leon David Snyder (1901–1993), school band, then switched to the clarinet. would increasingly play a very influential role in Snyder’s life. was something that someone else in art history had been involved Joan Marie Snyder grew up in a working-class family of with too.”4 In another interview ten years later, Snyder stated, Russian-German Jewish descent with her older brother, Stephen, Starting in fall 1958, Snyder attended Douglass College, the During her senior year, Snyder took her first class in painting—an “four months into the course I realized that I had found something and younger sister, Suellen (fig. 00). Her mother worked as a women’s division of Rutgers University, in New Brunswick (fig. elective art course taught by Billie Pritchard, an African-American that I had never found before in my life—a way to talk about my department store clerk and bookkeeper; her father was a toy and 00). During her undergraduate years, she lived across the Raritan artist who saw promise in Snyder’s early work and encouraged feelings . . . and that was the beginning.”5 novelties salesman. As a young girl, Snyder took much interest River at her home in Highland Park. By 1962, she was a sociol- her budding talents. As Snyder recalled in a 1982 interview: “What in the toys her father sold; she often accompanied him to flea ogy major intending to pursue social work as a career. She was does it mean to be an Expressionist? What does it mean to be Snyder graduated with an A.B. in sociology in June 1962 (fig. markets and on his route. Later, she helped care for her sister and inspired by sociology courses taught by Professor Emily Alman, Joan Snyder? The same thing. It’s the way I work. When I was 00). While working as a summer camp counselor in Port Jervis,

66 private/not private: an illuminated chronology Dancing with the Dark 67 and Newark so that she could cover the cost of studio rent and art bond that would last for years. As her later diary entries and supplies, also indicated she was actively exhibiting her paintings reminiscences reveal, Snyder’s relationship with Emily as a locally (figs. 00–00).8 mother figure, confidante, advisor, and muse ranged from elation to a tormented confusion. “Emily saw and loved my paint- By late spring 1963, Snyder had arranged to live with her ings . . . .She was a complicated crazy woman who fell in love with former professor Emily Alman, Alman’s husband, David, and me (and in my way, I her) and basically tortured me emotionally their daughter Jenny on a farm in Englishtown, New Jersey. The for years.”10 family’s rich intellectual life and intense engagement in politics provided a stimulating environment that Snyder found liberating In fall 1963, Snyder was accepted by the Master of Fine Arts after her conventional Highland Park upbringing.9 She became program at Rutgers University as a nonmatriculated graduate very close to the Almans, who were her mentors and surrogate student. She declared, “I walked into the office of the chairman parents; she made her first expressionist landscape paintings of the art department with seven paintings, and he decided to let and later a woodcut inspired by their farm (see figs. 00 and 00; me enter Rutgers and test me out.”11 She took her first art history cat. 1). Eventually, Snyder and Emily formed a deep emotional course with Mark Berger, whose dynamic way of intellectually

Fig. 69 Snyder painting Portrait of Earl in her riverside studio, New Fig. 70 In her studio along the Raritan River, New Brunswick, New Jersey, Brunswick, New Jersey, 1963. Photograph by Will Gainfort. Collection of the 1963. Photographs by Will Gainfort. Collection of the artist artist

New York, she met Jona Mach, an Israeli painter, who generously newspaper featured an illustrated article about the beginning of shared his expertise and urged her to pursue painting seriously; her art career. Snyder was described as “a serious young artist in 1963, she made a woodcut portrait of him (fig. 00; cat. 2).6 She who resembles the former movie favorite, Greta Garbo.” The later declared, “I painted for a whole year on my own, and really news coverage, besides mentioning that Snyder was working with fell in love with it, knew I wanted to be an artist.”7 teenagers at Jewish community centers in Metuchen, South River,

After graduation, Snyder continued painting in the basement of her family’s Highland Park home. Then in early 1963, she opposite: Fig. 71 Sketching in a boatyard along the Raritan River, New rented her first studio space, at the Middlesex Marina along the Brunswick, New Jersey, 1963. Photograph by Will Gainfort. Collection of Raritan River in New Brunswick. On March 31, 1963, the local the artist

68 private/not private: an illuminated chronology Dancing with the Dark 69 Emily Alman (see fig. 00; cat. 5).13 Around this time, Snyder also made a painting and a woodcut of Alman’s youngest daughter, Jenny, who was then a teenager (fig. 00; cat. 4). Several years later, Snyder wrote about Emily, “You have somehow gotten into my paintings, you, the farm, David, Jenny, woodcuts, landscapes, barns, portraits, feeling, texture, soft, pink, and spotted gold and you have not left them—the essence always remains—it never leaves—it is always there—in real life you sometimes annoy me but in my paintings the essence is always somehow comforting as it remains thru [sic] all the objectivity, hard work, intell[ect]uality of the painting.”14

3 1 Fig. 72 Moe, 1963. Woodcut; [image] 29.9 x 29.2 cm (11 ⁄4 x 11 ⁄2 in.); [sheet]

1 1 47 x 43.5 cm (18 ⁄2 x 17 ⁄8 in.). Collection of the artist (cat. 3)

1 1 Fig. 73 Jenny, 1963. Woodcut; [image] 28.6 x 21 cm (11 ⁄4 x 8 ⁄4 in.); [sheet]

1 61 x 38.7 (24 x 15 ⁄4 in.). Collection of the artist (cat. 4)

engaging students was significant in broadening her art-world 1 Fig. 74 Mountain Scene, 1964. Lithograph; [image] 31.1 x 41.9 cm (12 ⁄4 x horizons. Throughout Snyder’s graduate school years, Berger’s 1 1 16 ⁄2 in.); [sheet] 56.5 x 76.2 cm (22 ⁄4 x 30 in.). Collection of the artist interest and understanding of her work encouraged her early (cat. 7) creative development. During this period, she discovered the art of Wassily Kandinsky, Paul Klee, Amedeo Modigliani, Emil Nolde, and Maurice de Vlaminck, as well as the paintings of In fall 1964, Snyder formally entered the Rutgers MFA program. terrific. It was nurturing because we had each other, and it was Hans Hofmann.12 In a 2004 interview, she recalled: “I had spent eighteen years of an amazing group of people. And we all worked really hard . . . .We my life not knowing what I wanted to do. All I knew was [that] I were all supportive of each other. For some reason, there were In October and November 1963, on her own, but working in the was very sensitive . . . very anxious. There was nothing that was no drugs around, nobody was drinking. Seriously! It was really university’s print department so she could use its tools, Snyder making me happy. So when I found painting, it really was literally an amazing atmosphere. For me, it wasn’t because of any faculty made her first prints—woodcuts that she vigorously carved with a like speaking for the first time . . . .I set my own assignments, I members. It was a very sexist place. It was all male, and some competence that belied her relative inexperience as an artist (see would make a painting with one figure, and then I would set an of the older men were pretty awful. Those were the guys who figs. 00 and 00; cats. 1 and 2; fig. 00; cat. 3). Snyder remembers assignment to make a painting with two figures.”15 She elaborated were still pinching women’s behinds . . . .They were who they were listening to the evening news on November 22, 1963, the day John further about her MFA experience with her fellow students: “It was because of the generation they were born into.”16 F. Kennedy was assassinated, and carving a wood block portrait of nurturing not because of the faculty, although Mark [Berger] was

70 private/not private: an illuminated chronology Dancing with the Dark 71 Snyder’s memories of her printmaking class with Reginald Neal, who was especially skilled in various lithography techniques, are scant, although the class resulted in her making her first lithographs. She made eight in 1964, which she printed herself in an edition of ten as part of the course assignment: Mountain Scene (fig. 00; cat. 7); Woman Undressing (see fig. 00; cat. 8), which she also printed as a color lithograph (although no impression survives); House; Highway Bridge; Children on Merry-Go-Round; Vase; Girl Seated; and Death Scene. Independently, she also made several two-color woodcuts, such as Red Horse (fig. 00; cat. 6).

Snyder’s beloved grandmother Dora Cohen died in 1964. Shortly afterwards, Snyder visited the Max Beckmann retrospective exhibition at the Museum of Modern Art (shown December 16, 1964–January 31, 1965) and was tremendously moved by his early painting The Large Death Scene (fig. 00). Inspired by the painting’s splayed, crouching, female nude mourner who exemplifies primal grief and agony, Snyder began painting large, simplified, pink, crouching, splayed nudes. Yet to these flat, silhouetted figures she also collaged such nontraditional materials as fringe, kitschy floral wallpaper fragments, and patterned Fig. 76 Max Beckmann (German, 1884-1950). German title (The Large Death 17 fabric (fig. 00). 3 3 Scene), 1906. Oil on canvas; 128.9 x 139 cm (50 ⁄4 x 54 ⁄4 in.). Collection Staatsgalerie Moderner Kunst, Munich/Pinakothek der Moderne, Munich – During this period, she took a sculpture class taught by Robert confirm name of museum and photo credit Morris. His purist, Minimalist aesthetic was completely at odds with the “more is more” approach that was evolving in Snyder’s work; still she regarded him as a “nice guy” who tolerated what ideas, she makes no mention of Lithograph of Angel (fig. 00; she was doing. “I took Morris’s silly minimal boxes and made them cat. 9) that she made in 1966, even though this image of the as crazy and decorative as I could. I put a breast in them, [had] lower half of a female nude is clearly related. In her thesis, she things hanging off them, boxes in landscapes, trees and grass in also defined what she meant by “altar”: “one brings to an altar boxes, pieces of bodies in a box under the ground.”18 Two decades those things in which one believes. The altar can also be a place Fig. 75 Red Horse, 1964. Two-color woodcut; [image] 29.2 x 45.1 cm

1 3 1 later, she reflected on this work of her graduate years, “I felt very where one prays or performs certain private magic rites . . . .On (11 ⁄2 x 17 ⁄4 in.); [sheet] 40.6 x 57.2 cm (16 x 22 ⁄2 in.). Collection of the artist (cat. 6) strongly that my work was the first important thing I had ever a very individual level, there is within each person an altar upon done. I wasn’t making a statement against Minimalism. I was just which rests a hierarchy of values, powers, loves, needs. A sort of making art I had to make.”19 inner temple to which we are constantly adding and subtracting parts of the landscape from around and outside . . . .That which In her MFA thesis exhibition of paintings and sculpture (April we see and feel we bring into our temple. Each day a new rite 13–25, 1966, at the Art Gallery of Douglass College), she is performed, values change, the altar shifts, colors modulate, included a nearly lifesize sculpture titled Angel (fig. 00; this work forms move, structures are re-arranged. The altar . . . is beyond no longer exists).20 Snyder’s written MFA thesis stated that her any religious rite and is nearer to an inner rite.”21 By age twenty- recent paintings addressed ideas of “altar,” “angel,” “crouching six, then, Snyder had already charted the essential themes—altar nude forms,” “magic,” and “inner landscapes.” While her essay and sexuality (via the crouching nude)—of her emerging visual cites the paintings and sculpture she made related to these language; her work was already displaying her intrepid approach

72 private/not private: an illuminated chronology Dancing with the Dark 73 to combining nontraditional materials. Periodically throughout “Among Joan Snyder’s earlier paintings, done in 1967, are her life and career up to this day, she has continued to use the dissections of human anatomy; not in the traditional sense, but in altar theme in her paintings.22 their expression of flesh, membranes, musculature and cells as pigment, color and surface, rather than as symbolic images. Over In May 1966, Snyder received her MFA degree from Rutgers the years, she has continued to examine the already dissected University. Afterwards, she remained in New Brunswick in the parts to analyze the strokes, gestures, drips and markings of the same apartment, in an old Victorian house on George Street, painting itself.”27 where she had lived all through graduate school. She continued painting and worked for a regional Upward Bound program, In fall 1968, Snyder met the photographer Larry Fink (born March helping motivate students from disadvantaged backgrounds to 11, 1941), when he came to photograph a friend’s paintings stored pursue higher education.23 in her loft; a few days later they were dating. Snyder credits Fink with introducing her to classical music and jazz. As she declared Snyder moved to New York City in 1967. With Mark Berger, her in 2004: “I think I first started learning about music through Larry. former art history teacher, and fellow Rutgers MFA graduates I can safely say that music has been much more important to my Keith Sonnier and Jackie Winsor, she rented a building at work than any other art that I’ve looked at. . . . I like the complexi- 105 Mulberry Street, a former lampshade factory, which they Fig. 78 Lithograph of Angel, 1966. Lithograph; [image] 35.6 x 40.6 cm ties of music. I like the structure, I like the emotion, I like [the idea converted to loft studios. According to Snyder: “When we moved (14 x 16 in.); [sheet] 55.8 x 76.2 cm (22 x 30 in.). Collection of the artist of] the beginning, the middle, the end. . . .I play the recorder . . . and (cat. 9) love playing with groups. . . .I play a lot of vocal music when I work. . . .It completely inspires me.”28 Indeed, Snyder often titles her paintings and prints with allusions to music. in there was no plumbing. We used the bathroom in the Chinese park across the street. We scrubbed floors until our knees ached. In August 1969, while Fink went to photograph at the Woodstock We worked [on] the space for years.”24 Snyder had the entire fifth Music Festival in Bethel, New York, Snyder remained in her studio floor, which she kept as her home and studio until the 1980s (fig. creating what she later called her “big breakthrough painting,” 00). Snyder always painted in the mornings. To support herself, Lines and Strokes (1969, collection of the artist), since it was the she worked part-time in the afternoons and evenings for an first of the stroke paintings that would bring her art-world recogni- antipoverty program sponsored by Yeshiva University and, as part tion and acclaim after 1970.29 As she recalled in 1982: Fig. 79 Altar III, 1965–66. Acrylic on canvas with fringe; 121.8 x 91.5 cm of that program, taught art to children in the Bedford-Stuyvesant (48 x 36 in.). Collection of the artist section of Brooklyn.25 When I started doing the stroke paintings in 1969 I suddenly discovered that paint and marks could be subject matter. I During this period, Snyder began creating her “flock/membrane” was on a very sophisticated journey into abstract art. . . .I felt Snyder continued working on her stroke paintings until 1973; paintings. These explorations of women’s bodies and sexual- I was saying what I had to say with just a red line—the way aspects of this style would also carry over to her 1970s intaglio ity evoke inner landscapes in abstract, biomorphic imagery. it would drip, the way it would be layered. Different colors prints. By means of her fleshy, textural brushwork, and combining had different meanings to me; also different lines, the size flocking, fabric, seeds, and threads on canvas, she evolved her and thickness of the stroke, the way I made the gesture, On October 12, 1969, Snyder and Fink were married. “We got a own feminist art vocabulary, although she was still a few years whether I was doing it very coolly or in a wild way. license, grabbed our friend Jackie Driscoll to be a witness, and away from being actively involved in promoting feminism and What I wanted to do in the stroke paintings was to drove upstate to find a pretty town that had a justice of the peace. the women’s art movement.26 As Marcia Tucker wrote in 1971, have a painting that was not only multilayered, but that In Amenia we found a wonderful James Stewart–type J.P. We also had a beginning, middle and end. A lament, a resolu- drove back the same day” (fig. 00).31 tion. . . . Some have very sensuous feelings, also longing, grief, joy. Even though I was going deep into myself about In January 1971, Linda Nochlin’s article “Why Have There Been Fig. 77 Angel, 1965–66, created for the artist’s Rutgers MFA thesis exhibition. Mixed media sculpture (enamel, wood, plaster, fringe, plastic things that were painful for me, there was a lot of optimism No Great Women Artists?” appeared in ArtNews, thereby launch- flowers, wheels); life-size. Destroyed in those works.30 ing a new field of study in art history.32 Coincidentally, Snyder’s

74 private/not private: an illuminated chronology Dancing with the Dark 75 who bought a painting. As the artist later recalled: “She was Snyder, its founder, was contracted to act as the series curator—a the first person to buy one of my paintings. . . .That painting had position she held for two years. By the first week of October 1971, writing in it and was considered far out at the time. It was called the series was launched; the first exhibition featured the work of We Really Didn’t Cuddle Today [1971, private collection] . . . words Mary Heilmann. As Beryl K. Smith recounted in her history of the written in the painting and something that Emily had said to Women Artists Series, “This extremely innovative move coincided me that was so charged that I had to write it in my painting.”34 with the beginning of the Chicago-Schapiro program in California, Snyder’s meeting with List proved auspicious because it led to a but predated the landmark Womanhouse which developed from 1972 print and poster commission (see figs. 00 and 00; cat. 10) the program in 1972. The first exhibits of the series managed and later a private commission for a 1981–82 color woodcut, For to ‘scoop’ the art capital of the country, New York City, where Vera, which the artist printed herself (fig. 00). the first feminist gallery, A.I.R., did not open its doors until later that year.”38 Marcia Tucker, then the first woman curator of contemporary art at the Whitney Museum of American Art, wrote a feature article Although there was no catalogue that first year, Snyder wrote on Snyder’s stroke paintings that appeared in the May 1971 issue about her reasons for starting the Women Artists Series: “The of Artforum. The essay began: “Seeing Joan Snyder’s paintings organizers of . . . ‘8 Women Artists’ [as the first year’s series of for the first time is like looking into a partially demolished building eight exhibitions was called] feel that it is important to establish filled with the remnants and debris of its occupants’ lives; the a contact between women artists and women students. It is Fig. 82 For Vera, November 30, 1981. Color woodcut, one of a few

initial experience is that of surprise, disorientation, curiosity. It is essential to begin this dialogue which is long overdue. Women 3 impressions printed; [image] 22.9 x 29.8 cm (9 x 11 ⁄4); [sheet] 36.8 x 35 1 1 the paradox of an intimacy aggressively exposed.” Few major art have been an almost untapped source in the creative arts. They 44.5 cm (14 ⁄2 x 17 ⁄2 in.). Collection of the artist magazines at this time published articles about women artists, have not been taken seriously. In these times when disillusion- so Tucker’s article played a significant role in increasing Snyder’s ment with the established order is at an all time high, a new visibility nationally. energy begins to be felt. We find emerging a new strength, a too locked into the concepts of career and success to be able new vocabulary. In the art world men are, for the most part, to create an art which has reflection on things beyond. Women In June 1971, Snyder was back in New Brunswick for a Douglass are emerging from history because history needs them to show College alumnae reunion, where she recalls talking with her the way to peace and the way to another kind of strength and friend and former professor Emily Alman. “Somehow or another reflection.”39 I said to her it would be good if we could have some women’s shows on this campus. And for some reason she said to me, The first year of the Women Artists Series concluded in spring ‘Why don’t you talk to Daisy Brightenback [later Shenholm],’ who 1972 with solo exhibitions for Pat Steir (March 1972) and was the head librarian. . . . I went to Daisy and she was immediately Snyder (April 1972). In her artist’s statement for that show, excited about the idea and immediately supportive. The idea, Snyder wrote: of course, was that at that point there were no women teaching studio courses in the art department at Douglass. And I felt like From unconscious anxious years as a female child growing Fig. 80 Snyder on the fire escape of her studio apartment, New York, 1967. the women students needed to see some art work by women.”36 up in Highland Park, New Jersey to unconscious anxious As Snyder stressed twenty-five years later, in the entire history years as a Sociology major in Douglass College to ten years paintings began to receive critical attention from New York galler- of the then all-women Douglass College, there had never been a of conscious struggle as a painter . . . I have finally known ies and collectors in February 1971, when she was included in a woman teaching studio art, so the students had no female artist some peace and feelings of success. These paintings are group show at Bykert Gallery, directed by Klaus Kertess. Shortly role models.37 about my life and my struggle. They began as portraits and thereafter, she met Jeff Paley and Jillian Lowe, who soon opened a gallery in Soho; in November 1971 Paley & Lowe presented By September 13, 1971, the college had approved the establish- Snyder’s first solo exhibition in New York. The artist was thrilled ment of the Women Artists Series, which to this day presents Fig. 81 joan in her Mulberry Street studio [New York], 1970. Photograph but astonished by the show’s commercial and critical success: all exhibitions of women artists in a gallery at the Mabel Smith by Larry Fink. Zimmerli Art Museum at Rutgers University, Gift of her paintings sold.33 Vera List was among the important collectors Douglass Library on the Douglass College campus of Rutgers. Joan Snyder, 2008

76 private/not private: an illuminated chronology Dancing with the Dark 77 Snyder’s painting Woman-Child (1972, Private Collection; see fig. her earlier paintings. That summer, she also created the plate for 00) was included in the 1973 Biennial Exhibition: Contemporary Etching for Sam, named for, as the artist explained, “Sam Kauf- American Art at the Whitney Museum of American Art; the artist man, my psychiatrist for several years”; the etching was printed was one of 52 women artists of the 214 total artists represented. later (see fig. 00; cat. 12).43

During the summer of 1973, Snyder taught painting as a resident In a diary entry for September 12, 1973, Snyder wrote: “We faculty member for the Yale University Summer School of [Snyder and Fink] buy farm on Aug. 24—almost backed out— Music and Art in Norfolk, Connecticut; her husband, Larry Fink, frightening experience—anger, fear—anxiety—Norfolk ended very was invited as a guest artist. While she felt “under scrutiny by well—several friendships with students—male & female—Sandy students” during the first days of the eight-week session, it Clausen [Sandra Clausen, a student in Snyder’s Yale Summer ended successfully. She made her first etching, which served as a personalized report card for her class (see fig. 00; cat. 11). This

marked the beginning of her incorporating names and words in Fig. 84 Snyder in a field, Martin’s Creek, Pennsylvania, circa 1976. her prints, although writing had already appeared in several of Photograph by Larry Fink. Collection of the artist

Fig. 83 Whispers/Screams, 1972, poster edition for the Connecticut College American Dance Festival, New London. Screenprint; 101.6 x 167.6 cm (40 x 66 in.). Collection of the artist (see cat. 10)

landscapes and slowly developed into a language personal Also in 1972, Snyder’s paintings were included in contemporary and strong. Are these female images? One’s work is only American painting exhibitions at the Whitney Museum of Ameri- an extension of her life and experiences. If a painter is a can Art and the Detroit Institute of Arts. Earlier that year, thanks female and she has been exposed to the frustration and to her association with Vera List, Snyder was commissioned by pain of being a girl and woman in this society and then if List Art Poster to make a poster promoting the twenty-fifth anni- she also knows the fulfillment a woman can know through versary of the American Dance Festival at Connecticut College in commitment and struggle—then yes the imagery would New London. She created Whispers/Screams, a painting on paper be unique and indeed female. The strokes in my paintings that was then made into a large screenprint and poster edition speak of my life and experiences. They are sometimes (see figs. 00 and 00; cat. 10).41. Embedded in the printed image soft . . . they sometimes laugh and are often violent . . . they is a pink letter M (right of center; the M is white in the painting on bleed and cry and struggle to tell my story with marks and paper), which refers to Emily Alman; decades later, Snyder would colors and lines and shapes. I speak of love and anguish, of again include an M, alluding this time to “Emily” as well as to fear and mostly of hope.40 “Mamilla” and “MOM” in Serene/Cries (see fig. 00; cat. 63).42

78 private/not private: an illuminated chronology Dancing with the Dark 79 down in diaries when I am not necessarily in that place in my work, but when I look back at my diary I realize I had been thinking about that very idea a year before. . . .I can see the beginning of my ideas of symphonies for women in my diary, all these feminist ideas, struggling to know how to put them on paper or canvas.”44

Increasingly, Snyder was receiving important recognition for her work. In 1974, for example, the National Endowment for the Arts awarded her a grant. She was also becoming increasingly involved with feminism; she was among the pioneers of the women’s art movement in the early 1970s. She would periodically return to New York from Martin’s Creek to actively participate in consciousness-raising groups. She was also trying to understand what it meant to be female, as well as to sort out her own sexuality. Fig. 85 joan Snyder and Larry Fink in front of their farmhouse, Martin’s Creek, Pennsylvania, circa 1978 In October 1974, she began the triptych Small Symphony for Women (1974, Wichita Art Museum, Kansas). Following a Women School class] gave me strength I needed for art, 3 weeks of Artists Series program at Douglass College, Snyder wrote out summer—helped me begin etching—loved making etchings.” In her idea on a preliminary sketch: “Symphonies of women, about fall 1973, Snyder and Fink moved to their newly purchased farm women, for women . . . a symphony with words and marks, colors in Martin’s Creek, Pennsylvania (where Fink still lives today) (figs. and squares.”45 As she recalled in 1982: “The feminist paintings Fig. 86 Vanishing Theatre/The Cut, 1974–75. Oil, acrylic, paper, papier- mâché, and chicken wire on canvas; 152.4 x 304.8 cm (60 x 120 in.). 00 and 00). Although she retained her New York studio, Snyder that began in 1974 came straight out of discussions I had with Collection of the artist wished to experience the country and escape the stress caused other women. Everybody was asking, is there a female esthetic by the excessive public attention she and her art were receiving. or isn’t there? And I was certainly out to prove that there is, that More than a year before, on February 8, 1972, she had written in our work comes out of our lives, and that women’s experiences she then made a big slash across the canvas, using the flaps to and of sharing her experiences and insights with others. She was her diary: “I finally realized why all the publicity is so disrupting are different from men’s experiences, so our work is different make pockets or pods, which she packed with papier-mâché and intent on making women as sexual, political, and creative beings and bothersome. They all (with a few exceptions) like the paintings too. In the first Small Symphony for Women, I explicitly showed covered with chicken wire so they look like open wounds. She the primary subject of her art. She would soon translate some for the wrong reasons, not really wrong reasons but for only 1/2 that, and my work continues to express a female sensibility.”46 On applied a vagina/heart shape, cut out of black fur material. The of the imagery of Vanishing Theatre/The Cut into an ambitious of what they are about—no one (except Marcia [Tucker]) has yet the left panel of the painting, Snyder’s handwritten list of what central section simultaneously evokes the violation of rape, the print, Imagine; she also included the words “Vanishing Theatre/ to mention my explorations and discoveries of space. . . . P.S. Feb. represented a female sensibility included “pockets, layers, seeds, process of giving birth, and the experience of having an abortion. The Cut” in the print. 10—[Sam] Kaufman says I should give them time to catch up landscape space, human space, marks and strokes.”47 The third panel—a multicolored grid composed of rectangular to me.” panels—offers resolution. The painting is about birth and death In 1975, after her painting Creek Square (1974, Corcoran Gallery Later that year, she created an even more powerful and visceral and about Snyder’s ongoing struggle with her own sexuality. It of Art, Washington, D.C.) was displayed in the 34th Biennial of By this time, Snyder was regularly keeping a diary, although she tripartite painting, Vanishing Theatre/The Cut (1974–75, col- also alludes to what Snyder was going through at this time as she Contemporary American Painting at the Corcoran Gallery of did not meticulously date all her entries. She recorded her ideas lection of the artist; fig. 00), which conflated her themes of painfully severed her relationship with Emily Alman, who would Art, Snyder created her most important and technically most for paintings and prints in words and sketches; she wrote detailed music, theater, feminism, female sexuality, intimacy, violence, nevertheless remain for years an absent presence in Snyder’s adventurous intaglio print to date, Imagine (see fig. 00; cat. 13). accounts of her dreams and feelings; and she occasionally noted vulnerability, and strength. The artist’s writing on the left panel dreams, diaries, and, from time to time, art.48 In paintings like She was inspired by Frank O’Hara’s 1950 poem “Autobiographia what she did or whom she saw, or what pleased or displeased announces three acts: “PART I LAMENT / W.[with] /WORDS”; this one, as in many of her prints, the source of Snyder’s imagery Literaria,” which she had encountered in the spring of 1974, when her on a given day. The practice of keeping a diary is one she “PART II / VANISHING / THEATRE/THE CUT”; and “PART III / was autobiographical. She interwove words, shapes, abstraction, she visited the exhibition Frank O’Hara, A Poet Among Painters has continued for decades. She regularly mines her diaries and TAKE YOUR / CLOTHES OFF / LADY AND / LETS SEE / WHO and materials to create an art reflecting her own explorations of at the Whitney Museum of American Art. The poem’s concluding sketchbooks to develop ideas for her art. Snyder admitted, “I YOU / REALLY ARE.” For the central image, Snyder vigorously selfhood. This quest transcended egotism; rather, it was Snyder’s words served as a catalyst for Snyder to create her own poem think diaries are very valuable because sometime I jot things painted a bloodred field onto which she smudged black marks; way of understanding the essence of what it means to be human about color, beauty, symphonies, bodies, souls, and a “vanishing

80 private/not private: an illuminated chronology Dancing with the Dark 81 theatre/the cut,” which she hand-printed as the left panel of the etching.

As Paul Levitt, the printer who editioned Imagine, later recalled: “I was a graduate student at Rutgers . . . [and] a full teaching assistant in printmaking and painting. I had keys and access to the print shop . . . .I had met Joan at her [New York City] loft . . . through Mark Berger and Jackie Winsor. Somehow we agreed to work together . . . and do an etching. No one was around . . . and we took over the print shop . . . .At the time I had an idea to become a professional printer so it was a great opportunity for both of us. Joan had a clear idea what she wanted to do! It was an etching based on Frank O’Hara’s poem ‘Imagine’ [sic]. So I introduced to her all kinds of new etching techniques to assist her though the plate making process.”49 With Levitt’s guidance, Snyder successfully incorporated an imprint of cheesecloth and freely drawn lines that echoed what she was doing in her highly textured paintings. Here, the mesh shape ambiguously suggests a biomorphic pod or bivalve, a torn membrane, or a vulva.

Increasingly, Snyder and her art appeared in art magazines and newspapers. With Louise Nevelson, Georgia O’Keeffe, and Dale Messick (America’s first woman syndicated comic-strip artist and the creator of Brenda Starr), Snyder was one of four visual artists included in a special 1976 publication, 100 Greatest American Women (published by Lexington Library Inc.). Among the other women featured are First Ladies Mamie Eisenhower, Lady Bird Fig. 87 joan Snyder at Martin’s Creek, Pennsylvania, cover of The Feminist Fig. 88 Snyder painting Resurrection, 1977. Collection of the artist Johnson, and Pat Nixon; actresses Grace Kelly, Liz Taylor, and Art Journal, summer 1976. Collection of the artist Jane Fonda; Bella Abzug, Helen Gurley Brown, Shirley Chisholm, and Gloria Steinem; and from the world of music, Joan Baez, Loretta Lynn, Bette Midler, and Leontyne Price. Snyder was also sive’ (her word)—quotes Agnes Martin who says ‘Thank God I am and aquatint that incorporates words (some referencing color), country at the time, giving lectures. I began to read local news portrayed on the cover of the summer 1976 issue of The Feminist NOT a woman.’ I felt totally comfortable, at ease—respected—was scribbled lines, strokes, smudges, and graffiti-like pictographs in papers, and in every one there was always a story about a woman Art Journal (fig. 00). the only ‘heterosexual’ ‘bisexual’ there—all committed to Radical a gridded composition comprising six rectangles. At the upper being raped, burned or hurt in some way. Soon I began clipping Lesbianism . . . .I hang somewhere in between.” On December 27, left, the repeated words “DEAR FELICIA” appear, referring to stories about violence towards women, towards the elderly and Snyder was a founding member of Heresies, a New York-based 1976, Snyder wrote out her response to the question “What is Snyder’s therapist, Felicia Sachs; the print is, in essence, a letter towards children. At about the same time, I began feeling as if the feminist collective, which produced its first issue of Heresies: A feminist art?” posed by Lucy Lippard, Ruth Iskin, and others; the to her.51 farm was haunted, as if an old woman had been murdered there. Feminist Publication on Art and Politics in January 1977; its bright responses provided by numerous artists and writers were dis- With my involvement in the violent stories, I became obsessed red cover featured bold lettering by Snyder. The Heresies collec- played in a 1977 exhibition at the Woman’s Building, Los Angeles During 1977, Snyder spent many months in her Martin’s Creek with the idea. I wanted to make a major painting about rape and tive met regularly to determine themes for its journal, which was (see fig. 00). studio painting what would become her epic feminist painting of murder, but one that also, somehow, was going to lay this old lady published quarterly until 1993.50 In a diary entry dated October the 1970s: Resurrection (figs. 00 and 00). The idea for this monu- to rest.”52 In another interview, Snyder remarked, “The painting 24, 1976, Snyder wrote: “Meeting at Harmony’s [Hammond] last In 1977, Snyder was invited to teach an advanced painting mental eight-panel work originated in 1975, when the artist began became the story of one woman and many women’s lives. It was nite [sic] for Lesbian issue [the third issue of Heresies, published class at Princeton University. During this period, she made collecting newspaper articles about rape and murder victims. In about rape and murder and rage. It was also about the rich life fall 1977]. Ann Wilson, magnificent, clear, eloquent, funny, ‘subver- Red and Yellow (see fig. 00; cat. 14), a black-and-white etching a 1987 interview, Snyder explained, “I was traveling all over the history of a woman aside from the fact that she was violated.

82 private/not private: an illuminated chronology Dancing with the Dark 83 Finally, I had made a painting about someone else’s experience. It was a great release to me.”53

After completing this painting, Snyder’s desire for a child preoccupied her. At times she very much regretted the abortion she had had more than a year before, although at the time she had been conflicted about how to balance her career and motherhood. In her diary, in an entry dated December 24, 1977, Snyder wrote: “Pregnant again—at 1st Joy—deep relaxation—then fear—& anxiety—nausea—fatigue—fear of the unknown—seem overwhelming—but I wasn’t free before either—always thought & worried & wondered—always thought after the abortion that it was a tragic mistake—have always regretted it—now I have another opportunity—& I wake up panic[k]y each A.M.—Long talk with L. yesterday A.M. made me feel so much better....Larry & I spoke of a new loft more adequate for a child—I want it goddamit—I want Fig. 90 Cow, 1978. Soft ground etching, spit bite, sugar lift aquatint, open

it—I want it—I am so terrified. L says its reasonable to be 37 & be 3 3 bite, and etching; [plate] 24.8 x 40 cm (9 ⁄4 x 15 ⁄4 in.); [sheet] 51.4 x 66 cm

1 frightened of such a large life change—& that it would work out (20 ⁄4 x 26 in.). Collection of the artist (cat. 15) for me.”

From January 17 through March 4, 1978, Joan Snyder: Seven In her diary entry dated April 18, 1978, Snyder wrote: Years of Work, the artist’s first retrospective, was shown at the Neuberger Museum at the State University of New York at Lost baby 4-2— Purchase. Hayden Herrera wrote an excellent catalogue essay; Depressed Snyder’s friendship with Herrera, who later wrote the featured Sad— . . . essay for the major 2005 monograph on the artist’s work, began future blurred at this time. Snyder also had her first solo exhibition of new work painting again—not excited—but feels constructive & at the Patricia Hamilton Gallery in New York. good—

Also in early 1978, working with Patricia (Pat) Branstead at Susie [Snyder’s sister] with me—Larry sad—recovers more Aeropress, Snyder began to make intaglio prints based on her easily 1977 painting Resurrection (figs. 00 and 00; cats. 15 and 16) Than myself—Felicia very helpful—Mary Frank touches The print Resurrection, like the painting, is divided into eight me—Arlene from Heresies—Ida called panels; both works move from darker areas to light, from violent Joyce visited—many notes from everyone . . . .Try again deaths to peace, where a sun and a rainbow illuminate a scene of ascension and resurrection. Thus, Snyder transforms specific Several years later, Snyder recalled this time in her life and its narratives about numerous victims into a universal memorial. impact on her art: “After I had a miscarriage, I suddenly began Snyder’s most important print of the 1970s, Resurrection remains making trees, fish bones, ladders and totems. The crosses also Fig. 89 Study for Resurrection Etching, 1978. Soft ground etching, etching,

3 5 her most significant work in etching and aquatint. The execution appeared then. To me they are symbols of the collective uncon- color sugar lift aquatint, and spit bite; [plate] 50.2 x 60 cm (19 ⁄4 x 23 ⁄8 in.);

1 1 [sheet] 72.4 x 80 cm (28 ⁄2 x 31 ⁄2 in.). Collection of the artist (cat. 16) of this major print, which went through at least nine progressive scious. During that whole period I was somewhere between death proofs, and the printing of the final edition were interrupted by the and birth. There is definitely something mystical about my work. miscarriage she had in April 1978. It’s my own religion. My own iconography.”54

84 private/not private: an illuminated chronology Dancing with the Dark 85 Fig. 91 joan Snyder and Larry Fink (“Snyder-Fink Inc.”), early 1979. Fig. 92 joan Snyder and Molly, Mulberry Street, New York, 1980. Collection of the artist Photograph by Larry Fink. Collection of the artist

Snyder would deeply mourn the loss of her son, whom she named works using children’s paintings as a motif. I then worked Oliver, for years to come. Even more than thirty years later, during on “Symphony for F” [Felicia]—til Feb. when I had to stop Fig. 93 FMSWNL [For My Son Who Never Lived], 1979–80. Nine-color her birthday month of April, the season of springtime promise working because I was 6 mos pregnant—“Welcome to this 1 lithograph; [image] 53.3 x 87 cm (21 x 34 ⁄4 in.); [sheet] 55.9 x 92.7 cm

1 and new life, Snyder also experiences melancholy sadness. By the Land Molly Fink” were words taken from a card sent to me (22 x 36 ⁄2 in.). Zimmerli Art Museum at Rutgers University, Gift of Maurice winter of 1978–79, Snyder was pregnant again, and expectantly by my good friend E. L. [Eleanor Lockspeiser, Mary Frank’s Sánchez/Derrière L’Étoile Studio (cat. 18) hopeful (fig. 00). mother]—It is . . . the 1st major work I did after my daughter Molly was born.55 Molly Snyder-Fink, a much beloved daughter, was born on June made paintings and prints as a way to memorialize a recently of children’s art, dating back to the time when she taught art to 4, 1979 (fig. 00). Sometime in 1980, Snyder wrote in her diary (in Within months of Molly’s birth, Snyder’s marriage began to deceased beloved family member or friend; this is the first print young children, some of whose drawings she kept and incorpo- preparation for a talk about her work): disintegrate. With her toddler daughter, she moved back to her she made for someone whose loss she felt so keenly. Probably rated into the paintings. In this black-and-white lithograph, Snyder Mulberry Street loft in New York during the winter of 1979–80 (fig. because of her lingering sadness over the subject of this print, mimicked a child’s simplified way of drawing or doodling. She Friends & enemies alike have said “I wonder what Joan’s 00). Back in Manhattan, Snyder could more easily collaborate Snyder still feels conflicted about its quality, claiming at times that drew sticklike figures, trees, plants, and a house, which she then work will be like after she has a baby” . . . It began w. Buried with various master printers. With Maurice Sánchez at his Der- it is her worst print, though many do not agree. hand-colored (or monotype-printed) in a childlike way, as though Images done in April 1978 just after I lost a baby. I then rière L’Étoile Studio in New York, Snyder began to make a color with finger paint. did “Mourning Triptych” in May of 78, and “Small Elegy” lithograph FMSWNL [For My Son Who Never Lived] (fig. 00; cat. She followed FMSWNL with the hand-painted lithograph Study for followed. So intense was my grief for this creature that 18). She created many color variations before settling on the color Symphony for A. D. (figs. 00 and 00; cats. 19.1–2), dedicated to The edition of Resurrection was completed by Aeropress in 1981. never even lived—But it was a sweet tragedy—at least combination that would be editioned two years later. The left side Dr. Alvin Donnenfeld, the obstetrician who delivered Molly. This Pat Branstead hired Jane Kent and Carol Weaver to replicate there was an attempt at life—...[after June] I did Norfolk of the work, which is composed like a diptych, presents a geomet- print, as well as the paintings Sweet Cathy’s Song (1978, Museum the colored inks that had been used before and to assist in the Landscape next—followed that August & Sept. by “Sweet ric totem, while at right, Snyder made dripping painterly strokes, of Modern Art, New York) and Rain Dance (1978, Virginia Museum proofing and editioning.56 Also in 1981, Snyder had her first Cathy’s Song” & “Rain Dance”. . . .They are large joyous like blood, across the totem. Throughout her career, Snyder has of Fine Arts, Richmond), reveals Snyder’s longtime appreciation solo exhibition in Boston at the Nielsen Gallery. The exhibition,

86 private/not private: an illuminated chronology Dancing with the Dark 87 Fig. 94 Study for Symphony for A. D., 1980. Lithograph; [image] 49.5–57.2 Fig. 95 Study for Symphony for A. D., 1981. Lithograph, hand-colored with oil

1 1 1 1 1 x 86.4 cm (19 ⁄2 x 22 ⁄2 in. x 34 in.); [sheet] 64.1 x 94 cm (25 ⁄4 x 37 in.). paint; [image] 49.5–57.2 x 86.4 cm (19 ⁄2 22 ⁄2 in. x 34 in.); sheet: 60.9 x 94 Collection of the artist (cat. 19.1) cm (24 x 37 in.). Collection of the artist (cat. 19.2)

Works on Paper for FMSWNL, marked the beginning of a fruitful riage, she again expressed her personal pain in her art. As she / we try so hard to remain / objective and compassionate / Snyder painted the right panels in dark colors; a skeletal tree relationship between the artist and gallery owner Nina Nielson once recalled: “I was going through major kinds of life crises: Lachrymae rerum / But our children are being kidnapped / and trunk survives wintry assaults next to a gingerbread man–like that lasted until the gallery closed in June 2009. This exhibition acceptance, forgiveness, guilt, and happiness. You name it, I raped and going crazy / wandering the streets, committing / figure within a portal or on some sort of altar.59 In another dark generated much interest in Snyder’s work among Boston-area was going through it. How can that not be in the paintings?” 57 suicide. / Our marriages are dissolving / we are mothers raising painting done the same year, Mourning/Oh Morning (see fig. 00), collectors. The painting that most explicitly exemplifies her feelings at this our / children / We are afraid / AFRAID.” On the second panel, Snyder presents a more frightening vision: a split, howling figure time is Apple Tree Mass (fig. 00). On the far left panel of this which incorporates a tombstonelike woodcut and again the words stands spread-eagled with a fetus and a dead baby at her feet, In 1983, Snyder was awarded a John Simon Guggenheim six-foot-long painting, she wrote out her turmoil in pencil, includ- “LACHRYMAE RERUM,” she wrote what she most missed from flanked by a mausoleum and a black heart. As a mother, Snyder Memorial Fellowship, which helped to support her career during ing a Latin phrase from Virgil’s Aeneid, which she interpreted her married life on the farm, for example her “old bedroom” and became increasingly concerned not only for her own daughter but her daughter’s preschool years. Mourning the end of her mar- as “the tearfulness of things”58: “We remain objective and sane “the sunsets magnificent,” while also declaring “I loved him.” also about the plight of all suffering children.

88 private/not private: an illuminated chronology Dancing with the Dark 89 Fig. 96 Apple Tree Mass, 1983. Oil, acrylic, graphite, ink, paper, wood, and fabric on linen, 61 x 182.9 cm (24 x 72 in.). Collection of Maggie Cammer

During the period of emotional distress about her separation and she carved the words, again alluding to Virgil’s Aeneid: “I saw gaudy yet erotic.60 Driven by her clashing emotions, she boldly deliberate crudeness, but also reflecting inspiration from African divorce in 1984 from Fink, a very vulnerable Snyder had sought stones weep . . . there is a sadness / in things / APART FROM juxtaposed media and materials to evoke love and lament. These carvings and the directness of children’s art. In Mommy Why? help from a woman psychiatrist; the therapy instead evolved into a CONNECTED WITH / HUMAN SUFFERING.” At the top, Snyder pictures are among Snyder’s most vivid, revealing her intensely (see fig. 00; cat. 21), Snyder aggressively cut the wood block passionate affair. Again, Snyder revealed her personal experiences carved stars in a midnight sky above a row of crudely cut stick personal midlife crisis, including fears that she would be unable to to convey a mother’s anguish over the heart-wrenching cry of a in her art, notably in the three-part painting Love’s Deep Grapes figures, which stand on the edge of an irregularly shaped purple fulfill alone the demands of raising a child. child, whose pain she is unable to assuage. Whether the child’s (fig. 00) and a color print, Woodcut for Love’s Deep Grapes (fig. lake, its ripples defined by the block’s wood grain. The painting’s despair is because of the loss of a father to divorce or death, or 00; cat. 00), which is incorporated into the painting as its left and print’s allusions to a universal sorrow encompassed her In 1983 and 1984, Snyder would make the most searing color because the child is suffering from abuse or a life-threatening panel, while the original wood block serves as the right panel. In own. To the central panel of the painting, she affixed plastic woodcuts of her career, returning to the German Expression- illness, Snyder does not reveal. Although the nude mother’s face the bottom half of the print, against a gold-colored background, grapes against a blue-black velvet background—an effect that is ist style of her earliest prints, in which she had worked with is masklike and skeletal, her voluptuous body bespeaks life-

90 private/not private: an illuminated chronology Dancing with the Dark 91 Fig. 97 Love’s Deep Grapes, 1984. Oil, mulberry paper, velvet, cheesecloth, wood, plastic grapes, and nails on carved wood block, 61 x 152.3 cm (24 x 60 in.). Collection of Molly Snyder-Fink

92 private/not private: an illuminated chronology Dancing with the Dark 93 Museum of Women in the Arts, Washington, D.C.), but its imagery I desperately wanted to stop doing painful paintings. I wanted to is different. In the painting, Snyder orchestrates the interplay of go back to the feeling of the stroke paintings, but I didn’t want to colorful cubes and irregular brushstrokes in grays and muted make stroke paintings. I wanted that same feeling of liberation. hues framing a central horizontal composition of textured, colored So I started making bean field paintings and it just totally took geometric shapes. The painting celebrates abstraction, order, and me away from those agonizing paintings (fig. 00).”61 Jed Perl disorder. In the print, the darker left side shows a childlike stick once described Snyder’s field- and nature-inspired art, particu- figure (similar to those in Dancing in the Dark), red with rage, larly her paintings of the late 1980s and early 1990s: “In Snyder’s superimposed on a gray totem structure—on this side evil, anger, work the guiding metaphor . . . [is] her preoccupation with earth. and pain lurk. At center, a yellow shaft of light and what appears For Snyder, a painting is the world upended, planet earth hanging to be a child’s stack of brightly colored blocks separate the left on the wall. The texture of the earth is a big part of Snyder’s and right halves of the image. On the right, against a lighter and work—gravelly textures, gritty textures, sandy textures, muddy cheerier background, there is topographic expanse of loosely textures. Earth colors often dominate. And much of Snyder’s drawn imagery, what looks like toppling children’s toys next best work is pastoral—it’s about the changes that the seasons to graffiti scrawls and several legibly written names (including bring and all the things that grow out of the ground. . . .For Fig. 98 the artist and her daughter in her studio, Eastport, Long Island, “Molly”), and tiny stick figures. By balancing the tension in the Snyder a painter is a gardener, a farmer.”62 This insight helps 1986. The painting An Offering for Pro, 1986, is in the background. Photograph by Hans Namuth print between two conflicting types of imagery, the artist hints at in understanding the impetus behind Snyder’s unorthodox an optimistic answer to the title’s question. approach to combining media, collaging seeds and weeds and Fig. 100 Snyder and Maggie Cammer in 1987, the year they met herbs in her paintings, as well as her quest for maximizing the giving sexuality. Snyder manipulated the coloring to vary each In 1986, Snyder bought the Eastport, Long Island, house she had textural qualities in the monotypes and monoprints of fields, impression in the edition of fifteen, so that no two impressions rented the two previous summers so she and Molly could live in gardens, and flowers that she would create in the ensuing years. for me a heritage. It is a place to struggle freely at my altar”—a are alike; she thus subverted printmaking’s traditional capability Eastport full time. She experienced great domestic contentment After installing a small press in the Eastport studio, Snyder and sentiment she had first expressed in her MFA thesis twenty-one to make uniform impressions. In Things Have Tears and We Know with her daughter. This geographic move helped Snyder begin a Molly made a monotype together in September 1987, marking years earlier.63 Suffering (see figs. 00, 00; cats. 23.1–2), the words “Lacrymae period of renewal: “The house was surrounded by bean fields and the beginning of Snyder’s intense involvement with the technique. rerum” appear again, here above a head that vigorously suckles Many of her monotypes celebrate details of nature or horizonless Snyder now began creating works as a distressed response to a large, fleshy breast against a background of vertical slash landscapes (fig. 00). a series of Christian Science Monitor articles about children marks and other words in Latin and English. To heighten the suffering worldwide from starvation, severe illness, mutilation, tactile qualities of the intimate, but rough-hewn, image, Snyder During this period Snyder met Maggie Cammer, a judge in the or abusive exploitation. In the catalogue for a spring 1988 varied the hand-coloring on each impression, providing a visual Civil Court of the City of New York (who in 1990 was appointed exhibition, Snyder wrote: “I sense an almost global destruction of immediacy. New York State Acting Supreme Court Justice), which also con- our children because of adult cruelty and indifference. Children tributed to her sense of personal renewal. Snyder and Cammer’s are being blown away either by violence of the adults caring for Over the next several years, Snyder’s paintings and prints warm companionship developed into a steadfast, loving long-term them or by land mines left in the fields where they play. The continued to vacillate between painful and joyous imagery, often partnership (fig. 00). exploitation of children by adults through neglect, poverty, war composed of totems and stick figures. With her black-and-white and violence of all kinds can only leave us with generations of woodcut Dancing in the Dark (see fig. 00; cat. 22), she created In 1987, Snyder’s prints were included in two exhibitions broken children. . . .The pain and suffering that our children are an altar or gravestone bordered by crosslike totems, in which a dedicated to prints by women artists: Prints by Contemporary experiencing has obsessed me. . . . My work had to include the pair of figures “dance” in the dark of their unknown future. Her American Women Artists at the Mary Ryan Gallery in New York children. It has been an almost primitive experience for me of next major print was the 1985 color lithograph Can We Turn and The Graphic Muse: Prints by Contemporary American trying to heal them . . . to hold them . . . to tell them someone is Our Rage to Poetry? (see fig. 00; cat. 24). It shares its title with Women, a traveling exhibition organized by the Mount Holyoke here.”64 In response she created the painting Morning Requiem a monumental painting made during that same year (National College Art Museum in South Hadley, Massachusetts. She was (For the Children) (1987–88, Rose Art Museum, Brandeis Uni- also represented in the 40th Biennial of Contemporary American versity, Waltham, Massachusetts) as well as the woodcut For the Painting at the Corcoran Gallery of Art, in Washington, D.C. In Children, which she had begun in 1987 (figs. 00 and 00; cats. 25 Fig. 99 Snyder with the painting Waiting for a Miracle (for Nina and John, her artist’s statement for the biennial, Snyder stated: “Making art and 26.1–2). With her Eastport studio assistant, Margaret Haight, 1986), Eastport, Long Island, 1986 is, for me, practicing a religion . . . My work is my pride, creates she progressed through several hand-printed proofs and variants

94 private/not private: an illuminated chronology Dancing with the Dark 95 Fig. 104 Kaddish, 1988. Woodcut printed in purple ink and orange oil paint; [image] 30.5 x 7.6 [10.2] cm (12 x 3 in. [4 in. with orange paint]); [sheet]

1 43.2 x 31.7 cm (17 x 12 ⁄2 in.). Collection of the artist (cat. 27)

fields of moons.”65 This range of imagery would also appear in the prints and monotypes Snyder created over the next few years.

During Snyder’s intense flurry of art making in late 1988 and 1989, she made more than eighty monotypes.66 Throughout her career, Snyder has made sketchbook drawings in pencil; these studies are primarily functional. The monotype medium, however, Fig. 101 For the Children, 1987, unpublished proof. Woodcut, hand-inked Fig. 102 For the Children, 1987–88, unpublished “Pink Study” proof. Color

1 offered Snyder the ease of drawing with fluid paint pigments by the artist with black ink and white oil paint; [image/block] 67 x 38.1 cm woodcut in dark brown and pink; [image] 87.6 x 38.1 cm (34 ⁄2 x 15 in.);

3 1 1 1 (26 ⁄8 x 15 in.); [sheet] 87 x 62.2 cm (34 ⁄4 x 24 ⁄2 in.). Collection of the artist [sheet] 94.6 x 63.5 cm (37 ⁄4 x 25 in.). Collection of the artist (cat. 26.1) or printing inks on a smooth surface, onto which paper is then (cat. 25) pressed to produce a unique print (and occasionally, a second ghost impression). Snyder found that monotype ideally suited her painterly style and adventurous use of color. The medium also before completing and editioning this powerful print in 1988. It In 1988, Snyder was severely ill with Lyme disease; for months permitted her to explore motifs similar to those in her paintings: shows an open-mouthed, crying child as a symbol of the plight of she was unable to work. A year after she recovered, she wrote: landscapes; fertile farm fields surrounding her home (see figs. 00, children; the haunting figure, with its outstretched arms forming “Images which I hadn’t been in touch with for many months began a cross somewhat recalls the intense despair evoked by Edvard flooding in. I decided not to edit myself. I painted every idea I had. Munch’s painting The Scream (1893, National Gallery, Oslo) or I needed to return to my totems . . . I needed to paint requiems for Fig. 103 For the Children, 1988, impression from the edition. Color howling African masks. Snyder also made a smaller related print, our losses . . . and to once again paint the fields surrounding my woodcut in brown-black, orange, yellow, and gold; [image] 87.6 x 38.1 cm

1 1 Kaddish, at this time, perhaps for the children who did not survive house which were being threatened by developers. I carved and (34 ⁄2 x 15 in.); [sheet] 100.3 x 60.9 cm (39 ⁄2 x 24 in.). Collection of the their torment (fig. 00; cat. 27). painted screaming faces and masks. I painted . . . serene fields, artist (cat. 26.2)

96 private/not private: an illuminated chronology Dancing with the Dark 97 00, and 00; cats. 28, 30, and 33); sensuous nudes; floral gardens; fluidity—luxuriate in the elements of earth and water. The Large musical themes (see fig. 00; cat. 29); and bold, monolithic cross Yellow Nude recalls her alluring 1985 painting Bedeckt Mich mit shapes. These prints frequently display a buoyant exuberance Blumen (fig. 00), which presented a voluptuous nude lying in a resulting from the artist’s energetic strokes of pigment. field—the field and the figure both covered with a profusion of Fig. 105 Bedeckt Mich mit Blumen (Cover Me with Flowers), 1985. Oil, blossoms. The painting’s title was inspired by a phrase in a song acrylic, and cloth flowers on canvas; 1.83 x 1.83 m (6 x 6 ft.). Collection opposite: Fig. 106 Large Yellow Nude, August 1989. Color monotype of Betty and Bob Klausner printed in oil paint; [image] 48.2 x 58.4 cm (19 x 23 in.); [sheet] 51.4 x Snyder’s monotypes of luscious nudes—Large Yellow Nude (fig. from the “Spanisches Liederbuch,” composed in 1891 by Hugo

1 66 cm (20 ⁄4 x 26 in.). Allentown Art Museum, Purchase, SOTA Print 00; cat. 31), with the figure sprawled across a flowering garden, Wolf: “bedeck me with flowers, I’m dying of love.” Fund (cat. 31) and The Swimmer (see fig. 00; cat. 32), the image immersed in

98 private/not private: an illuminated chronology Dancing with the Dark 99 Fig. 107 Large Cross on Black #2, 1989. Two-color monotype printed in Fig. 108 Large Cross on Yellow #1, 1989. Two-color monotype printed in oil; 1 oil; [image] 48.3 x 58.4 cm (19 x 23 in.); [sheet] 50.8 x 66 (20 x 26 in.). [image] 48.3 x 58.4 cm (19 x 23 in.); [sheet] 51.4 x 66 cm (20 ⁄4 x 26 in.). Collection of the artist (cat. 34) Collection of Leon Wieseltier and Jennifer Bradley (cat. 35)

The monotypes featuring large, bold crosses stand out in the In the summer of 1989, Snyder and Molly left Eastport and moved artist’s work because they are stark, geometric shapes against to Brooklyn, where Snyder and Cammer had rented a large apart- monochromatic backgrounds (figs. 00 and 00; cats. 34 and 35). ment. In 1990, Snyder began to spend summers at Cammer’s Despite the thick and painterly application of pigment in these cabin in the woods just outside Woodstock, New York, where she works, rarely has Snyder worked so purely and minimally. In these began to make paintings with ovals, signifying ponds or pools in monotypes, she resisted her usual practice of adding more, and the landscape (fig. 00). In 1991 and 1992, Snyder returned to the again more. Each of Snyder’s cross shapes resembles a Greek Derrière L’Étoile Studio to make monotypes with Maurice Sánchez. cross, although the artist intended no religious symbolism. The Among the nine she made during this period, several include result is an abstraction, a meditation on the figure and ground some sort of pool imagery, such as Lavender Pool (fig. 00, cat. relationship that resonates with an austere, yet potent visual 38) and Even Art (see fig. 00; cat. 39).67 eloquence. Also in 1991, for a Rutgers University Libraries journal celebrating Prompted by a New Yorker magazine commission to make a the twentieth anniversary of the Women Artists Series (which had self-portrait, Snyder made a drawing and several variant woodcuts been renamed the Mary H. Dana Women Artists Series in 1987) at (fig. 00; cat. 36). One uneditioned self-portrait woodcut was Douglass College, Snyder wrote an essay titled “It Wasn’t Neo to reproduced in the Goings On About Town section of the February Us,” in which she declared: “I believe that women artists pumped 12, 1990, issue. Around this time, she also made more frightening the blood back into the art movement in the 1970s and the 1980s. visages, including several color woodcuts of screaming masks, At the height of the Pop and Minimal movements, we were making titled The Witness, which were printed on both paper and fabric other art—art that was personal, autobiographical, expressionistic, 1 Fig. 109 Self Portrait, 1990. Woodcut; [image] 30.8 x 27.3 cm (12 ⁄8 x

3 1 (see fig. 00; cats. 37.1–3). narrative and political—using word[s] and photographs and as 10 ⁄4 in.); [sheet] 43.2 x 31.2 cm (17 x 12 ⁄4 in.). Collection of the artist many other materials as we could get our hands on. This was (cat. 36)

100 private/not private: an illuminated chronology Dancing with the Dark 101 called Feminist Art. This was [what] the art of the 1980s was suggests both giving birth and a contemporary pietà. She made finally about, appropriated by the most famous male artists of three variant printings of the subject, changing the colors, printing the decade. They called it neo-expressionist. It wasn’t neo to us. sequences, and stroke applications, so that each impression They were called heroic for bringing expression and the personal creates a subtly different effect. Some emphasize the horrifying to their art. We were called Feminist (which was, of course, a dirty specter of death, others emphasize the vitality of the mother’s word). . . . Except that it was women who did that. Nancy Spero flesh and blood. Occasionally during the summer of 1993, Snyder did that. Faith Ringgold did that, Jackie Winsor did that.—WE purged her thoughts of lost souls by making several monotypes DID THAT.”68 that evoke gardens (fig. 00; cat. 42). Within months, however, she embarked on an important print project that would return to Snyder’s mother, Edythe, died in October 1992. Over the next few meditations for the dead. years, Snyder would experience the loss of others close to her, prompting her to create paintings and prints that serve as elegies The Fine Arts Work Center in Provincetown, Massachusetts, had for the dead—her parents, Cammer’s parents, friends, and the invited Snyder, along with Eric Avery, Sue Coe, and Sam Messer, many unknown sufferers dying from AIDS. In her paintings Faces to produce prints for a portfolio about AIDS, with a cover by (fig. 00) and Journey of the Souls (1993, private collection), which Michael Mazur. In September 1993, the day after Snyder arrived were responses to the tragic loss of young lives to AIDS, Snyder to begin working with Bob Townsend (R. E. Townsend Studio) incorporated woodcut images of ghostlike faces printed on pieces on her print for this portfolio, she learned that her father had of fabric. After using some for the painting, Snyder printed many died. She immediately returned home to attend to his funeral more heads from several different wood blocks on fabric frag- arrangements. When she resumed working with Townsend, the ments of varying sizes and colors, which she then incorporated portfolio’s theme of AIDS and death resonated with her even more into a unique installation piece titled Souls Series (fig. 00; cats. profoundly. As she worked, she was experiencing deep grief for 40.1–22). (The work has been shown only twice before this her father; her mourning also triggered another outpouring of exhibition: at Jay Gorney Modern Art, New York, in 1994, and grief over her mother’s death, which had occurred less than a year in her solo exhibition at the Brooklyn Museum in 1998). Snyder earlier. It was a period of tremendous sorrow for Snyder, but also displays this haunting piece with an Edna St. Vincent Millay poem, a time when Townsend was encouraging her to experiment with “Dirge Without Music” (1928), a poignant eulogy that opens with print media—woodcut, etching, and various methods of applying the line: “I am not resigned to the shutting away of loving hearts color with monotype. The result was two remarkable monoprints, in the / hard ground” and concludes “Down, down, down into the Field of Moons and Field of Flowers (figs. 00 and 00; cats. 44 darkness of the grave / Gently they go, the beautiful, the tender, and 43). the kind; / Quietly they go, the intelligent, the witty, the brave. / I know. But I do not approve. And I am not resigned.” On October 28, 1993, in her artist’s statement about these two prints, she wrote: Snyder occasionally combines images from different works; a notable example is her recycling of one of the haunting, howling Two field monoprints—moon fields and flower fields—one woodcut heads she had used in the Souls Series in a recasting of dark and brooding—mysterious—almost religious—the Mommy Why? In August 1993, she created Three Faces/Mommy other full of flowers of many colors—in many stage[s]— Why II (figs. 00 and 00; cats. 41.1–2), by superimposing the some bold in full bloom[,] others more delicate. The subject soul’s head onto a fleshy, robust nude in a cherry-strewn garden was AIDS. The process became a metaphor. Fields of rendered in freely stroked monotype. This print was Snyder’s response to the anguish of mothers who must witness their AIDS- afflicted children wasting away. In her characteristic style, Snyder Fig. 110 Lavender Pool IV, 1992. Monotype; [image] 86.4 x 59.7 cm (34 x

1 1 1 addresses mortality by juxtaposing the specter of death with a 23 ⁄2 in.); [sheet] 97.8 x 64.8 cm (38 ⁄2 x 25 ⁄2 in.). Lent by Derrière L’Étoile vivid nude, whose somewhat ambiguous pose simultaneously Studio (cat. 38)

102 private/not private: an illuminated chronology Fig. 111 Faces, 1993. Oil, acrylic, and woodcut prints on fabric and papier- mâché, 91.5 x 91.5 cm (36 x 36 in.). Collection of Jeremy Nobel [confirm]

moons/dark layer over another dark layer/deep dark with a soft chalk into its grooves of flowers and shapes that pond shape orange crosses and moons—many moons. The were then printed onto the image. This project was a very field of flowers began with a delicate wash of transparent intense and exciting one for me. Add to the process the orange—then an etched plate of orange flowers was printed fact that my father died on the second day that I began Fig. 112 Souls Series, 1993. Unique installation piece. Wood blocks printed in using the same transparent orange paint. Finally, two working and know that the metaphors were flying through oil paint onto 22 pieces of fabric and paper; [overall dimensions] 2.44 x 2.97 different woodblocks were used—one with deep grooves my fingers and were caught deftly by Bob Townsend, m (8 ft. x 9 ft. 9 in.). Collection of the artist (cats. 40.1–22) that accepted bright deep colors, the other a more delicate master printer.69 piece of luan plywood that, after being cut into, accepted

104 private/not private: an illuminated chronology Dancing with the Dark 105 Figs. 113–116 Four woodcuts from Souls Series, 1993. Left to right: 71.8 x

1 3 1 1 27.3 cm (28 ⁄4 x 10 ⁄4 in.); 74.2 x 36.1 cm (29 ⁄4 x 14 ⁄4 in.); 69.2 x 26.6 cm

1 1 (27 ⁄4 x 10 ⁄2 in.); and 58.3 x 38 cm (23 x 15 in.). Collection of the artist (see cat. 40.1-22)

106 private/not private: an illuminated chronology Dancing with the Dark 107 above and opposite: Figs. 117, 118 two variant impressions of Three Faces/ Mommy Why II, August 1993. Hand-inked and hand-painted woodcuts; 47 x

1 3 65.4 cm (18 ⁄2 x 25 ⁄4 in.). Collection of the artist (cats. 41.1-2)

Given the AIDS theme, the crosses in Field of Moons might also around the base of the tree. In 1993 she made a painting inspired by ary 2, 1994), curated by Sarah Anne McNear. The first major of Derrière L’Étoile Studio in New York. At Smith, she produced a be read as “+” signs, as in HIV-positive. In both prints, the pool this tree, The Cherry Tree (private collection), followed in 1994 by solo exhibition to include Snyder’s prints in the context of her monoprint series, Study for A.C.T.A.S. (Another Cherry Tree Another of water serves as a repository for tears, a soothing healer, and more paintings and a series of painterly monotypes (see fig. 00; paintings and drawings, the show and its catalogue were a Symphony) (fig. 00; cat. 48), as well as several very painterly ultimately, a source of life. cat. 45). The cherry tree, for her, was a metaphor for life and death, critical success. monotypes, including Smith Tune (fig. 00; cat. 46),Freshly Plowed and for nature’s seasonal cycle, which encompasses mortality. Field (see fig. 00; cat. 47), and My Heart. Thanks to Sánchez’s In 1992 and 1993, on trips to visit her dying father, Snyder often From March 8 to 10, 1995, Snyder was a guest artist in residence extraordinary skill as a printer and his use of a special offset press, passed a cherry tree laden with fruit; she would note the passage of In late 1993, Joan Snyder: Works with Paper opened at the at the Tenth Annual Smith College Workshop in Northampton, he was able to coax five to six good pulls from a single monotype time as a few, then more, ripe cherries dropped and gradually rotted Allentown Art Museum in Pennsylvania (October 8, 1993–Janu- Massachusetts, along with master printer Maurice Sánchez, founder plate, which usually yields only one or two good impressions.70

108 private/not private: an illuminated chronology Dancing with the Dark 109 In May and June 1995, Snyder worked with Andrew Mockler at Jungle Press on Our Foremothers, a print commissioned by the Jewish Museum in New York. As Snyder explained, she decided she would:

make a print that included the names and histories of every woman who was mentioned in the Old Testament, Jewish as well as non-Jewish women. I included the names of the women in my own family, including my partner Maggie, my daughter Molly, my grandmother Dora, my mother Edythe, my sister Suellen, and my niece Hannah. The print was complicated to do . . . almost like composing a symphony. . . . The woodblock . . . was the part of the project that was the hardest. . . . After the pieces were [selectively] inked, each with a different color, they had to be . . . printed on the paper, on top of the already printed lithograph and etching sections. I would say that this is a feminist piece (made by a feminist, a Jew, and an American). The histories of the women in the Bible were nothing if not those of women ferociously pioneering for the rights of females. The print reflects those histories. They fought for, among other things, women’s right to own property, women’s inheritance rights, women’s struggle against abuse, and on and on. The print names names. . . .I loved doing this print. I love celebrating our foremothers (see fig. 00; cat. 49).71

Within months of this successful print collaboration, their first, Snyder returned to Jungle Press to work with Mockler on new monoprints. In 1995, she had created a monumental painting, Ah Sunflower (private collection), which presented a sunflower garden in all its profusion, inspired by a poem (published in 1794) by William Blake, whose verses she wrote into the picture. By this time in her life, Snyder was enjoying domestic contentment and her work was repeatedly receiving favorable attention. She permitted herself to temporarily set aside weightier themes in favor of reveling in the vibrancy, beauty, bounty, and cycles of nature. From December 1995 to February 1996, she made several

Fig. 119 Study for A.C.T.A.S. (Another Cherry Tree Another Symphony), 1995.

1 Monotype; [image] 55.9 x 74.9 cm (22 x 29 ⁄2 in.); [sheet] 65.4 x 97.8 cm

3 1 (25 ⁄4 x 38 ⁄2 in.). Lent by Derrière L’Étoile Studio (cat. 48)

110 private/not private: an illuminated chronology Dancing with the Dark 111 exuberant monoprints at Jungle Press of flower and garden subjects, among them Sunflowers (fig. 00; cat. 50), which focuses on the glorious blooms themselves with a ghostly dead one at the bottom, and Blooms, Garden Grid, Flower with Teeth, and Rites of Passage (figs. 00 and 00; cats. 51.1–2), variants of the last appearing as more painterly versions of a splendid related painting (fig. 00). These monotypes fluidly wed floral colors and forms with the artist’s sublime gestural strokes; the images mediate between recognizable floral imagery and abstraction. The subtle palette change (one having more bluish-gray tones, the other being sunnier and brighter) between two different impressions of Rites of Passage suggest a seasonal change; yet the title alludes to life’s transitions, prompted by Snyder’s observing her fifteen- year-old daughter grow up.

For a print commission in 1996 to celebrate the twenty-fifth anniversary of the Mary H. Dana Women Artist’s Series she had founded, Snyder returned to the theme of the cherry tree. Another Version of Cherry Fall (fig. 00; fig 00; cat. 52) reprises the imagery and compositions of her lyrical painting Cherry Fall (fig. 00). It was the first print she created at the Rutgers Center for Innovative Print and Paper (founded in 1986, now called the Brodsky Center for Innovative Editions), located in the university’s printmaking department at the Mason Gross School of the Arts. Her collaboration with master printer Eileen M. Foti, whom Snyder had not previously met, unexpectedly resulted in profound conversations about life and dying, since during this period, Foti’s husband was battling aggressive lymphoma. The print’s symbolism thus had a particular poignancy for both artist and printer, and there has always remained a special bond between them.

Working with Townsend again in fall 1996, Snyder made three remarkable monoprints as a way to memorialize and honor people who had been very important to her. For F was created as a kaddish for her partner Maggie’s mother, Florence Cammer, who had died in 1995 (fig. 00; cat. no. 53). She then made Untitled Journey

Fig. 120 Sunflowers, 1996. Color woodcut and monotype (printed with oil paint and pastel; Plexiglas, hand-painted with oil paints; additional washes on

1 Plexiglas); [image] 60.9 x 91.5 cm (24 x 36 in.); [sheet] 62.2 x 92 cm (24 ⁄4 x

1 36 ⁄4 in.). Collection of Happy and Jane Traum (cat. 50)

112 private/not private: an illuminated chronology Dancing with the Dark 113 Fig. 121, 122 Rites of Passage, 1996, two variant impressions. Monoprints (woodcut, hand-inked with oil paints and pastel; and monotype, from

1 1 oil paints on Plexiglas); 90.1 x 59 cm (35 ⁄2 x 23 ⁄4 in.). Private collection (cats. 51.1-2)

opposite: Fig. 123 Rites of Passage, 1996. Oil, acrylic, herbs, mulberry paper, and wood on linen; 203.4 x 111.7 cm (84 x 44 in.). Collection of Lois E. Dickson

114 private/not private: an illuminated chronology Fig. 124 Sketchbook studies for the print, Another Version of Cherry Fall, circa 1996. Blue ink;

1 [sketchbook page] 12.7 x 20.5 cm (5 x 8 ⁄2 in.). Collection of the artist (see cat. 52)

Fig. 126 Cherry Fall, 1995. Oil, acrylic, herbs, and cloth on linen; 144.8 x 167.6 cm (57 x 66 in.). Collection of Joann and Gifford Phillips Fig. 125 Another Version of Cherry Fall, 1996. Color woodcut (colored à la poupée) and soft ground etching (printed in purple) on chine collé (with

1 1 mulberry paper); 64.8 x 59.7 cm (25 ⁄2 x 23 ⁄2 in.). Zimmerli Art Museum at Rutgers University, Gift of the Brodsky Center for Innovative Editions (see cat. 52)

116 private/not private: an illuminated chronology Dancing with the Dark 117 (fig. 00; cat. no. 54; figs. 00-00). Partly legible along the bottom monoprint series, so that some are ghostly, dark, and funereal, of this image are the words “Mom” and “Pop” and, even more while others are resplendent in lyrical colors.

Fig. 127 For F, 1996. Monoprint (copperplate intaglio and woodcut hand- obscurely written, “Florence” and “Harold,” which are clues to

1 inked by the artist and dusted with pastel; monotype); 75 x 90.1 cm (29 ⁄2 x the print’s purpose. Creating a requiem and kaddish for her own Snyder dedicated the third monoprint, Candles for Clem, to Eileen

1 35 ⁄2 in.). Collection of the artist (cat. 53) and Maggie’s parents, Snyder envisions a glorious, otherworldly, Foti’s husband, Clement Chiang, who died that year (fig. 00; cat. 55) opposite: Fig. 128 Untitled Journey VIII, 1996. Monoprint (copperplate intaglio and woodcut, hand-inked by the artist and dusted with pastel; undulating scene—like an ocean with mountainlike waves—for While Foti and Snyder were working together on Another Version of

9 monotype); 85.2 x 101.6 cm (33 ⁄16 x 40 in.). The Brooklyn Museum, Alfred T. each soul’s “untitled journey” crossing over to the beyond. Snyder Cherry Fall, Foti had spoken fondly of Clem, who, at age twelve, had White Fund, 1997.41 (cat. 54) dramatically varied the coloring for each impression of this lost his father to the same cancer. She praised his engineering skills

118 private/not private: an illuminated chronology Dancing with the Dark 119 as a designer of satellites, his ardent advocacy for the environment, since. The text on the print reads “Let a million candles ultimately used the same howling head from Souls that she had and his musical talents as a violinist. Foti reminisced: glow against the darkness of these unfinished lives.” So, used in Three Faces/Mommy Why II (fig. 00; cats. 41.1–2). By the the most interesting part of this story is that neither of end of April 1998, Requiem/Let Them Rest was completed. Because she [Snyder] is the way she is, she was them spent much time together, yet for whatever reason, very . . . concerned about us, and she began to send me they inspired each other. I will always love Joan for this.72 During this period, Snyder was making other works expressing home with inspirational things for Clem to read . . . .She gave suffering or bereavement. She next wanted to make a print, . . . and me the “Tibetan Book of the Dead” to help me get some During the summer of 1997, Snyder worked with the master acquainted with grief, based on her 1997 painting of that name perspective . . . .Joan and Clem talked by phone, but they printer Jennifer Melby in Brooklyn to create what could well be (fig. 00), a large diptych that almost pulsates with lists of words, met in person only once. She came to our house for a visit. her most autobiographical print. Declaring along the bottom “MY strokes, drips, and blossom images surrounding a heart and a He was so sick that he didn’t really have the strength to WORK HAS BEEN ABSOLUTELY FAITHFUL TO ME,” this print is a gaping slit. As Snyder said: “Sometimes when I make a painting see anyone, yet he really wanted to meet her. She told him tour-de-force combination of various intaglio techniques, scraping, it’s not over until I do more, keep going, explore it further . . . this that she had just returned from working at another print and woodcut. Snyder struggled through various color proofs was one of those times and a big complicated print seemed the shop in the Boston area [R. E. Townsend Studio], where before settling on the color combination that she felt was the right perfect way to proceed.”73 She collaborated with Bob Townsend, she finished making a suite of prints that were inspired one for editioning (see figs. 00–00; cats. 56.1–9). who had a 6-foot by 5-foot press that could accommodate her by Clem. She said that as soon as they were dry, she making such a large, complicated print combining color intaglio would bring them to show him. He died four days later, on From March 8 to June 4, 1998, the exhibition Joan Snyder: and woodcut (fig. 00; cat. 58). October 19th. He never got the chance to see them. But a Working in Brooklyn was shown at the Brooklyn Museum. Several month later [actually two weeks], I went to the International recent prints were included, as was the second and larger display From this vibrant print exuding an excess of emotion, Snyder moved Print Fair at the Armory Space in NYC (my first real outing of the installation piece, Souls Series (see fig. 00; cats. 40.1–22). on to do a quieter, softer one in collaboration with Townsend. The after he died). And there was the suite, displayed in Diane monoprint Prayer (fig. 00; cat. 59) explores the verbal and visual Villani’s booth. I was bowled over. They were so moving and Snyder must have had the Souls images in her mind as she worked interplay between words of reverence for the dead and devotion. beautiful. He would have loved them. through the composition for a print commission for the Madison She relished the challenge of creating a meaningful composition I went to her [Joan’s] house to choose one, which she Art Center in Wisconsin (see fig. 00; cat. 57). She had begun combining Hebrew words from the kaddish with various Latin texts gave me as a gift, and it has been hanging in my home ever this print at Jungle Press the previous year. Various proofs in the of mourning. In the final print, the words seem to whisper like artist’s collection reveal her struggle with resolving the central ashes in a field sprouting new flowers and spring greenery. image. Her choice of a bright yellow as the background appears on

Figs. 129–133 joan Snyder working on Untitled Journey in all the proofs; however, the central area varies with hues of reds In the summer of 2000, Snyder wrote the following for the collaboration with Bob Townsend, R. E. Townsend Studio, Georgetown, and pinks. She also tried out various inkings of the words, so that catalogue of an upcoming exhibition, Joan Snyder: In Times of Massachusetts, 1996 there are shifts of emphasis from impression to impression. She Great Disorder at the Nielsen Gallery in Boston:

120 private/not private: an illuminated chronology Dancing with the Dark 121 Fig. 134 Candles for Clem, 1996. Monoprint (four copperplate intaglios and Fig. 135 Requiem/Let Them Rest, 1998. Color lithograph, etching, and woodcuts hand-inked by the artist and dusted with pastel; monotype); 86 x woodcut; 66 x 50.8 cm (26 x 20 in.). Collection of the artist (cat. 57)

7 101.6 cm (33 ⁄8 x 40 in.). Collection of Eileen M. Foti (cat. 55)

122 private/not private: an illuminated chronology Dancing with the Dark 123 Fig. 136 . . . and acquainted with grief, 1997. Oil, acrylic, velvet, linen, silk, papier-mâché, and charcoal on canvas; 121.0 x 274.3 cm (48 x 108 in.). Collection of Dr. Jack Singer

124 private/not private: an illuminated chronology Fig. 137 Snyder in the doorway of her studio, Willow, New York, July 1999. Her painting Language of the Sea, 1999, is in the background.

1999 was a time of great upheaval for me. Early that year not only did we [Snyder and Cammer] sell our house and buy a new one [in the Park Slope section of Brooklyn] but I simultaneously had to move out of my studio. . . . It was during this time that I did the monoprint project “In Times of Great Disorder” . . . (see figs. 00 and 00; cats. 61.1–2) In the painting series that I was working on right before I did the prints, I had begun using round wooden dowels and jewels (plastic and real). . . . Unlike grids I used many years ago, now the grid had become not just the structure of the piece but part of the content. The grids were often painted with thick paint, colors so bright that they cannot be ignored. . . . They seem to have a life of their own. . . . The monoprints were born out of these painting ideas— out of a desire to experiment with many different grid

Fig. 138 . . . and acquainted with grief, 1998. Color etching, aquatint, woodcut, and linocut, hand-inked by the artist; [image] 101.6 x 147. 3 cm (40 x 58 in.);

1 1 [sheet] 105.4 x 151.1 cm (41 ⁄2 x 59 ⁄2 in.). Collection of the artist (cat. 58)

126 private/not private: an illuminated chronology and border colors, and then to enhance these beginnings, sometimes to an extreme. Many different plates and blocks had to be prepared in order to achieve the effects that I wanted. In all, there were nine different processes, nine different times that each of the eighteen prints went through the press. The process used, in all, three lithograph plates, three woodcut plates, one hand painted plexiglass plate plus hand applied relief printing and then a final transfer of sprinkling of pastels. . . . I was simultaneously reading what Carl Jung said about making mandalas. Simply put, he said that mandalas appear “in times of great disorder.” I assume he meant in times of great disorder in the universe. But it was also a time of great disorder in my own life; thus the title of the monoprint series. But these monoprints seem very harmonious to me, some are even festive. They have been a way of bringing order to my world . . . in times of great disorder . . . Will the world ever change, has it always been this way, will there ever be times without great disorder?74

Snyder made My Maggie, a color lithograph and etching, based on an etching hand-colored with watercolor she had done in 1997 as a gift to her partner to celebrate the tenth anniversary of their meeting (see fig. 00; cat. 60). One of her sketchbooks includes several pencil drawings playing with alternative name combinations. As the artist commented: “It says ‘my judge’ but I crossed [that and many other names] out and didn’t remove. . . .That was the point . . . and joke too . . . all the words we (gay women) don’t have to use and do use sometimes to call our significant other. Wife and husband is so easy.”75

In April and May 2001, the exhibition Joan Snyder: Primary Fields was on view at Robert Miller Gallery in New York. In her essay for the catalogue, Snyder wrote: “Going to Woodstock to paint Fig. 139 Prayer, 1998. Monoprint (color etching, aquatint, and woodcut,

1 last summer and feeling so strongly the ghost of my mother in hand-inked and selectively printed); 61.6 x 127 cm (24 ⁄4 x 50 in.). Collection of the artist (cat. 59) the studio that I start working on a completely different painting than I had planned. Writing ‘spring is an issue of blood’ across the painting.’—T. S. Eliot’s words from his play ‘Family Reunion’— because I have always felt that ‘April is the cruelest month’ [first line of Eliot’s “The Wasteland”] . . . has been my whole life . . . in the spring, the month I was born . . . when I always had my little and bigger nervous breakdowns and even a miscarriage and then on

128 private/not private: an illuminated chronology Dancing with the Dark 129 Figs.141 and 142 Madrigal V and Madrigal X from 33 Madrigals, 2001. Monoprints (color lithograph, monotype, and color woodcut); each 85.1 x Fig.140 Sketchbook study for 33 Madrigals monoprints, December 17, 2000. 1 1 90.1 cm (33 ⁄2 x 35 ⁄2 in.). Collection of the artist (cats. 62.1–2) 1 Black ink; [sketchbook page] 22.9 x 29.2 cm (9 x 11 ⁄2 in.). Collection of the artist (see cats. 62.1–7)

the bottom of the painting writing his words again ‘Do the dead color. As the artist remarked, the circles surround “a larger circle, ing Margaret Haight, Rebecca Lax, and Allison Gildersleeve. Snyder was invited to Yaddo, the retreat community for artists in want to return?’ because surely my mother has been in my studio creating a beat, a rhythm, making music. This, I suppose, is my Gildersleeve, who worked for Snyder from 2000 to 2005, was Saratoga Springs, New York, as a guest artist in 2004. There she all summer haunting me. . . .”76 Snyder’s rumination about the attempt to bring order and beauty to ever increasing times of instrumental in organizing the artist’s archive, an invaluable reconnected with Marcia Tucker, who had remained a champion dead foreshadows her 2008 monoprint series Seedcatchers with great disorder.”77 The entire series presents a gamut of brilliant research resource for those studying Snyder’s work. In the sum- of Snyder’s art since her 1971 Artforum article; having concluded Ghosts (see figs. 00–00; cats. 67.1–4). colors: reds, greens, blues, and yellows. Her use of loose strokes mer of 2004, Snyder hired Mira Dancy, also an artist, who quickly her long tenure as the founding director of the New Museum of also reprises the linear elements in her early paintings. Like became indispensable in handling the myriad tasks generated by Contemporary Art in New York, by now Tucker was a freelance By mid-October 2001, in collaboration with Mockler at Jungle occasional earlier works, this one is a visual equivalent to music, Snyder’s busy studio. Dancy and Snyder’s daughter, Molly, had writer and art critic. Also this year, Betty Cuningham, who had Press, Snyder had completed an ambitious monoprint series, 33 as reinforced by its title. Snyder, who deliberates before assigning known each other as students at Bard College. Dancy remarked steadily promoted Snyder’s work since her days at Hirschl and Madrigals, inspired by watching madrigal singers practicing in a a title to a work, was, surprisingly, unaware that the word “madri- that: “working for Joan is much more like having a mentor than an Adler Modern gallery, opened Betty Cuningham Gallery in New circle formation at a recorder workshop she attended in 2000. gal,” a love poem set to music, relates to root words for “womb” employer....She radiates the drive and conviction that it takes to York’s Chelsea neighborhood, where she presented the solo Snyder admits that these thirty-three variant prints also recall and “mother.” However, given Snyder’s pictorial vocabulary be an artist. Over the last few years, as artists of my generation exhibition Joan Snyder: Women Make Lists. mandalas, which “appear in times of disorder” (figs. 00–00, cats. referencing the female body, the title’s full meaning adds another have become invested in re-examining the feminist art movement 62.1–7; fig. 00). The series is joyous and uplifting—a welcome level of significance to the image. of the 1970s, it has been especially illuminating for me to be work- In March 2005, Snyder started to create her second print at the antidote to the somber mood cloaking the city after the tragedy ing so closely with Joan. She doesn’t hold back—either personally Rutgers Center for Innovative Print and Paper, this time working of September 11. Solidly colored disks or moons surround a Over the years, Snyder has been fortunate in having excellent or in her work—and her directness has given me a perspective with master printer Randy Hemminghaus. Serene/Cries was her luminous central pool or pond, filled with abstract “blossoms” of studio assistants, some of whom have become friends, includ- that I was never quite able to garner from art history.”78 first color digital print, combined with lithography and a carbo-

130 private/not private: an illuminated chronology Dancing with the Dark 131 above and opposite: Figs.143–145 Madrigal XI, Madrigal XIX, and Madrigal XXVI, from 33 Madrigals, 2001. Monoprints (color lithograph, monotype, and

1 1 color woodcut); each 85.1 x 90.1 cm (33 ⁄2 x 35 ⁄2 in.). Collection of the artist (cats. 62.3–5)

rundum plate (see fig. 00; cat. 63). The loosely scrawled words unimaginable that there is still a need for women’s shows such as “MOM” and “MAMILLA” create an overall olive-green pattern: an this....And in some ways there is no need. Women are represented echo, the artist acknowledges, of the M’s that began with Emily by mainstream galleries now, women are very much part of Alman. Faint in the background are photographic images Snyder university faculties, and I do believe there is more respect for the took of two pre-Columbian–style figures, one a woman squatting woman artist now than there was when I was a young artist. So to give birth, to reinforce the theme of maternity.79 why then does there still seem to be a need for women’s shows [?] Because women’s voices are unique.”80 In January 2006, A major retrospective of Snyder’s paintings was held at the Jewish Snyder participated on a panel about feminism at the fifth annual Museum in New York (August 12–October 23, 2005) and the New York Times Arts & Leisure Weekend. Moderated by the Times Danforth Museum of Art in Framingham, Massachusetts (Novem- art critic Roberta Smith, the panel also included Barbara Kruger, ber 10, 2005–February 5, 2006). This exhibition was accompa- Collier Schorr, and Tamy Ben-Tor (fig. 00). nied by the first major monograph on Snyder’s paintings, which included insightful, comprehensive essays by Hayden Herrera and Two of Snyder’s early paintings, Flesh Flock Painting with Stokes Jenni Sorkin. During the same period, from October 21, 2005 and Stripes (1969, collection of the artist) and A Letter to My through January 15, 2006, an international exhibition of emerging Female Friends (see fig. 00) were included in the major group women artists titled Re: Generation, cocurated by Snyder and her exhibition Wack! Art and the Feminist Revolution, organized by daughter Molly, served as the thirty-fifth anniversary exhibition the Museum of Contemporary Art, Los Angeles. Following its of the Mary H. Dana Women Artists Series at Douglass College. 2007 showing in Los Angeles, the exhibition traveled through In her text for the accompanying catalogue, Snyder wrote, “It is January 2009, to the National Museum of Women in the Arts,

132 private/not private: an illuminated chronology Figs.146 Madrigal XXVIII from 33 Madrigals, 2001. (cat. 62.6) Fig. 147 Madrigal XXXIII from 33 Madrigals, 2001. (cat. 62.7). Fig. 149 january 2006 feminist art panel with New York Times art critic Roberta Smith (second from left) and artists (left to right) Collier Schorr, Snyder, Tamy Ben-Tor, and Barbara Kruger

Washington, D.C.; P.S. 1 Contemporary Art Center, Long Island The year before, in the spring of 2006, after receiving a com- City, New York; and Vancouver Art Gallery, British Columbia. mission from the Print Club of New York to produce a print Coinciding with this renewed interest in the history of feminist art for its members, Snyder had begun her creative process by across North America, the Brodsky Center for Innovative Editions developing several watercolors of pool imagery (fig. 00; cat. 64.2). at Rutgers published Femfolio. This portfolio of twenty prints by Collaborating with Randy Hemminghaus at what had now officially twenty women artists who pioneered the feminist revolution in the been renamed the Brodsky Center for Innovative Editions at Rut- 1970s included works by Emma Amos, Harmony Hammond, Joyce gers University, Snyder drew pool images with brush and black ink Kozloff, Faith Ringgold, Miriam Schapiro, Carolee Schneemann, onto translucent Mylar, which served as a matrix. After the print Nancy Spero, May Stevens, and Martha Wilson. Snyder’s contribu- evolved further, it was proofed in various color combinations (figs. Fig. 148 Snyder with four prints from 33 Madrigals in her studio, Brooklyn, tion was Angry Women (fig. 00; cat. 65), a hand-colored digital 00–00; cats. 64.3–8). The final realized print, Oasis, is a dazzling, New York, 2004 print with lithography. rippling pool with whirls of blue, aqua, bright red, and other

136 private/not private: an illuminated chronology Dancing with the Dark 137 luminous hues (fig. 00; cat. 64.9). Here, Snyder’s pool imagery suggests a vital source of artistic energy. Like a desert oasis, this print offers a way to refresh and revitalize the imagination.

On September 25, 2007, Snyder was awarded a John D. and Catherine T. MacArthur Foundation Fellowship, popularly known as the genius grant. In November 2007, the Rutgers Institute for Women and Art (which currently administers the Mary H. Dana Women Artist Series), with the Douglass College alumnae association, cohosted a reception at the Mabel Smith Douglass Library to honor Joan Snyder, its famous alumna, and to celebrate her receipt of the prestigious MacArthur grant.

Throughout her career, Snyder has often found apt poetry phrases that either inspire or echo her art. She frequently embeds words and poetic verse into her paintings and prints, thereby enhancing

Fig. 152 Study for Oasis, 2006. Watercolor over graphite, with notations in

1 black ink; [sketchbook page] 21.6 x 27.9 (8 ⁄2 x 11 in.). Collection of the artist (cat. 64.2)

the verbal meaning with a new visual eloquence. In 2008 she received an invitation, orchestrated by the artist James Siena on behalf of Yaddo, to produce a print incorporating the poem “Breaking Ground” by Eliza Griswold for a portfolio to be sold to benefit the Yaddo program (see fig. 00; cat. 66). Snyder merged her own visual language with the poem: “Begin with wood. / Carve / The Negative. Dig / The narrow trenches / Red of madder lake / Blue of copper indigo and woad. / You were first to ask / about the scar in my eye— / What’s still embedded in the wound. /The world’s canals were carved/ to carry salt, like gold, over water. / We had water then.” With Snyder’s dynamic treatment, the black, purple, and pink words dance, pulsate, declare, throb, repeat energetically, and sing amid her pictorial language of hearts, heart-shaped mouths, boats, and falling cherries.

From April to July 2008, Snyder collaborated with Mockler at Jungle Press to create Seedcatchers with Ghosts (figs. 00–00; cats. 67.1–4), a series of sixteen monoprints inspired by springtime and the personal associations she has with that season—rebirth, Fig. 150 Angry Women from Femfolio, 2007. Digital print with color lithography and hand-coloring; 30.5 x 30.5 cm (12 x 12 in.). Zimmerli Art Museum at Rutgers University, Gift of the Brodsky Center for Innovative Editions, 2010 (cat. 65) Fig. 151 watercolor studies and variant proofs for the print Oasis, 2006.

138 private/not private: an illuminated chronology Dancing with the Dark 139 Fig. 153 Oasis, 2006, color proof. Color digital print with screenprint and hand-brushed pink and blue acrylic, with notations in graphite; [image] 43 x

15 7 3 7 48 cm (16 ⁄16 x 18 ⁄8 in.); [sheet] 54.3 x 58 cm (21 ⁄8 x 22 ⁄8 in.). Collection of the artist (cat. 64.3) opposite: Fig. 154 Oasis, 2006, color proof. Color digital print with 7 screenprint and border in acrylic; 55.9 x 58 cm (22 x 22 /8 in.). Collection of the artist (cat. 64.8)

140 private/not private: an illuminated chronology growth, loss, mourning, anxiety-producing anniversaries. Every April—the month of her own birth, the month when she always remembers her 1978 miscarriage—she feels the weight of mortality. Her feelings and thoughts resonate with T. S. Eliot’s lines, “April is the cruelest month, breeding / Lilacs out of the dead land, mixing / Memory and desire, stirring / Dull roots with spring rain” (“The Waste Land,” 1922). The color palette of Seedcatchers with Ghosts ranges from saturated hues to muted tones; the gray strokes evoke the ghosts of the past. One delicately colored monoprint is like a fresh, green-tinged field or garden filled with seeds (looking like drops of blood) and sprouting plants amid water drops and rivulets. These monoprints are another example of Snyder “dancing with the dark”: even while celebrating life and nature’s cycles, she anticipates the sorrow of death. Two paintings, Seedcatchers (2007, collection Betsy and Douglas Anderson-ck) and From Grief to Spring (2008, collection Mr. and Mrs. Burnes, Jr.), related to this print series, were included in . . . and seeking the sublime, her last solo exhibition at Nielsen Gallery in Boston, which was held from September 13 through October 18, 2008; the gallery closed the following June, bringing to an end the artist’s long association there.

In the spring of 2009, Snyder began working on Wild Roses, a glorious exuberance of velvet-pink petals and black textural pods and seeds (see fig. 00; cat. 69). Collaborating again with Mockler, Snyder pushed yet further the potential of combining print media (lithography, etching, and woodcut) to create a supremely lyrical celebration of the sensual allure and fertility of nature.

By this stage of her life, Snyder and Cammer had developed a comfortable habit of alternating between their homes (and her studios) in Brooklyn and Woodstock, where, in 2008, they had bought a house with a magnificent view of the Catskill Mountains, as well as ample space for a garden. Her diary entry for June 12, 2009, written while in the Catskills, reveals Snyder’s ever-fluid interweaving of moments and thoughts and art: “Finally able to begin work in my new studio—bringing it all together—mountains underneath images silk pushing away to reveal undress the mountain dig in search

pages 142–147: Figs. 155-158 Seedcatchers with Ghosts, 2008, four variant monoprints from a series of sixteen. Monoprints (color lithograph, woodcut hand-inked by the artist, and monotype, some with glitter and pastel); 75

1 x 96.5 cm (29 ⁄2 x 38 in.). Collection of the artist (cats. 67.1-4) Shown here: Seedcatchers with Ghosts 2 (cat. 67.1)

142 private/not private: an illuminated chronology for reality hidden beneath the veil of appearance-render reality apparent symbols not really reality but structures icons symbols beyond nature in nature stripping bare. Behind the veil-silk-gauze.”

By late June, Snyder was at Tandem Press in Madison, Wisconsin, making her first print there as an artist in residence. Altar (see fig. 00; cat. 68; fig. 00), as well as the painting upon which it is based, reprises the theme that Snyder had identified as central to her work more than fifty years earlier. Yet in both print and painting, the meditations of an older artist on the aging process are tempered somewhat by the muted white-gray tones that serve as a wintry backdrop for brightly colored “falling” cherries, blossoms, and lip and seedpod forms.

On August 22, 2009, Snyder and Cammer hosted a joyous outdoor celebration at their Woodstock home overlooking a field of sunflowers with the Catskill Mountains as a backdrop: the marriage of the artist’s daughter to Orlando Richards. Snyder expressed her feelings: “The wedding was moving in so many ways. We were all together in our new home surrounded by friends and family. . . .Molly and Orlando, both glowing and beautiful. Maggie wrote and performed the ceremony that had us all in tears. It was so touching and so magnificent” (fig. 00).

Despite recovering from her second knee surgery (her first knee surgery was done in 2008), Snyder’s productivity in painting and printmaking barely flagged. In November 2009, two “hot-off-the- press” proofs premiered to acclaim at two New York print fairs. At the annual International Fine Print Dealers Association Print Fair, Tandem Press showcased Altar. At the Editions/Artists’ Books Fair, Wild Roses presided in the Jungle Press booth.

Back at Jungle Press in early 2010, Snyder worked with Mockler to complete See what a life . . . (see fig. 00; cat. 70), a glorious color woodcut and etching inspired by the words of Henry David Thoreau, a project that she had started thinking about while creating Wild Roses.

In March 2010, Snyder began her collaboration with Anne Q. McKeown, master papermaker at the Brodsky Center for

Fig. 156 Seedcatchers with Ghosts 8, 2008 (cat. 67.2)

Dancing with the Dark 145 Fig. 157 Seedcatchers with Ghosts 11, 2008 (cat. 67.3) 158 Seedcatchers with Ghosts 16, 2008 (cat. 67.4)

146 private/not private: an illuminated chronology Dancing with the Dark 147 Fig. 159 Rose Garden I, 2010. Cotton pulp; pigmented, overbeaten cotton Fig. 160 Snyder working on the print Altar at Tandem Press, June 2009 pulp, tulle, rosebuds with acrylic polymer. Created in collaboration with Anne McKeown, Master Papermaker, Brodsky Center for Innovative Editions at Rutgers; 68.5 x 86.3 cm (27 x 34 in.). Courtesy of the artist and the unbelievable, feels scary . . . and I feel rushed, like I have too much Brodsky Center for Innovative Editions at Rutgers to do and too little time. I don’t think I’ve ever felt urgency in quite this way before. I am so grateful for so many things and I’ve lived an adult life that I chose to live, all of it.”81 Innovative Editions, to begin her first series of paintings made with produced two works a day; each piece evokes a textured, painterly pigmented paper pulp. Ever open to experimenting with unprec- sensibility, yet the color is absorbed into the paper, rather than As she enters the next decade of her life and career, Snyder’s edented ways to manipulate materials, Snyder found that she lying on the surface. In this series(projected to comprise thirty studio teems with evidence of her ongoing creativity. She remains loves working with the wet paper pulp. The medium permits her pieces), each piece is unique, variously evoking garden profusions extraordinarily prolific in her painting; she fills her sketchbooks with to use sweeping gestures to distribute a dazzling array of bright, of multicolored blooms, cherries, luxurious fertility, loosely ideas for new work. Already she is planning her next print project. saturated colors; she can easily embed collage elements ranging stroked totems, or streams of crimson (fig. 00). from fabric pieces to flower petals. No longer restrained by the Fig. 161 Snyder with her daughter, Molly Snyder-Fink, her son-in-law, flatness that characterizes most printmaking processes, Snyder On April 16, 2010, Snyder celebrated her seventieth birthday. She Orlando Richards, and her partner, Maggie Cammer, Woodstock, New York, worked the paper pulp into sculptural reliefs. She and McKeown reflected a few days before: “Turning 70! Feels auspicious, feels December 2009

148 private/not private: an illuminated chronology Dancing with the Dark 149 catalogue of prints Marilyn Symmes with Joan Snyder and Mira Dancy

Between 1963, when she made her first woodcut, and the late spring of 2010, with the completion of See what a life . . . (cat. 70), Joan Snyder has created at least 176 different print compositions, and she continues to make sketches and plans for new print projects. During her student years (1963–66), Snyder printed her own editions of three of her woodcuts (cats. 3–5) and nine of her lithographs (see cats. 7–9); between 1972, when she received her first important print commission, following her 1971 solo painting exhibition debut in New York, and 2010, the artist created twenty-eight prints that were published in editions (all of which are listed here). Most of Snyder’s prints, however, have been monotypes—the majority printed between 1988 and 1995—and, starting in 1993, monoprints.* Although this publication is not a complete catalogue, the seventy prints documented here provide the first representative survey of the graphic work Snyder has produced over the past forty-seven years. The selection includes her most important works, many of which were made in collaboration with master printers, whose names are cited in the entries. Based on direct examination, supplemented by information provided by the artist, the cen- sus of all the prints Snyder has made by medium is as follows: 31 woodcuts (including cats.

* Because many “monotypes” are cited as “monoprints” in the artist’s database of prints (which also serves as an inventory of multiple impressions of the same print) and because many untitled prints in various media were unavailable for examination, it was difficult to ascertain the precise count by media. To make a monotype, the artist creates an image in printing ink or paint on any smooth surface (e.g., glass, Plexiglas, or a smooth metal plate), which is then covered with a sheet of paper and passed through a press so that the image completely transfers from the surface to the paper; multiple copies are usually not possible, thus the resulting impression is unique. To create a monoprint the artist manipulates the inking or hand-coloring of an image that already exists on a metal plate, wood block, or lithography Fig. 162 Smith Tune V, 1995. Monotype; [image] surface, so that whenever each matrix (or combination of matrices) is printed that particular impression 60.9 x 60.9 cm (24 x 24 in.); [sheet] 66 x is distinctively different from impressions that were inked and printed in the same conventional way

1 97.1 cm (26 x 38 ⁄4 in.). Collection of the artist throughout an edition. By altering the inking for each successive printing of the plate or block, the artist (cat. 46) can produce a series of unique impressions.

151 This is a portrait of Emily and David Alman’s daughter, Jenny. Snyder also printed this image as a color lithograph, which is documented 1–6, 20–23, 25–27, 36, 37, and 41, plus the unique Souls Series, 1. Landscape, October 1963 Related works: in a photograph; an impression of the color lithograph could not be located cats. 40.1–22); 9 intaglios, e.g., etching, aquatint, soft ground Woodcut on machine-made mulberry paper 3 1 7 3 [Portrait of Jenny], 1967–68, charcoal drawing; dimensions and location for this publication. Image: 37.5 x 29.2 cm (14 ⁄4 x 11 ⁄2 in.); sheet: 55.6 x 44.2 cm (21 ⁄8 x 17 ⁄8 in.) etching (including cats. 11–17); 12 lithographs (including cats. 7–9, unknown (JS 131) Other black-and-white lithographs Snyder made in 1964, during her Signed in graphite, lower right, Joan Snyder; dated, lower center, Oct 63; 18, 19, and 24); 1 screenprint (cat. 10); 13 editioned prints made [Portrait of Jenny], 1967–68, oil on canvas; 91.4 x 91.4 cm (36 x 36 in.). Rutgers University graduate printmaking class, include House (JS 36); inscribed, lower left, Artists [sic] proof Collection of Jenny Alman Michaels (JS 130) Highway Bridge (JS 37); Children on Merry-Go-Round (JS 38); Vase (JS 39); by combining print media, i.e., combinations of lithography with Printer: the artist, New Brunswick, New Jersey Girl Seated (JS 40); and Death Scene (JS 42). etching or woodcut, or a digital image with hand-coloring and Uneditioned: only a few impressions printed printed color (including cats. 49, 52, 56, 57, 58, 60, 63–66, and Collection of the artist (JS 30A; fig. 00) 5. Portrait of Emily, November 1963 Woodcut on machine-made mulberry paper 68–70); approximately 89–110 monotypes (including cats. 28–35, Related painting: Farm Landscape, Yellow House, 1963, oil on canvas; 81.2 x 9. Lithograph of Angel, 1966 3 Image: 55.9 x 28.8 cm (22 x 11 ⁄8 in.); sheet: 76.2 x 45.7 cm (30 x 18 in.; 38–39, 42, and 46–48); and 134 monoprint impressions, derived 45.7 cm (32 x 18 in.). Collection of the artist (JS 20; fig. 00) Lithograph on Rives BFK paper irregular) from 13 different compositions, made by hand-coloring a matrix Image: 35.6 x 40.6 cm (14 x 16 in.); sheet: 55.8 x 76.2 cm (22 x 30 in.) Signed and dated in graphite, lower right, J Snyder ’63; titled, lower left, Signed and dated in graphite, lower right, J Snyder ’66; numbered, lower (or hand-coloring an image made using a combination of two or 2. Portrait of Jona Mach, November 1963 Emily; numbered, lower center, 5/5 left, 2/5 Woodcut on machine-made mulberry paper, mounted to paperboard more print processes) to create unique works or variants in a Printer: the artist, New Brunswick, New Jersey Printer: the artist, New Brunswick, New Jersey 5 7 5 1 Image: 29.5 x 25.1 cm (11 ⁄8 x 9 ⁄8 in.); sheet: 44.8 x 38.4 cm (17 ⁄8 x 15 ⁄8 series (including cats. 43–45, 50, 51, 53–55, 59, 61, 62, and 67). Edition: 5 Edition: 5 1 1 in.); mount: 46.4 x 39.4 cm (18 ⁄4 x 15 ⁄2 in.; irregular) 1 Unless otherwise noted, all the prints were printed on Original wood block (55.9 x 29.2 cm; 22 x 11 ⁄2 in.) remains in the artist’s Collection of the artist (JS 89; fig. 00) Signed and dated in graphite, lower right, J Snyder 11/63; titled, lower left, collection handmade paper. When available, specific information about the “Jona”; inscribed, lower center, Artists [sic] Proof Collection of the artist (JS 32; fig. 00) Related works: papers, obtained either from watermarks, documentation from the Printer: the artist, New Brunswick, New Jersey Angel (Snyder’s Rutgers MFA thesis project), 1965–66, mixed-media artist’s records, or direct communication with the master printer, Uneditioned: only a few impressions printed Related painting: Portrait of Emily [with tiger skin], 1965, oil and acrylic on sculpture (enamel, wood, plaster, fringe, plastic flowers; lifesize). Destroyed canvas; 121.9 x 91.4 cm (48 x 36 in.). Location unknown (JS 69) has been included in individual entries. Original wood block (30.5 x 25.4 cm; 12 x 10 in.) remains in the artist’s (JS 77; fig. 00) collection Altar III, 1965–66, acrylic on canvas with fringe; 121.9 x 91.4 cm (48 x For definitions of other printmaking terms and explanations of Collection of the artist (JS 31; fig. 00) 36 in.). Collection of the artist (JS 73; fig. 00) printmaking media, techniques, and processes, please consult the 6. Red Horse, 1964 following: the International Fine Print Dealers Association website: Two-color woodcut on tan machine-made mulberry paper 1 3 1 Image: 29.2 x 45.1 cm (11 ⁄2 x 17 ⁄4 in.); sheet: 40.6 x 57.2 cm (16 x 22 ⁄2 in.) http://www.ifpda.org/content/collecting_printsglossary; or the 3. Moe, 1963 10. Whispers/Screams, 1972 Signed and dated in graphite, lower right, J Snyder ’64; inscribed, lower left, interactive website “What is a Print?,” which can be accessed Woodcut on machine-made mulberry paper Screenprint on heavyweight, white wove paper 3 1 1 1 Artists [sic] Proof Image: 29.9 x 29.2 cm (11 ⁄4 x 11 ⁄2 in.); sheet: 47 x 43.5 cm (18 ⁄2 x 17 ⁄8 in.; Image: 91.4 x 152.4 cm (36 x 60 in.); sheet: 101.6 x 167.6 cm (40 x 66 in.) via the website for the Museum of Modern Art, New York: h t tp: // Printer: the artist, New Brunswick, New Jersey slightly irregular) Signed in graphite, lower right, Joan Snyder; numbered, lower left, 103/144 www.moma.org/interactives/projects/2001/whatisaprint/; or the Uneditioned: only a few impressions printed Signed and dated in graphite, lower right, J Snyder ’63; titled, lower left, Publisher: Connecticut College American Dance Festival, New London, Collection of the artist (JS 34; fig. 00) following publications: Richard Benson, The Printed Picture (New “Moe”; numbered, lower center, 8/10 Connecticut York: Museum of Modern Art, 2008); Bamber Gascoigne, How Printer: the artist, New Brunswick, New Jersey The artist recalls that she made this print at the time her nephew, Jeffrey Printer: List Art Poster/HKL Ltd., New York to Identify Prints: A Complete Guide to Manual and Mechanical Edition: 10 Snyder, was born. Edition: 144 print edition; 70 poster edition [with letters, 101.6 x 167.6 cm Processes from Woodcut to Ink Jet (New York: Thames and Collection of the artist (JS 31A; fig. 00) (40 x 66 in.); fig. 00]; 18 hors commerce proofs Collection of the artist (JS 235B; fig. 00) Hudson, Inc., 1986); and Antony Griffiths, Prints and Printmaking: Joan Snyder: “Moe was an old guy whom I became great friends with in 7. Mountain Scene, 1964 An Introduction to the History and Techniques, 2nd ed. (London: New Brunswick [after she began renting her studio on the river]. He had a Lithograph on Arches paper Related maquette for the print: Painting for Screams & Whispers, 1972, oil 1 1 1 Image: 31.1 x 41.9 cm (12 ⁄4 x 16 ⁄2 in.); sheet: 56.5 x 76.2 cm (22 ⁄4 x 30 in.) 1 Trustees of the British Museum, 1996). junk business and we went into (sort of) business together for a short time. on paper; (image and sheet) 44.5 x 76.2 cm (17 ⁄2 x 30 in.). Collection of the I think he was the person who told me that my grandfather (my father’s Signed and dated in graphite, lower right, J Snyder 64; numbered, lower artist (JS 235c; fig. 00) father) had committed suicide in 1928 . . . it was a family secret until then.” left, 6/10 Key: JS indicates the artist’s inventory number. (conversation with M. Symmes, January 22, 2009) Printer: the artist, New Brunswick, New Jersey Edition: 10 11. Report Card from the portfolio Yale at Norfolk Prints 1973, 1973 Collection of the artist (JS 35; fig. 00) Etching on Arches paper 1 Plate: 22.8 x 29.2 cm (9 x 11 ⁄2 in.); sheet: 38.1 x 48.3 cm (15 x 19 in.) 4. Jenny, 1963 In plate, lower left, MISS SNYDER/MRS. FINK Woodcut on machine-made mulberry paper 8. Woman Undressing, 1964 1 1 1 Signed and dated in graphite, lower right, Joan Snyder 73; titled, lower Image: 28.6 x 21 cm (11 ⁄4 x 8 ⁄4 in.); sheet: 61 x 38.7 (24 x 15 ⁄4 in.) Lithograph on Rives BFK paper center, 42/Report Card; numbered, lower left, 30/60 1 Signed and dated in graphite, lower right, J Snyder ’63; titled, lower center, Image: 52.1 x 33 cm (20 ⁄2 x 13 in.); sheet: 66 x 48.3 cm (26 x 19 in.) Publisher: Art Division, Yale Summer School of Music and Art, Norfolk, Jenny; numbered, lower left, 3/10 Unsigned Connecticut Printer: the artist, New Brunswick, New Jersey Printer: the artist, New Brunswick, New Jersey Printer: Bryan Kay, Norfolk, Connecticut Edition: 10 Edition: 10 Edition: 60 Collection of the artist (JS 31B; fig. 00) Collection of the artist (JS 41; fig. 00) Collection of the artist (JS 254; fig. 00)

152 catalogue of prints catalogue of printS 153 Snyder’s print was the forty-second of forty-three prints in the portfolio pages later, she wrote, “working w. Paul Levitt at Douglass college/making Resurrection, 1977, oil, acr lic, fabric, wallpaper, collaged newspaper and plates), open bite, and line etching, with notes and marks in graphite created by the eleven Art Division faculty members (including Bryan Kay, etchings—1st one almost done.” Levitt, a Rutgers University graduate sewing pattern, gold paint, papier-mâché, and graphite on canvas (eight on Arches paper

3 3 who taught the printmaking class) and thirty-two students in the eight-week teaching assistant in painting and printmaking, assisted Snyder in printing panels); 1.98 x 7.92 m (6 ft. 6 in. x 26 ft.). Museum of Fine Arts, Boston, Gift Image and sheet: 60.3 x 100 cm (23 ⁄4 x 39 ⁄8 in.) session of the Yale Summer School of Music and Art in Norfolk, Connecti- this print in the Rutgers printmaking facility, then located at the Douglass of Sidney Singer, 1986.1015a-h (JS 302; fig. 00) Numbered by artist in graphite, lower right, # 8 (fig. 00) cut. This was her first intaglio and her first print to incorporate words. College campus, New Brunswick. Resurrection Etching (cat.. 17.10) 17.9. Working proof 9 for Resurrection Etching, 1978–81 Sugar lift aquatint on Arches paper

1 1 12. Etching for Sam, 1973 14. Red and Yellow, 1977 17.1–10. Resurrection Etching, 1978–81 Plate: 60.9 x 90.5 cm (24 x 35 ⁄4 in.); sheet: 74.9 x 105.2 cm (29 ⁄2 x 3 Etching, lift ground, and aquatint on Arches paper Etching, lift ground, and aquatint on Arches paper Nine unsigned progressive proofs and one impression from the edition 41 ⁄8 in.)

3 7 5 5 1 Unnumbered proof [#9] Plate: 19.6 x 22.5 cm (7 ⁄4 x 8 ⁄8 in.); sheet: 43.2 x 38.1 cm (17 x 15 in.) Plate: 39.7 x 54.9 cm (15 ⁄8 x 21 ⁄8 in.); sheet: 56.5 x 76.2 cm (22 ⁄4 x 30 in.) 17.1. Working proof 1 for Resurrection Etching, 1978–81 Titled in plate, lower left, FOR SAM Signed in plate, lower right, JOAN SNYDER . . . Photo etching, soft ground etching, sugar lift etching, and open bite 17.10. Resurrection Etching, 1978–81 Signed and dated in graphite, lower right, Joan Snyder 73; numbered, lower Signed and dated in graphite, lower right, Joan Snyder 1977; numbered, (with some sections, at left, collaged) on Arches paper Photo etching, soft ground etching, color sugar lift aquatint (from two

3 plates), open bite, and line etching on Arches paper left, 1/10 lower left, 3/20 Image: 25.4 x 89.9 cm (10 x 35 ⁄8 in.); sheet: 60.9 x 100.3 cm (24 x 1 5 1 Plate: 60.9 x 89.5 cm (24 x 35 ⁄4 in.); sheet: 75.2 x 105.4 cm (29 ⁄8 x Publisher: the artist Publisher: the artist 39 ⁄2 in.) 1 Printer: Paul Levitt, New Brunswick, New Jersey Printer: Jane Kent, New York Numbered by artist in graphite, lower right, # 1 (fig. 00) 41 ⁄2 in.) Edition: 10 (printed 1975) Edition: 20; 7 artist’s proofs, 4 trial proofs 17.2. Working proof 2 for Resurrection Etching, 1978–81 Signed and dated in graphite, lower right, Joan Snyder ’78–81; titled, Collection of the artist (JS 255; fig. 00) Collection of the artist (JS 304.3; fig. 00) Photo etching, soft ground etching, sugar lift etching, open bite, and inscribed, and numbered, lower left, “Resurrection” AP X/X (fig.00) line etching on Arches paper Publisher: the artist Snyder made this print as a tribute to Dr. Sam Kaufman, her therapist at This print served as a letter to Felicia Sachs, Snyder’s therapist at the time; 3 Printer: Patricia Branstead, Aeropress, New York (chop mark, lower right), Image: 25.4 x 89.9 cm (10 x 35 ⁄8 in.); sheet: 60.9 x 100.3 cm (24 x the time. According to the printer, Paul Levitt, Snyder dated this print 1973 “DEAR FELICIA” appears in the upper left quadrant of the print. 1 with Jane Kent and Carol Weaver 39 ⁄2 in.) because she made the plate then, although he printed and editioned it two Numbered by artist in graphite, lower right, # 2 (fig. 00) Edition: 25 (in 1981); 10 artist’s proofs and a unique, unsigned set of 9 years later in the printmaking studio of the Rutgers University Art Depart- progressive working proofs 15. Cow, 1978 17.3. Working proof 3 for Resurrection Etching, 1978–81 ment. (email to M. Symmes, March 18, 2010) Collection of the artist (JS 322.1–10) Soft ground etching, spit bite, sugar lift aquatint, open bite and etching on Photo etching, soft ground etching, sugar lift etching, open bite, Related painting: Resurrection, 1977, oil, acrylic, fabric, wallpaper, col- Arches paper aquatint, and line etching on Arches paper

3 3 1 3 laged newspaper and sewing patter, gold paint, papier-mâché, and graphite Plate: 24.8 x 40 cm (9 ⁄4 x 15 ⁄4 in.); sheet: 51.4 x 66 cm (20 ⁄4 x 26 in.) Image: 25.4 x 89.9 cm (10 x 35 ⁄8 in.); sheet: 60.9 x 100.3 cm (24 x 13. Imagine, 1975 1 on canvas (eight panels); 1.98 x 7.92 m (6 ft. 6 in. x 26 ft.). Museum of Fine Signed, dated, and numbered in graphite, lower right, Joan Snyder ’78 1/15; 39 ⁄2 in.) Soft ground etching and sugar lift aquatint on Arches paper Arts, Boston, Gift of Sidney Singer, 1986.1015a-h (JS 302; fig. 00) titled, lower left, “Cow” Numbered by artist in graphite, lower right, # 3 15 5 1 Plate: 22.7 x 44.8 cm (8 ⁄16 x 17 ⁄8 in.); sheet: 38.1 x 56.5 cm (15 x 22 ⁄4 in.) The nine proofs are somewhat like states but not in the traditional Publisher: the artist 17.4. Working proof 4 for Resurrection Etching, 1978–81 Signed and dated in graphite, lower right, Joan Snyder 1975; numbered, sense; they show the process the artist used to develop the print’s linear Printer: Patricia Branstead, Aeropress, New York (chop mark, lower right) Photo etching, soft ground etching, sugar lift etching, open bite, lower left, 17/40 and tonal areas. Snyder’s work on this print edition was interrupted by Edition: 15; 1 artist’s proof, 4 working proofs aquatint, line etching (sections of print are collaged), and watercolor Publisher: the artist her miscarriage in 1978, followed by the birth of a daughter a year later. Collection of the artist (JS 320) on Arches paper Printer: Paul Levitt, New Brunswick, New Jersey Image and sheet: 60.9 x 101.6 cm (24 x 40 in.) In 1980–81, Snyder was able to resume this print project with Branstead Edition: 40; 15 artist’s proofs; 5 working proofs; plus 3 proof impressions of Related works: Numbered by artist in graphite, lower right, # 4 (fig. 00) at Aeropress. Before they were able to edition the print, Kent and Weaver each of 3 states (1, 2, and 3) in the artist’s collection Resurrection, 1977, oil, acrylic, fabric, wallpaper, collaged newspaper and 17.5. Working proof 5 for Resurrection Etching, 1978–81 had to research and remix the sixteen to eighteen colors that had been Zimmerli Art Museum at Rutgers, Gift of the artist, 1986.0137 (JS 274; fig. 00) sewing pattern, gold paint, papier-mâché, and graphite on canvas (eight Photo etching, soft ground etching, sugar lift etching, open bite, used earlier. (M. Symmes’s conversations with Carol Weaver on November panels); 1.98 x 7.92 m (6 ft. 6 in. x 26 ft.). Museum of Fine Arts, Boston, Gift 7, 2009, and with Jane Kent on May 7, 2010, and Kent’s email to Symmes, Related paintings: aquatint, and line etching on Arches paper of Sidney Singer, 1986.1015a-h (JS 302; fig. 00) 1 January 13, 2010) Vanishing Theatre/The Cut, 1974–75, oil, acrylic, papier-mâché, and chicken Image: 25.4 x 89.5 cm (10 x 35 ⁄4 in.); plate: 60.9 x 89.5 cm (24 x Resurrection Etching (cat. 17.10) 1 1 On the far left of the composition, Snyder made a photo etched panel wire on canvas; 152.4 x 304.8 cm (60 x 120 in.). Collection of the artist (JS 35 ⁄4 in.); and sheet: 74.9 x 104.1 cm (29 ⁄2 x 41 in.) listing the names of crime victims (and the violence that befell each 271; fig. 00) Numbered by artist in graphite, lower right, # 5 16. Study for Resurrection Etching, 1978 one) next to a photo etched panel of the related newspaper accounts. At Mom’s Just Out There Tryin’ to Break that Grid, 1975, oil, acrylic, and 17.6. Working proof 6 for Resurrection Etching, 1978–81 Soft ground etching, etching, color sugar lift aquatint, and spit bite on center, the angel of death presides; to the right of center, a black corpse chicken wire on canvas; 1.83 x 3.66 m (6 x 12 ft.). Location unknown (JS Photo etching, soft ground etching, sugar lift etching, open bite, Arches paper lies beneath an undulating moonlit rural landscape with a cow. At right, a 275) aquatint, line etching with collage, graphite, and watercolor on Arches 3 5 1 1 Plate: 50.2 x 60 cm (19 ⁄4 x 23 ⁄8 in.); sheet: 72.4 x 80 cm (28 ⁄2 x 31 ⁄2 in.) Inspired by Frank O’Hara’s poem “Autobiographia Literaria,” Snyder paper blazing sun and a rainbow illuminate a scene of ascension and resurrection. Signed, dated, and numbered in graphite, lower right, Joan Snyder ’78 1 integrated her words with the poet’s in the left panel of this print. In her Image and sheet: 60.9 x 100.3 cm (24 x 39 ⁄2 in.) 21/35 sketchbook/diary from the summer of 1975 [collection of the artist], Snyder Numbered by artist in graphite, lower right, # 6 Publisher: the artist 18. FMSWNL [For My Son Who Never Lived], 1979–80 wrote two preliminary versions of her “Imagine” poem [one dated “6-25- 17.7. Working proof 7 for Resurrection Etching, 1978–81 Printer: Patricia Branstead, Aeropress, New York (chop mark, lower right) Nine-color lithograph on Arches paper 75”], followed by preliminary sketches for the print [one inscribed “make Photo etching, soft ground etching, sugar lift etching, open bite, color 1 1 Edition: 35; 4 working proofs and an unnumbered impression inscribed by Image: 53.3 x 87 cm (21 x 34 ⁄4 in.); sheet: 55.9 x 92.7 cm (22 x 36 ⁄2 in.) second/part strong but simple/bold but singing—”]. A page or two later, aquatint (from one plate), and line etching on Arches paper the artist “sample not for sale” (exhibition proof not intended for sale) 1 Titled in stone, lower right, FMSWNL Snyder developed her print idea further in another sketch dated “7-4-75”; Image and sheet: 60.9 x 99.6 cm (24 x 39 ⁄4 in.) Collection of the artist (JS 321) Unsigned printer’s proof on the page opposite, she wrote, “concerned with/physicality of idea/in Numbered by artist in graphite, lower right, # 7 [Editioned impressions and artist’s proofs signed and dated in graphite, terms of paint & materials, can I ‘illustrate’ the idea physically [?]” Several Related works: 17.8. Working proof 8 for Resurrection Etching, 1978–81 Photo etching, soft ground etching, color sugar lift aquatint (from two

154 catalogue of prints catalogue of printS 155 lower right, Joan Snyder ’80; numbered in graphite, lower left] York; most impressions individually hand-colored by the artist expose areas for the artist to hand-color with brushes. Elwell also printed a 24. Can We Turn Our Rage to Poetry, 1985 Publisher: Prestige Art Ltd., New York Edition: 15 (most were hand-colored; a few were monotype-printed with litho- few extra black and white proofs for the artist (fig. 00). Color lithograph on Rives BFK paper

Printer: Maurice Sánchez, James Miller, and Linda Larouche, Derrière graphic inks; and others combined hand-coloring with monotype printing) 1 1 Image and sheet: 76.8 x 112.4 cm (30 ⁄4 x 44 ⁄4 in). L’Étoile Studio, New York Collection of the artist (JS 403A; fig. 00) Titled in stone, lower right: CAN WE TURN OUR RAGE TO POETRY Edition: 100; 20 signed and numbered artist’s proofs (dated 1980); 3 22. Dancing in the Dark, 1984 Related works: Signed and dated in graphite, lower right, J Snyder ’85; numbered, lower unsigned printer’s proofs; 1 bon à tirer impression; and several color variant Woodcut printed in two black inks (vine black and blue-black) on Shoin Maquette drawing for the print: graphite, black crayon, and acrylic on left, AP 1/6 working proofs mulberry paper Copublishers: Mount Holyoke College, South Hadley, Massachusetts, and vellum, ruled with black ink lines; image: 60.9 x 89.9 cm (24 x 35 in.); sheet: 7 1 Zimmerli Art Museum at Rutgers, Gift of Maurice Sánchez/Derrière L’Étoile Image: 58.4 x 50.8 cm (23 x 20 in.); sheet: 73.3 x 63.8 cm (28 ⁄8 x 25 ⁄8 in.) 73.9 x 96.5 cm (29 x 38 in.) Collection of the artist (JS 345.4). Diane Villani Editions, New York Studio, 82.045.022 (JS 352; fig. 00) Signed in graphite, lower right, Joan Snyder.; numbered, lower left, A.P.6/6 Sweet Cathy’s Song, 1978, oil, acrylic, crayon, papier-mâché, children’s Printer: John Hutcheson, Mount Holyoke College, and Riverview Fine Arts Publisher: Diane Villani Editions, New York According to Derrière L’Étoile Studio’s documentation, Snyder began drawings on canvas; 1.98 x 3.66 m (6 ft. 6 in. x 12 ft.). The Museum of Press, Jersey City, New Jersey Printer: Chip Elwell, New York (documentation dated March 2, 1984) working on this print in October 1979, only four months after the birth of Modern Art, New York (JS 342) Edition: 20; 6 signed artist’s proofs; 4 variant working proofs Edition: 15; 6 signed artist’s proofs; 3 printer’s proofs. her daughter. The edition was fully completed in June 1981 with twenty Rain Dance, 1978, oil, acrylic, pastel, children’s drawings on canvas; Reference: Richard S. Field and Ruth E. Fine, A Graphic Muse: Prints by After editioning, original wood block (58.4 x 50.8 cm; 23 x 20 in.) returned artist’s proofs (instead of the twenty-five initially projected). The artist drew 1.83 x 2.44 m (6 x 8 ft.). Virginia Museum of Fine Arts, Richmond (JS 317) Contemporary American Women (New York: Hudson Hills Press in associa- to the artist her image in crayon and tusche on aluminum plates; the sequence of color tion with the Mount Holyoke College Art Museum, 1987), 152, no. 59. Reference: “Prints and Photographs Published,” Print Collector’s Newsletter printing was: black, pink, gold #1, gold #2, yellow, dark purple, light purple, Collection of the artist (JS 502; fig. 00) 25, no. 2 (May–June 1984): 66 (cited with Mommy Why? cat. 21). light red, and magenta. In addition to the edition and proofs cited above, 20. Woodcut for Love’s Deep Grapes, 1983 Lent by Derrière L’Étoile Studio (JS 418; fig. 00) Related painting: Can We Turn Our Rage to Poetry, 1985, oil, acrylic, the artist has three variant color proofs, one printed in reds, magentas, and Color woodcut on mulberry paper papier-mâché, velvet, and glass on canvas; 152.8 x 365.7 cm (60 x 144 in.). pinks; another in purple and pink tones; and a third emphasizing the gold Related painting: Savage Dreams, 1981–82, oil, acrylic, and fabric on Image: 50.8 x 38.1 cm (20 x 15 in.); sheet: 66 x 50.8 cm (26 x 20 in.) National Museum of Women in the Arts, Washington, D.C. (JS 454) colors. Despite her exhilaration over Molly’s birth, Snyder still needed to Signed and dated in graphite, lower right, Joan Snyder ’83; inscribed, lower canvas; 167.6 x 457.2 cm (66 x 180 in.). The Phillips Collection, Washington, express in her art the grief she felt over the son she lost from a late miscar- left, A.P. D.C. (JS 395) riage in 1978. Between the start of this print and its editioning, however, she Unpublished 25. For the Children, 1987 interrupted its progress to make two other lithographs at Derrière L’Étoile Printer: the artist, Cutchogue, New York 23.1. Things Have Tears and We Know Suffering, 1983–84 Woodcut, hand-inked by the artist with black ink and white oil paint on Studio: Make a Loud Noise (1980, uneditioned; JS 351A) and Study for Uneditioned: approximately 10 impressions printed Color woodcut hand-inked by the artist on Yamato mulberry paper mulberry paper 3 1 3 Image (block): 67 x 38.1 cm (26 ⁄8 x 15 in.); sheet: 87 x 62.2 cm (34 ⁄4 x Symphony for A. D. (see cats. 19.1–2). Original wood block incorporated into the painting, Love’s Deep Grapes, 1984 Image: 45.7 x 45.7 cm (18 x 18 in.); sheet: 66 x 64.4 cm (26 x 25 ⁄8 in.) 1 Collection of the artist (JS 426; fig. 00) Signed and dated in graphite, lower right, Joan Snyder ’83–84; numbered, 24 ⁄2 in.) lower left, A.P. 1/4 Signed in graphite, lower right, JSnyder; dated, lower left, 12/1/87; Related painting: Love’s Deep Grapes, 1984, oil, mulberry paper, velvet, 19.1. Study for Symphony for A. D., 1980 Printer: the artist with Chip Elwell, New York inscribed, lower center, 2nd proof cheesecloth, plastic grapes, and nails on carved wood block; 61 x 152.4 cm Lithograph on Arches paper Uneditioned: one of 4 signed artist’s proofs. Unpublished 1 1 (24 x 60 in.). Collection of Molly Snyder-Fink (JS 427; fig. 00) Image: 49.5–57.2 x 86.4 cm (19 ⁄2 [22 ⁄2 in. including lithography drip marks Collection of the artist (JS 425A.ap1; fig. 00) Printer: the artist with Margaret Haight, Eastport, New York 1 at bottom] x 34 in.); sheet: 64.1 x 94 cm (25 ⁄4 x 37 in.) Uneditioned: only a few impressions printed, including one inscribed 1st Titled in stone, from lower left to lower center, Study for Symphony for A. D. proof and another in a combination of pink and yellow 21. Mommy Why? 1983–84 Unsigned Collection of the artist (JS 530; fig. 00) Printer: Maurice Sánchez, with James Miller, Derrière L’Étoile Studio, New Woodcut hand-inked by the artist on Yamato mulberry paper 23.2. Things Have Tears and We Know Suffering, 1983–84 3 York Image: 30.5 x 51.7 cm (12 x 20 ⁄8 in. at widest point); sheet: 50.8 x 66 cm Color woodcut hand-inked by the artist on Yamato mulberry paper 3 1 (20 x 26 in.) Image: 45.7 x 45.7 cm (18 x 18 in.); sheet: 65.4 x 64.1 cm (25 ⁄4 x 25 ⁄4 in.) One of several uncolored impressions 26.1. For the Children, 1987–88 Signed and dated in graphite, lower right, Joan Snyder. 83–84; numbered, Signed and dated in graphite, lower right, Joan Snyder ’83–84; numbered, Collection of the artist (JS 403 A; fig. 00) Color woodcut in dark brown and pink on mulberry paper lower left, 14/15 lower left, 9/9 1 Image: 87.6 x 38.1 cm (34 ⁄2 [at tallest point] x 15 in.); sheet: 94.6 x 63.5 cm “A. D.” is Dr. Alvin Donnenfeld, the obstetrician who delivered the artist’s Publisher: Diane Villani Editions, New York Publisher: Diane Villani Editions, New York 1 daughter, Molly. He also took care of Snyder when she had her miscarriage (37 ⁄4 x 25 in.) Printer: Chip Elwell, New York, with the artist Printer: the artist with Chip Elwell, New York in 1978. Signed and dated in graphite, lower right, Joan Snyder ’87–’88; titled from Edition: 15; 7 signed artist’s proofs; 1 trial proof; 2 unsigned working color Edition: 9; 4 signed artist’s proofs lower left to lower center, PINK STUDY FOR WOODCUT #1 proofs; a few black and white proofs After editioning, original wood block (18 x 18 in.) returned to the artist Unpublished 3 After editioning, original wood block (ca. 30.5 x 51.7 cm [12 x 20 ⁄8 in.]) Collection of the artist (JS 425A.9; fig. 00) 19.2. Study for Symphony for A. D., 1981 Printer: the artist with Margaret Haight, Eastport, New York returned to the artist Lithograph, hand-colored with oil paint on Arches paper Edition: 3; several proofs Reference: “Prints and Photographs Published,” Print Collector’s Newsletter According to Chip Elwell’s documentation (dated June 22, 1984), the artist 1 1 Image: 49.5–57.2 x 86.4 cm (19 ⁄2 [22 ⁄2 in. including lithography drip marks Collection of the artist (JS 531; fig. 00) 25, no. 2 (May–June 1984): 66 (cited with Dancing in the Dark, cat. 22). cut and proofed the block in her studio in 1983. Elwell printed new proofs at bottom] x 34 in.); sheet: 60.9 x 94 cm (24 x 37 in.) in 1984; for the edition, Elwell inked the block with two colors, while Snyder Collection of the artist (JS 425; fig. 00) Related painting: Morning Requiem (For the Children), 1987–88, oil, acrylic, Titled in stone, from lower left to lower center, Study for Symphony for A.D. applied seven other colors by hand. wire, chain, wood, nails, papier-mâché, velvet, wood block print on linen, Signed and dated in graphite, lower right, Joan Snyder 1981; numbered, According to Chip Elwell’s documentation (dated February 25, 1984), Snyder mounted on seven wood panels; 1.68 x 7.34 m (5 ft. 6 in. x 24 ft. 1 in.). Rose lower left, 9/15 cut the wood block and made some proofs in her studio in 1983. Elwell Art Museum, Brandeis University, Waltham, Massachusetts (JS 526) Publisher: the artist and Derrière l’Étoile Studio, New York further proofed and printed the block with the artist in January–February Printer: Maurice Sánchez, with James Miller, Derrière L’Étoile Studio, New 1984. He rolled chocolate brown ink on the block, which was then wiped to

156 catalogue of prints catalogue of printS 157 another hand) on verso, JS 577-40 “green Brown Field” center, “Lavender Pool”; numbered, lower left, IV 26.2. For the Children, 1988 35. Large Cross on Yellow #1, 1989 Printer: the artist, Eastport, New York Publisher: the artist with Maurice Sánchez, Derrière L’Étoile Studio, New Color woodcut in brown-black, orange, yellow, and gold on mulberry paper Two-color monotype printed in oil on mulberry paper

1 Unique 1 York Image: 87.6 x 38.1 cm (34 ⁄2 [at tallest point] x 15 in.); sheet: 100.3 x 60.9 Image: 48.3 x 58.4 cm (19 x 23 in.); sheet: 51.4 x 66 cm (20 ⁄4 x 26 in.)

1 Collection of the artist (JS 577.40; fig. 00) Printer: the artist with Maurice Sánchez, Derrière L’Étoile Studio, New York cm (39 ⁄2 x 24 in.) Signed and dated in graphite, lower right, Joan Snyder 8 89 Variant impression in a series of 5 Signed and dated in graphite, lower right, Joan Snyder ’88; titled, lower Printer: the artist with Margaret Haight, Eastport, New York Lent by Derrière L’Étoile Studio (fig. 00) center, For the Children; numbered, lower left, 1/10 31. Large Yellow Nude, August 1989 Variant impression, Large Cross on Yellow #2 (JS 577.52) Publisher: the artist, Eastport, New York Color monotype printed in oil paint on mulberry paper Collection of Leon Wieseltier and Jennifer Bradley (JS 577.51) 1 Image: 48.2 x 58.4 cm (19 x 23 in.); sheet: 51.4 x 66 cm (20 ⁄4 x 26 in.) Printer: the artist with Margaret Haight, Eastport, New York 39. Even Art VI, 1992 Signed and dated in graphite, lower right, Joan Snyder 8/89 Edition: 10; 8 working proofs (variant color impressions) 36. Self-Portrait, 1990 Monotype with pochoir, using oil paint and monotype-printed graphite Printer: the artist with Margaret Haight, Eastport, New York Collection of the artist (JS 531; fig. 00) Woodcut on mulberry paper (pencil) on kozo paper Unique 1 1 3 1 2 Image: 30.8 x 27.3 cm (12 ⁄8 x 10 ⁄4 in.); sheet: 43.2 x 31.2 cm (17 x 12 ⁄4 in.) Image: 60.9 x 86.4 cm (24 x 34 in.); sheet: 66 x 97.8 cm (26 x 38 ⁄ in.) Allentown Art Museum, Purchase, SOTA Print Fund, 1993.03 (JS 577.15; fig. Signed and dated in graphite, lower right, J Snyder ’90; numbered, lower Signed and dated in graphite, lower right, J Snyder ’92; numbered, lower 27. Kaddish, 1988 00) left, AP 8/9 left, VI; titled, lower center, “Even Art” Woodcut printed in purple ink and orange oil paint, on mulberry paper Related painting: Bedeckt Mich mit Blumen, 1985, oil, acrylic, and cloth Printer: the artist, Brooklyn, New York Publisher: the artist with Maurice Sánchez, Derrière l’Étoile Studio, New Image: 30.5 x 7.6 [10.2] cm (12 x 3 in. [4 in. at widest point with orange flowers on canvas; 1.83 x 1.83 cm (6 x 6 ft.). Collection of Betty and Bob Uneditioned: 9 numbered artist’s proofs York 1 paint]); sheet: 43.2 x 31.7 cm (17 x 12 ⁄2 in.) Klausner (JS 453; fig. 00) confirm use of name/get proper first names? Collection of the artist (JS 608.12; fig. 00) Printer: the artist with Maurice Sánchez, Derrière l’Étoile Studio, New York Signed and dated in graphite, lower right, J Snyder, 88; numbered, lower Variant impression in a series of 6 Related works: left, 3/6; titled, lower center, KADDISH Collection of the artist (JS 630.6; fig. 00) Unpublished 32. The Swimmer, August 1989 Self-Portrait, 1990, woodcut on light tan mulberry paper; image: 21 x 13 cm

1 1 Printer: the artist, Eastport, New York Color monotype on mulberry paper (8 ⁄4 x 5 ⁄8 in.); sheet: 25.4 x 17.8 cm (10 x 7 in.); 4 signed artist’s proofs. 3 Image: 30.5 x 45.7 cm (12 x 18 in.); sheet: 51.8 x 66 cm (20 ⁄8 x 26 in.) Edition: 6 Collection of the artist (JS 608.11) 40.1–22. Souls Series, 1993 Signed in graphite, lower left, Joan Snyder; dated, lower right, Aug. 89; Collection of the artist (JS 528A; fig. 00) Self-Portrait, 1990, graphite drawing; 38.1 x 28 cm (15 x 11 in.). Collec- 22 unique prints printed from 6 wood blocks hand-inked with oil paint onto titled, lower center, “The Swimmer” tion of the artist (JS 608.12A) Snyder also made other variant woodcuts based on this Kaddish image. various fabrics and papers (one wood block/one head per piece of fabric or Printer: the artist with Margaret Haight, Eastport, New York Related painting: Study for Morning Requiem with Kaddish, 1987–88, sheet of paper) Unique oil and acrylic on linen (with wood block for the print Kaddish embedded in Unique installation piece (displayed with Edna St. Vincent Millay’s poem Museum of Fine Arts, Boston, Ernest W. Longfellow Fund, 1990.329 (JS 37.1–3. The Witness, 1990 central section), mounted on board with nails and wire; 30.5 x 122 cm (12 x “Dirge Without Music”) 577.17; fig. 00) 37.1. Color woodcut on mulberry paper Overall dimensions: 2.44 x 2.97m (8 ft. x 9 ft. 9 in.) 48 in.). The Jewish Museum, New York (JS 528) 1 Image: 30.5 x 28.3 cm (12 x 11 ⁄8 in.); sheet: 43.2 x 31.1 cm (17 x Printer: the artist 1 12 ⁄4 in.) 1 1 33. Large Moonfield #2, August 1989 Original wood blocks (16 ⁄2 x 9 ⁄4 in. and unknown dimensions) remain in the Signed and dated in graphite, lower right, J Snyder ’90; numbered, Monotype with oil paint on mulberry paper artist’s collection 28. Yellow Ochre Field, July 5, 1988 lower left, AP 4/6 (fig. 00) Image: 48.3 x 58.4 cm (19 x 23 in.); sheet: 50.8 x 78.7 cm (20 x 31 in.) Collection of the artist (JS 649.1–22; fig. 00) Color monotype on mulberry paper 37.2. Color woodcut on beige velvet 1 3 Signed and dated in graphite, lower right, J Snyder Aug. ’89 Image: 47 x 58.4 cm (18 ⁄2 x 23 in.); sheet: 50.8 x 67 cm (20 x 26 ⁄8 in.) 1 1 Image: 30.5 x 28.3 cm (12 x 11 ⁄8 in.); fabric: 34.3 x 33 cm (13 ⁄2 x 13 Snyder printed each of six wood blocks (each with a different image of a Printer: the artist with Margaret Haight, Eastport, New York Signed and dated in graphite, lower right, 7/5/88 JSnyder in.) (slightly irregularly cut) head) in different colors onto differently colored and sized pieces of fabric Unique Printer: the artist, Eastport, New York One of two impressions on beige velvet or paper. She printed a total of forty-six images. From these, she makes Lent by Derrière L’Étoile Studio (fig. 00) Unique Unsigned a selection for each unique, site-specific installation (always displayed in Collection of the artist (JS 577.61; fig. 00) Related painting: Moonfield, 1986, oil and acrylic on canvas; 121.9 x 152.4 37.3. Color woodcut on pink velvet fabric a corner); no installation of Souls has been the same. Prior to the 2011 1 3 Zimmerli Art Museum’s presentation, Souls was shown at Jay Gorney cm (48 x 60 in.). Private collection (JS 469) Image: 30.5 x 28.3 cm (12 x 11 ⁄8 in.); fabric: 32.4 x 30.5 cm (12 ⁄4 x 29. Scores #2, June 7, 1989 12 in., slightly irregularly cut) Modern Art in New York (1994) and at Snyder’s exhibition at the Brooklyn Color monotype on mulberry paper 34. Large Cross on Black #2, 1989 Unsigned Museum (1998). 1 Related paintings (incorporating several woodcuts from the Souls Image: 22.8 x 27.9 cm (9 x 11 in.); sheet: 31.7 x 43.2 cm (12 ⁄2 x 17 in.) Two-color monotype printed in oil on mulberry paper Printer: the artist, Brooklyn, New York Signed in graphite, lower left, J Snyder; dated, lower right, 6/7/89 Image: 48.3 x 58.4 cm (19 x 23 in.); sheet: 50.8 x 66 (20 x 26 in.) Uneditioned: 6 artist’s proofs on paper; 3 trial proofs on paper; and Series): Printer: the artist, Eastport, New York Signed and dated in graphite, lower right, Joan Snyder 1989; inscribed, approximately 11 impressions on fabric. Journey of the Souls, 1993, straw, velvet, oil, acrylic, wooden dowels, Variant of Scores #1, monotype made on same date (JS 577.8) lower left, AP Collection of the artist (JS 585A) print on silk, mulberry paper on linen; 152.4 x 304.8 cm (60 x 120 in.). Collection of the artist (JS 577.9) Printer: the artist with Margaret Haight, Eastport, New York Private collection (JS 639) Unique Faces, 1993, oil, acrylic, and woodcut prints on fabric and papier-mâché; 91.5 x 91.5 cm (36 x 36 in.). Collection of Jeremy Nobel (JS 648; fig. 00) 30. Green Brown Field, 1989 Collection of the artist (JS 577.50; fig. 00) 38. Lavender Pool IV, 1992 Color monotype on mulberry paper Monotype on mulberry paper

1 1 1 1 Image: 48.2 x 58.4 cm (19 x 23 in.); sheet: 53.3 x 79 cm (21 x 31 ⁄8 in.) Image: 86.4 x 59.7 cm (34 x 23 ⁄2 in.); sheet: 97.8 x 64.8 cm (38 ⁄2 x 25 ⁄2 in.) Signed and dated in graphite, lower right, Joan Snyder ’89; inscribed (by Signed and dated in graphite, lower right, Joan Snyder ’92; titled, lower

158 catalogue of prints catalogue of printS 159 Related painting: Winter 1992 for Mom and Pop, 1993, oil, acrylic, silk, Related paintings: 41.1–2. Three Faces/Mommy Why II, August 1993 48. Study for A.C.T.A.S. (Another Cherry Tree Another Symphony), 1995 1 paper printed with woodcuts, and straw on linen; 1.98 x 2.59 m (6 ft. 6 in. x Sunflower/Diptych, 1994, oil and acrylic on canvas; 91.5 x 214.6 cm (36 x 84 ⁄2 Color woodcuts, hand-inked and hand-painted on mulberry paper Monotype on mulberry paper

1 3 8 ft. 6 in.). Collection of Betty and Bob Kausner (JS 637) – MS to get signed 1 3 1 in.). Collection of John and Nina Darnton – get permission to cite (JS 674) Image and sheet: 47 x 65.4 cm (18 ⁄2 x 25 ⁄4 in.) Image: 55.9 x 74.9 cm (22 x 29 ⁄2 in.); sheet: 65.4 x 97.8 cm (25 ⁄4 x 38 ⁄2 in.) permission to use name- ck name cited properly.. Ah Sunflower, 1995, oil, acrylic, papier-mâché, cheesecloth, and herbs 41.1. Signed and dated in graphite, lower right, J Snyder/8/93 Signed and dated in graphite, lower right, J Snyder ’95; numbered, lower on canvas with wooden shelf; 1.88 x 2.82 m (6 ft. 2 in. x 9 ft. 3 in.). Collec- 41.2. Signed and dated in graphite, lower right, J Snyder/Summer/1993; left, III; titled, lower center, “Study for A.C.T.A.S.” tion of Roger N. Mayer (JS 696) – get permission to cite name inscribed in pencil along bottom, A VeRY ROUGH VeRSION OF “MOMMY 45. Cherry Tree Series I, 1994 Publisher: Smith College Print Workshop, Northampton, Massachusetts WHY II” USING WOOD BLOCK PAINTED ON/AND CARVeD INTO— Monoprint (woodcut hand-inked by the artist and monotype) on mulberry Printer: the artist with Maurice Sánchez (Derrière L’Étoile Studio) at Harnish paper Printer: the artist Graphics Studio, Smith College, Northampton, Massachusetts 51.1–2. Rites of Passage, 1996 7 3 1 Image: 86 x 60.3 cm (33 ⁄8 x 23 ⁄4 in.); sheet: 90.2 x 60.3 cm (35 ⁄2 x Uneditioned: only a few impressions printed Variant impression in a series of 5 Monoprint (woodcut, hand-inked with oil paints and pastel, and monotype 3 23 ⁄4 in.) Collection of the artist (JS 656.2, 656.3; figs. 00 and 00) Lent by Derrière L’Étoile Studio (JS 688.3; fig. 00) from oil paints on Plexiglas) Signed and dated in graphite, lower right, JSnyder ’94; numbered, lower To make this print, Snyder printed two of the woodcut heads (repeating 51.1 (#16). Monoprint (woodcut, hand-inked with oil paints and pastel, and left, A.P.1; titled lower center, “Cherry Tree Series” one of them flanking the central mother figure) from the Souls Series (cats. monotype from oil paints on Plexiglas) on Rives BFK white paper 40.1–22). Publisher: the artist, Brooklyn, New York 49. Our Foremothers, 1995 Printer: the artist with Chris (John C.) Erickson in the artist’s studio, Color lithograph, etching, and woodcut on Arches buff paper 51.2 (#18). Monoprint (woodcut, hand-inked with oil paints and pastel, and Brooklyn, New York Image and sheet: 60.9 x 86.3 cm (24 x 34 in.) 42. Untitled, August 1993 monotype from oil paints on Plexiglas) on Arches crème paper Variant impression in a series of 6, plus 2 artist’s proofs Signed, dated, and numbered in graphite, lower left, J Snyder ’95/JP I 1 1 Monotype on mulberry paper Image and sheet: 90.1 x 59 cm (35 ⁄2 x 23 ⁄4 in.)

3 Original luan wood block (91.5 x 61 cm; 36 x 24 in.) remains in the artist’s Publisher: The Jewish Museum, New York Image: 27.9 x 35.6 cm (11 x 14 in.); sheet: 32.4 x 43.2 cm (12 ⁄4 x 17 in.) Each signed and dated in graphite, lower right, JSnyder ’96; numbered, collection Printer: Andrew Mockler, with Vera Stanojevis and Moriah Carlson, Jungle Signed and dated in graphite, lower right, J Snyder August 93 lower left, 1/1 Lent by Happy and Jane Traum (JS 670.7; fig. 00) Press Editions, New York (chop mark, lower left) Printer: the artist Publisher: Diane Villani Editions, New York Edition: 90; plus 15 artist’s proofs (numbered I–XV); 19 trial proofs; 6 work- Unique Related painting: The Cherry Tree, 1993, oil, acrylic, silk, papier-mâché, Printer: the artist with Andrew Mockler, Jungle Press Editions, printed in the ing proofs with additions by the artist; 1 bon à tirer impression; 3 printer’s Collection of the artist (JS 577.74) mulberry paper, and straw on linen; 167.7 x 144.8 cm (66 x 57 in.). Collec- artist’s studio, Brooklyn, New York proofs; 3 Jungle Press impressions; 1 cancellation proof (dated August 30, tion of Richard and Terry Albright (JS 643) Two unique monoprints from a series of 4 variant monoprints 1995) 1 Original plywood block (91.5 x 61.6 cm; 36 x 24 ⁄4 in.) remains in the artist’s 43. Field of Flowers from The New Provincetown Print Project Portfolio, 1993 1 Two original woodblocks (each 34.3 x 91.5 cm [13 ⁄2 x 36 in.]; two blocks collection Monoprint (color etching, aquatint, and woodcut, hand-inked by the artist 46. Smith Tune V, 1995 printed together as one image) remain in the artist’s collection Reference: “Prints and Photographs Published,” Print Collector’s Newsletter and selectively printed in various colors; multiple printings; hand coloring, Monotype on mulberry paper The Museum of Modern Art, New York, The Ralph E. Shikes Fund, 1996 27, no. 2 (May–June 1996): 65. pastel) on Arches paper 1 Image: 60.9 x 60.9 cm (24 x 24 in.); sheet: 66 x 97.1 cm (26 x 38 ⁄4 in.) (244.1996) (JS 703; fig. 00) 1 1 Private collection (JS 718.16, 718.18; figs. 00 and 00) Image and sheet: 57.1 x 74.9 cm (22 ⁄2 x 29 ⁄2 in.) Signed and dated in graphite, lower right, J Snyder ’95; numbered, lower Signed and dated in graphite, lower right, Joan Snyder 1993 left, V; titled, lower center, “Smith Tune” According to Jungle Press Editions’ print documentation (dated January 18, Related painting: Rites of Passage, 1996, oil, acrylic, herbs, mulberry paper, Publisher: Fine Arts Work Center, Provincetown, Massachusetts Publisher: Smith College Print Workshop, Northampton, Massachusetts 1996), the artist and master printer collaborated between May 23 and June and wood on linen; 213.3 x 111.7 cm (84 x 44 in.). Private collection (JS 712; Printer: Robert Townsend, R. E. Townsend Studio, Georgetown, Printer: the artist with Maurice Sánchez (Derrière L’Étoile Studio) at Harnish 30, 1995 (when Snyder approved the bon à tirer impression). The printing fig. 00) Massachusetts Graphics Studio, Smith College, Northampton, Massachusetts sequence was as follows: lithography (from aluminum plate) in purple ink; Unique monoprint in a series of 4 variant monoprints lithography (from stone) in rose ink; etching in orange ink; then the woodcut Variant impression in a series of 5 52. Another Version of Cherry Fall, 1996 Collection of the artist (JS 651.5; fig. 00) was selectively printed in violet-gray, turquoise, yellow-green, bright rose, Collection of the artist (JS 686.5) Color woodcut (colored à la poupée) and soft ground etching (printed in yellow-orange, mint green, purple, red, and red-orange. purple) on chine collé (with mulberry paper) on Rives BFK cream paper

1 1 Image and sheet: 64.8 x 59.7 cm (25 ⁄2 x 23 ⁄2 in.) 44. Field of Moons from The New Provincetown Print Project Portfolio, 1993 47. Freshly Plowed Field, 1995 50. Sunflowers, 1996 Numbered, signed, and dated in graphite, vertically along lower right edge, Monoprint (color etching, aquatint, and woodcut, hand-inked by the artist Monotype on mulberry paper Color woodcut and monotype (printed with oil paint and pastel; Plexiglas, 53/60 Joan Snyder ’96 3 5 and selectively printed in various colors, including oil paint; multiple Image: 55.9 x 75.6 cm (22 x 29 ⁄4 in.); sheet: 65.1 x 85.1 cm (25 ⁄8 x hand-painted with oil paints; additional washes on Plexiglas) on mulberry Publisher: Commission for the 25th Anniversary of the Mary H. Dana 1 printings; hand coloring, pastel) on Rives BFK paper 33 ⁄2 in.) paper Women Artists Series, Douglass College (Rutgers University), New Bruns- 1 1 1 Image and sheet: 56.5 x 71.1 cm (22 ⁄4 x 28 in.) Signed and dated in graphite, lower right, J Snyder ’95; numbered, lower Image: 60.9 x 91.5 cm (24 x 36 in.); sheet: 62.2 x 92 cm (24 ⁄4 x 36 ⁄4 in.) wick, New Jersey Signed in graphite, lower right, Joan Snyder; numbered, lower left, 1/1 left, I; titled, lower center, “Freshly Plowed Field” Signed and dated in graphite, lower right, J Snyder ’96; numbered, lower Printer: Eileen M. Foti and Eduardo Fausti, Rutgers Center for Innovative Publisher: Fine Arts Work Center, Provincetown, Massachusetts Publisher: Smith College Print Workshop, Northampton, Massachusetts left, AP VI Print and Paper (now Brodsky Center for Innovative Editions at Rutgers), Printer: the artist with Robert Townsend, R. E. Townsend Studio, George- Printer: the artist with Maurice Sánchez (Derrière L’Étoile Studio) at Harnish Printer: the artist with Andrew Mockler, Jungle Press Editions, printed in the New Brunswick, New Jersey town, Massachusetts Graphics Studio, Smith College, Northampton, Massachusetts artist’s studio, Brooklyn, New York Edition: 60; plus 15 artist’s proofs, 10 Rutgers impressions, 1 bon à tirer Unique monoprint in a series of 8 variant monoprints Variant impression in a series of 5 Unique monoprint from a series of 7 variant monoprints impression, and 8 color trial proofs. Original plywood block (61 x 96.5 cm; 24 x 38 in.) in the artist’s collection Collection of the artist (JS 687.1; fig. 00) Original wood block (60.9 x 91.5 cm; 24 x 36 in.) in the artist’s collection; Zimmerli Art Museum at Rutgers, Gift of the Brodsky Center (formerly Allentown Art Museum, Pennsylvania, Gift of Joan Snyder, 1993.035 (JS new impressions from this block were made in 2009 Rutgers Center for Innovative Print and Paper) 2007.0027 (JS 724.53; fig. 00) 655.1; fig. 00) Lent by Happy and Jane Traum (JS 714.6; fig. 00) Related paintings: Cherry Fall, 1995, oil, acrylic, herbs, and cloth on linen; 144.8 x 167.6 cm (57

160 catalogue of prints catalogue of printS 161 x 66 in.). Private collection (JS 704; fig. 00) Collection of Joann and Gifford 56.8. Color woodcut over color etching, a variant of editioned print Collection of the artist (JS 747; fig. 00) 56.1–9. My Work . . . , 1997 3 3 Phillips. – ck with owners for permission to cite name Image (plate): 40 x 50.1 cm (15 ⁄4 x 19 ⁄4 in.); sheet: 55.9 x 75 cm (22 Five-color etching, soft ground etching, aquatint, spit bite, scraping, and Related painting: . . . and acquainted with grief, 1997, oil, acrylic, velvet, linen, 1 Green Cherry Fall, 1997, oil, acrylic, cloth, silk, velvet, straw, and herbs x 29 ⁄2 in.) color woodcut on Somerset soft white paper silk, papier-mâché, and charcoal on canvas; 121.9 x 274.3 cm (48 x 108 in.). on linen; 152.4 x 198.1 cm (60 x 78 in.). Collection of Judy and Benton Unsigned 56.1–8 Color proofs for My Work . . . Collection of Dr. Jack Singer (JS 744; fig. 00) Markey (JS 738) – confirm name use. (fig. 00) 56.1. Woodcut printed in dark red over etching (words printed in black); 56.9. Five-color etching, soft ground etching, aquatint, spit bite, scraping, other words handwritten in felt-tip marker pen and graphite and color woodcut on Somerset soft white paper 53. For F, 1996 Image: 40.6 x 50.8 cm (16 x 20 in.); sheet: 55.9 x 75.5 cm (22 x 59. Prayer, 1998 3 3 1 3 Plate: 40 x 50.1 cm (15 ⁄4 x 19 ⁄4 in.); sheet: 56.5 x 63.5 cm (22 ⁄4 x Monoprint (copperplate intaglio and woodcut [cherry and luan wood blocks 29 ⁄4 in.) Monoprint (color etching, aquatint, and woodcut, hand-inked and selectively 25 in.) cut and printed as relief and intaglio] hand-inked by the artist and dusted Signed and dated, lower right, J Snyder ’97; numbered, lower left, printed) on Rives BFK paper Signed and dated in graphite, lower right, Joan Snyder 1997; num- 1 with pastel; monotype from additional washes on Plexiglas) on Arches paper WP 7/7 [the artist’s work proof (WP) numbering does not refer to the Image and sheet: 61.6 x 127 cm (24 ⁄4 x 50 in.) 1 1 bered, lower left, 8/16 Image and sheet: 75 x 90.1 cm (29 ⁄2 x 35 ⁄2 in.) actual proofing sequence] Signed and dated in graphite, lower right, Joan Snyder 1998; numbered, Copublishers: the artist and Diane Villani Editions, New York Signed and dated in graphite, lower right, J Snyder ’96; numbered, lower (fig. 00) lower left, I; titled, lower center, Prayer Printer: Jennifer Melby, Brooklyn, New York left, AP VI 56.2. Woodcut printed selectively in bright red (central image and title Publisher: the artist Edition: 16; plus 4 artist’s proofs, 4 hors commerce, 1 bon à tirer Publisher: the artist phrase along bottom) with etching (words) printed in black Printer: the artist with Robert Townsend, R. E. Townsend Studio, George-

3 1 1 impression plus assorted proofs Printer: the artist with Robert Townsend, R. E. Townsend Studio, George- Image (plate): 40 x 51.5 cm (15 ⁄4 x 20 ⁄4 in.); sheet: 56 x 75 cm (22 ⁄4 town, Massachusetts

1 Original wood block (40.6 x 50.8 cm; 16 x 20 in.) remains in the town, Massachusetts x 29 ⁄2 in.) Unique monoprint from a series of 5 variant monoprints artist’s collection Unique monoprint from a series of 9 variant monoprints Unsigned Original plywood block (61 x 127 cm; 24 x 50 in.) in the artist’s collection Reference: “Working Proof,” On Paper 2, no. 1 (September–October Collection of the artist (JS 727.6; fig. 00) (fig. 00) Collection of the artist (JS 748.1; fig. 00) 1997): 41. 56.3. Woodcut printed in bright red and etching, with some words written in Collection of the artist (JS 741; fig. 00) ballpoint pen and graphite

3 3 54. Untitled Journey VIII, 1996 Image (plate): 40 x 50.1 cm (15 ⁄4 x 19 ⁄4 in.); sheet: 56.5 x 75 cm 60. My Maggie, 2000

1 1 Monoprint (copperplate intaglio and woodcut, hand-inked by the artist, and (22 ⁄4 x 29 ⁄2 in.) 57. Requiem/Let Them Rest, 1998 Color lithograph (from three lithographic plates) and etching on Rives BFK dusted with pastel; monotype from additional washes on Plexiglas) on Rives Unsigned Color lithograph, etching, and woodcut on Arches paper cream paper 1 1 BFK buff paper (fig. 00) Image and sheet: 66 x 50.8 cm (26 x 20 in.) Image and sheet: 52 x 59.7 cm (20 ⁄2 x 23 ⁄2 in.) 9 Image and sheet: 85.2 x 101.6 cm (33 ⁄16 x 40 in.) 56.4. Single-color line etching and single-color aquatint with pink-red Signed and dated in graphite, lower right, J Snyder. ’98; numbered, lower Signed and dated in graphite, lower right, Joan Snyder 2000; numbered, Signed and dated in graphite, lower right, J Snyder ’96; numbered, lower watercolor left, AP II lower left, 27/60 3 3 left, AP III Image (plate): 40 x 50.1 cm (15 ⁄4 x 19 ⁄4 in.); sheet: 56.5 x 75 cm Printer: Andrew Mockler and Martin Mazorra, Jungle Press Editions, New Publisher: Astraea Lesbian Foundation for Justice, New York 1 1 Publisher: the artist (22 ⁄4 x 29 ⁄2 in.) York (chop mark, lower left) Printer: Andrew Mockler, Jungle Press Editions, New York (no chop mark) Printer: the artist with Robert Townsend, R. E. Townsend Studio, George- Signed and dated in graphite, lower right, Joan Snyder ’97; numbered, Publisher: Madison Art Center, Madison, Wisconsin Edition: 60 town, Massachusetts lower left, WP 5/7 Edition: 120; 32 artist’s proofs; 5 trial proofs; 1 bon à tirer impression; 3 Collection of the artist (JS 782.27; fig. 00) Unique monoprint from a series of 9 variant monoprints (fig. 00) printer’s proofs; three Jungle Press Editions impressions (plus variant work Related works: Reference: “Working Proof,” On Paper 1, no. 4 (March–April 1997): 44. 56.5. Color woodcut over single-color line etching and two-color aquatint proofs, 8 remaining in the artist’s collection) My Maggie, 1997, etching with watercolor; (plate) 15.2 x 17.8 cm (6 x 7 in.). 3 7 The Brooklyn Museum, Alfred T. White Fund, 1997.41 (JS 725.3; fig. 00; see Image (plate): 40 x 55 cm (15 ⁄4 x 19 ⁄8 in.); sheet: 56.5 x 75.2 cm Collection of the artist (JS746.AP2; fig. 00) Collection of Maggie Cammer (JS 739) 1 5 also figs. 00 and 00) (22 ⁄4 x 29 ⁄8 in.) Preliminary sketchbook drawings in graphite. Collection of the artist Unsigned According to Jungle Press Editions’ print documentation (dated May 5, 1998), the artist’s collaboration with Jungle Press occurred between June 55. Candles for Clem, 1996 (fig. 00) 56.6. Two-color woodcut over single-color line etching and four-color 9, 1997, and April 8, 1998. The four-step printing sequence was as follows: Monoprint (four copperplate intaglios and woodcuts [cherry and luan wood 61.1–2. In Times of Great Disorder V and In Times of Great Disorder XII, 2000 aquatint yellow-green from lithography (stone); then etching printed à la poupée in blocks cut and printed as relief and intaglio] hand-inked by the artist and Monoprints (lithography, monotype, and woodcut monoprint hand-inked by 3 3 carmine, orange, graphite, black, yellow-green; then woodcut printed in Image (plate): 40 x 50.1 cm (15 ⁄4 x 19 ⁄4 in.); sheet: 56.5 x 75 cm dusted with pastel; monotype from additional washes on Plexiglas) on the artist) on Rives BFK white paper 1 1 pink, followed by dark blue-purple for the eyes and red for the lips. (22 ⁄4 x 29 ⁄2 in.) 1 1 Somerset buff paper Image and sheet: 75 x 75 cm (29 ⁄2 x 29 ⁄2 in.) 7 Signed and dated in graphite, lower right, Joan Snyder ’97; numbered, Image and sheet: 86 x 101.6 cm (33 ⁄8 x 40 in.) 61.1. Signed and dated in graphite, lower right: J Snyder 2000; series lower left, WP 2/7 Signed and dated in graphite, lower right, J Snyder ’96; numbered, lower 58. . . . and acquainted with grief, 1998 number, lower left, V (fig. 00) left, AP VIII; this impression specially inscribed, lower right, and for Eileen Color etching, aquatint, woodcut, and linocut, hand-inked by the artist, on 61.2. Signed and dated in graphite, lower right: J Snyder 2000; series 56.7. Etching and woodcut printed in color and hand-painted with/love from Joan Rives BFK paper number, lower left, XII 3 3 Image (plate): 40 x 50.1 cm (15 ⁄4 x 19 ⁄4 in.); sheet: 56.5 x 75 cm 1 1 Printer and publisher: the artist with Robert Townsend, R. E. Townsend Image: 101.6 x 147.3 cm (40 x 58 in.); sheet: 105.4 x 151.1 cm (41 ⁄2 x 59 ⁄2 in.) Publisher: Jungle Press Editions, New York 1 1 (22 ⁄4 x 29 ⁄2 in.) Studio, Georgetown, Massachusetts Signed and dated in graphite, lower right, Joan Snyder ’98; inscribed, lower Printer: the artist with Andrew Mockler, Jungle Press Editions, New York Signed and dated in graphite, lower right, Joan Snyder ’97; numbered, Unique monoprint from a series of 9 variant monoprints left, AP; titled, lower center, ...and acquainted with grief (chop mark, lower left) lower left, WP 1/7 Reference: “Working Proof,” On Paper 1, no. 4 (March–April 1997): 44. Publisher: the artist Unique monoprints from a series of 18 variant monoprints (fig. 00) Collection of Eileen M. Foti (JS 726.8; fig. 00) Printer: Bob Townsend, R. E. Townsend Studio, Georgetown, Massachusetts Reference: Joan Snyder: In Times of Great Disorder, exh. cat. (Nielsen Edition: 10; 3 signed artist’s proofs; 1 trial proof; 5 state proofs Gallery, Boston, October 28–November 25, 2000), pls. V and XII.

162 catalogue of prints catalogue of printS 163 Collection of the artist (JS 777.5 and 777.12; figs. 00 and 00) artist harmonized the gestural spontaneity of her hand-painted colors with 64.7. Color digital print with screenprint on Hanamuhle German Etching pioneered the feminist revolution in the 1970s, including Emma Amos, the crisp geometry of circles. digital paper Harmony Hammond, Joyce Kozloff, Faith Ringgold, Miriam Schapiro, The printing sequence in various colors involved: printing first one, then 15 7 Image: 43 x 48 cm (16 ⁄16 x 18 ⁄8 in.); sheet: 55.9 x 58 cm (22 x Carolee Schneeman, Nancy Spero, May Stevens, and Martha Wilson. another lithographic aluminum plate for the grid; next, printing from a third 7 22 ⁄8 in.) lithographic aluminum plate for the square border; then, printing the artist’s 63. Serene/Cries, 2005 64.8. Color digital print with screenprint and border in acrylic on Hanamuhle hand-applied oil paints on Plexiglas; followed by printing three different Color digital print, lithograph in green, and carborundum plate in red and German Etching digital paper 66. Breaking Ground, 2008 woodcuts (first for the lines, then for the border, then for the dots); next, 7 light green with chine collé on Somerset Enhanced paper Image and sheet: 55.9 x 58 cm (22 x 22 ⁄8 in.) (fig. 00) Etching with pigmented inkjet printing on Somerset Enhanced Velvet paper hand-applied relief printing in oil paint; and finally, transferring pastel on 1 2 3 3 1 1 Image: 86.3 x 96.5 cm (34 x 38 in.); sheet: 91.4 x 100.3 cm (36 x 39 ⁄ in.) Printer: Randy Hemminghaus, Rutgers Center for Innovative Print and Image: 40 x 50.2 cm (15 ⁄4 x 19 ⁄4 in.); sheet: 47 x 57.1 cm (18 ⁄2 x 22 ⁄2 in.) woodcut onto the paper’s surface. The artist began her collaboration with Signed and dated in graphite, lower right, Joan Snyder 2005; numbered, Paper, New Brunswick, New Jersey (now Brodsky Center for Innovative Signed and dated in graphite, lower right, Joan Snyder ’08; signed by the Andrew Mockler in January 1999; the project was completed in February lower left, 50/50; titled, lower center, “Serene Cries” Editions at Rutgers) Collection of the artist (JS 900) poet, lower left, Eliza Griswold; numbered, lower center, AP 1/10 2000. Publisher: Rutgers Center for Innovative Print and Paper, New Brunswick, Note: In addition to the six proofs cited here, Snyder made at least Signed and dated in plate, lower left, J SNYDER/08 [J is in reverse] Related painting: Crushed Green Light, 1998, oil, acrylic, papier-mâché, New Jersey (now Brodsky Center for Innovative Editions at Rutgers) seven other color proofs. Publisher: The Corporation of Yaddo, Saratoga Springs, New York charcoal, wooden dowels, and plastic beads on canvas; 101.6 x 101.6 cm (40 Printer: Randy Hemminghaus with Kristen Cavagnet, Rutgers Center for Printer: Brian Berry, Bill Goldston, and Noelle Weber, Universal Limited Art x 40 in.). Courtesy Betty Cuningham Gallery, New York (JS 755; fig.00) Innovative Print and Paper, New Brunswick, New Jersey (chop, lower left) 64.9. Oasis, 2006 Editions, Inc., Bay Shore, New York Edition: 50; 2 artist’s proofs; 9 working proofs; 1 bon à tirer impression; 1 Color digital print with four-color screenprint (transparent yellow, trans- Edition: 35; 10 numbered artist’s proofs; 3 unnumbered AP impressions; 15 printer’s proof; 2 Rutgers impressions parent red, transparent green, and transparent blue) and hand-applied hors commerce impressions 62.1–7. Madrigal V, Madrigal X, Madrigal XI, Madrigal XIX, Madrigal XXVI, Zimmerli Art Museum at Rutgers, Gift of the Brodsky Center- credit line to Prismacolor on Hanamuhle German Etching digital paper Collection of the artist (JS 922; fig. 00)

Madrigal XXVIII, Madrigal XXXIII from 33 Madrigals, 2001 be confirmed, acc. no. (JS 879; fig. 00) 7 3 1 Image: 45.7 x 50.5 cm (18 x 19 ⁄8 in.); sheet: 52.7 x 56.5 cm (20 ⁄4 x 22 ⁄4 in.) Monoprints (color lithograph, monotype, and color woodcut) on Rives BFK Yaddo arranged for Snyder to collaborate with the poet Eliza Griswold. Signed and dated in green Prismacolor pencil, lower right, J Snyder 2006; paper Snyder’s image visually syncopates Griswold’s poem “Breaking Ground.” 64.1. Study for Oasis, 2006 numbered, lower left, RI 2/20; titled, lower center, OASIS 1 1 (see M. Symmes’s essay in this catalogue) Image and sheet: 85.1 x 90.1 cm (33 ⁄2 x 35 ⁄2 in.) Watercolor, ink wash, black ink, and acrylic over graphite with color Publisher: The Print Club of New York, Inc. 62.1. Signed and dated in graphite, lower right, Joan Snyder 2001; series notations in graphite Printer: Randy Hemminghaus, Rutgers Center for Innovative Print and number, lower left, V 1 45.8 x 53.3 cm (18 ⁄16 x 21 in.) Paper, New Brunswick, New Jersey (now Brodsky Center for Innovative 62.2. Signed and dated in graphite, lower right, Joan Snyder 2001; series 67.1–4. Seedcatchers with Ghosts, 2008 Collection of the artist (JS 900.1D) Editions at Rutgers) (chop mark, lower left) number, lower left, X Monoprints (color lithograph, woodcut hand-inked by the artist, and Edition: 200; 20 signed artist’s proofs; 1 printer’s proof; 20 signed Rutgers 62.3. Signed and dated in graphite, lower right, Joan Snyder 2001; series monotype, some with glitter and pastel) on Rives BFK paper, Arches cover impressions; and 1 bon à tirer impression number, lower left, XI paper, and Somerset Satin paper 64.2. Study for Oasis, 2006 Zimmerli Art Museum at Rutgers, Gift of the Brodsky Center (formerly 1 62.4. Signed and dated in graphite, lower right, Joan Snyder 2001; series Image and sheet: 75 x 96.5 cm (29 ⁄2 x 38 in.) Watercolor over graphite, with notations in black ink [sketchbook page] Rutgers Center for Innovative Print and Paper), 2007.0060 (JS 900.1; fig. 00) 67.1. Monoprint (color lithograph, woodcut hand-inked by the artist, number, lower left, XIX 1 21.6 x 27.9 cm (8 ⁄2 x 11 in.) 62.5. Signed and dated in graphite, lower right, Joan Snyder 2001; series Related painting: Pond, 2005, acrylic, papier-mâché, dirt, cloth, paper, and monotype, and, powdered pastel) on Arches cover paper Collection of the artist (JS 900.1sk; fig. 00) number, lower left, XXVI herbs on linen; 76.2 x 76.2 cm (30 x 30 in.). Private collection (JS 870) Signed and dated in graphite, lower right, Joan Snyder 2008; series 62.6. Signed and dated in graphite, lower right, Joan Snyder 2001; series [contact:Jean-Claude & Heidi Duby, Switzerland – via Nina Nielsen. – if can cite] number, lower left, 2/16 67.2. Monoprint (color lithograph, woodcut hand-inked by the artist, number, lower left, XXVIII 64.3–8. Color proofs for Oasis, 2006 62.7. Signed and dated in graphite, lower right, Joan Snyder 2001; series monotype, and powdered pastel) on Arches cover paper 64.3. Color digital print with screenprint and hand-brushed pink and blue 65. Angry Women from Femfolio, 2007 number, lower left, XXXIII Signed and dated in graphite, lower right, Joan Snyder 2008; series acrylic, with notations in graphite, on Hanamuhle German Etching Digital print with color lithography and hand-coloring on Hanamuhle Copublishers: the artist and Jungle Press Editions, New York number, lower left, 8/16 digital paper German Etching digital paper Printer: the artist with Andrew Mockler and Tilden Daniels, Jungle Press 15 7 3 67.3. Monoprint (color lithograph, woodcut hand-inked by the artist, Image: 43 x 48 cm (16 ⁄16 x 18 ⁄8 in.); sheet: 54.3 x 58 cm (21 ⁄8 x Image and sheet: 30.5 x 30.5 cm (12 x 12 in.) Editions, New York (chop mark, lower left) 7 monotype, powdered pastel and glitter) on Somerset Satin paper 22 ⁄8 in.) (fig. 00) Signed and dated in blue pencil, lower right, J Snyder 07; numbered in Unique monoprints from a series of 33 variant monoprints, numbered I–XXXIII Signed and dated in graphite, lower right, Joan Snyder 2008; series 64.4. Color digital print with screenprint, with color notations in graphite, graphite, lower left, RI 5/5 Reference: “Working Proof: 33 Madrigals,” Art on Paper 6, no. 3 (January– number, lower left, 11/16 and black and blue inks, on Hanamuhle German Etching digital paper Publisher: Brodsky Center for Innovative Editions at Rutgers, New Bruns- February 2002): 82–83. 15 7 1 67.4. Monoprint (color lithograph, woodcut hand-inked by the artist, Image: 43 x 48 cm (16 ⁄16 x 18 ⁄8 in.); sheet: 54 x 56.8 cm (21 ⁄4 x wick, New Jersey Collection of the artist (JS 801.5, -10, -11, -19, -26, -28, -33; figs. 00–00) 3 monotype, and powdered pastel) on Somerset Satin paper 22 ⁄8 in.) Printer: John C. (Chris) Erickson and Josh Azzarella, Brodsky Center for Signed and dated in graphite, lower right, Joan Snyder 2008; series According to Jungle Press Editions’ documentation (January 22, 2002), 64.5. Color digital print with screenprint, with notations in graphite, on Innovative Editions at Rutgers, New Brunswick, New Jersey (chop mark, number, lower left, 16/16 the artist and Andrew Mockler collaborated on this project from January Hanamuhle German Etching digital paper lower left) 15 7 3 Publisher: the artist to May 2001. After Mockler printed the lithography stone with washes of Image: 43 x 48 cm (16 ⁄16 x 18 ⁄8 in.); sheet: 55.2 x 58.4 cm (21 ⁄4 x Edition: 60; 5 signed artist’s proofs; 5 signed Rutgers impressions; 3 Printer: the artist with Andrew Mockler, Jungle Press Editions, Brooklyn, color, Snyder next hand-applied oil paints onto Plexiglas, which was printed 23 in.) printer’s proofs; 20 artist’s copies; and 1 bon à tirer impression New York as a monotype layered on the lithographic image. The printing sequence 64.6. Color digital print with screenprint, annotated with black ink lines and Zimmerli Art Museum at Rutgers, Gift of the Brodsky Center for Innovative Unique monoprints from a series of 16 variant monoprints involved three more steps: circles and lines were printed via woodcut, arrows, on Hanamuhle German Etching digital paper Editions, 2010 (ZAM acc. no. to come; confirm credit line(JS 921; fig. 00) 15 7 1 Collection of the artist (JS 925.2, -8 -11, and -16; figs. 00–00) followed by a transparent color layer (printed from a Plexiglas matrix), and, Image: 43 x 48 cm (16 ⁄16 x 18 ⁄8 in.); sheet: 54 x 53 cm (21 ⁄4 x 7 This portfolio contains twenty prints by twenty women artists who finally, a transfer application of pastel from a wood block. In this series, the 20 ⁄8 in.) Related paintings:

164 catalogue of prints catalogue of printS 165 3 3 Seedcatchers, 2007, oil, acrylic, papier-mâché, and burlap on canvas; 91.4 x Image and sheet: 72 x 97.5 cm (28 ⁄8 x 38 ⁄8 in.) 121.9 cm (36 x 48 in.). Private collection (JS 907) Numbered, signed, and dated in graphite, lower left, 27/30 Joan Snyder/ ’10 From Grief to Spring, 2008, oil, acrylic, berries, cloth, burlap, papier- Publisher: the artist with Jungle Press Editions, Brooklyn, New York mâché, and pastel on linen; 182.8 x 243.8 cm (6 x 8 ft.). Collection of Mr. Printer: Andrew Mockler, Silas van der Swaagh, and Patrick Warren, Jungle and Mrs. Richard Burnes, Jr. –ck can cite name (JS 911) Press Editions, Brooklyn, New York Edition: 30; 4 artist’s proofs 68. Altar, 2010 Collection of the artist (JS 931; fig. 00) Notes Digital print, color lithograph, chine collé, color etching (hard ground and The artist began this print in collaboration with Mockler in spring 2009; soft ground), color woodcut (printed in the manner of an intaglio), and she continued to work on it sporadically throughout that year. A proof was collograph on Rives BFK paper exhibited at the Editions/Artists’ Books Fair, New York, November 6–8, 3 1 Image and sheet: 85.7 x 80 cm (33 ⁄4 x 31 ⁄2 in.) 2009. The edition was completed in May 2010. “See what a life”: The Prints of Joan Snyder 9. This was in an interview concerning 33 Madrigals: [Faye Hirsch], “Work- Signed and dated in graphite, lower right, Joan Snyder 2010; numbered, 1. Snyder herself calls the image “scary.” Unless otherwise indicated, ing Proof: Joan Snyder,” Art on Paper 6 (January-February 2002): 83. lower left, xxxx first-person comments by the artist are from conversations or e-mail 10. Snyder brought the technique of printing pastel to Jungle Press from Publisher: Tandem Press, Madison, Wisconsin 70. See what a life . . . , 2010 correspondence carried on with the author between January and March, Bob Townsend, who, according to both Mockler and Townsend, invented Printer: Andy Rubin, Joe Freye, Bruce Crownover, and Jason Ruhl, Tandem Color etching and woodcut on Revere Silk paper 2010. it. “The pastel came as an experiment,” Townsend told me, “I don’t 1 Press, Madison, Wisconsin Image: 45.7 x 91.4 cm (18 x 36 in.); sheet: 62.2 x 106.7 cm (24 ⁄2 x 42 in.) 2. For three drawings that relate to the print, see Joan Snyder: Paintings remember with who first. You use the surface of the wood to trap the Edition: 40; 8 artist’s proofs; 4 printer’s proofs; 1 bon à tirer impression, How signed- edition not yet completed and Sketches (New York: Hirschl & Adler Modern, 1998), unpaginated. pastel—and then the trick is to get it onto the paper, using transparent 1 archive impression; 1 press impression; 1 scholarship impression; and 1 Publisher: the artist with Jungle Press Editions, New York 3. The book that was published in conjunction with the Jewish Museum base, which is printed onto the paper, and is sticky—so that it transfers presentation proof Printer: the artist with Andrew Mockler, Jungle Press Editions, Brooklyn, exhibition (also shown at the Danforth Museum of Art, Framingham, the pastel to the paper. Joan would literally crumble a piece of pastel Collection of the artist (JS 943; fig. 00) New York; editioned by Mockler, Lotte Allen, and Patrick Warren, Jungle Mass.) remains the best source on Snyder: Hayden Herrera, with and sprinkle it onto the plate.” Snyder also first intaglio-printed Press Editions, Brooklyn, New York During her residency at Tandem Press from June 22–July 1, 2009, Snyder Jenni Sorkin and Norman L. Kleeblatt, Joan Snyder (New York: Harry woodcuts with Townsend. Telephone interview with author, March Edition: 25; 8 artist’s proofs; 2 printer’s proofs; 5 trial proofs; 1 bon à tirer made the matrices and approved the bon à tirer proof for Altar; the edition N. Abrams, 2005). There have been two exhibitions that included a 31, 2010. impression; 1 working proof with hand additions in collage and watercolor was printed from April to June 2010. significant representation of prints. Joan Snyder: Works with Paper 11. Interview with Mockler at Jungle Press, March 3, 2010. For one Collection of the artist (JS 956; fig. 00) Related painting: Altar Painting, 2009, oil, acrylic, and cloth on linen; was organized by Sarah Anne McNear at the Allentown Art Museum, observer’s discussion of the transgressive nature of Snyder’s color, see 121.9 x 121.9 cm (48 x 48 in.). Courtesy Betty Cuningham Gallery, New York Allentown, Penn., October 8, 1993–January 2, 1994 (twenty-three prints, Helen Molesworth, “Painting with Ambivalence,” in Wack! Art and the (JS 944) fifteen paintings with collaged-paper compositions and nineteen draw- Feminist Revolution (Los Angeles: Museum of Contemporary Art, and ings, many of them studies for paintings). The show was accompanied Cambridge, Mass.: MIT Press, 2007), 434. by a fifty-six-page catalogue with an excellent essay by McNear. Joan 12. For accounts of these years, see Herrera 2005 (note 3 above), 18–19, 69. Wild Roses, 2010 Snyder: Working in Brooklyn was a major, though poorly publicized, and Symmes chronology. Color lithograph, etching, and woodcut on Hahnemuhle German Etching 1998 exhibition at the Brooklyn Museum of Art, in which there were 13. Herrera 2005 (note 3 above), 23–35. The flock-membranes are “imagi- white paper also a number of important prints, among them an installation of Souls nary inner landscapes that focus on women’s sexuality,” writes Herrera, Series (1993); there was no catalogue. adding, “Snyder is certain that they are paintings no man could have 4. Joan Snyder: In Times of Great Disorder (Boston: Nielsen Gallery, made . . . [and] represent the beginning of a feminist dialogue.” 2000), unpaginated. 14. Marcia Tucker, “The Anatomy of a Stroke: Recent Paintings by Joan 5. In regard to that composition, Snyder wrote, “I was . . . reading what Carl Snyder,” Artforum 9, no. 9 (May 1971): 42–45. Jung said about making mandalas. Simply put, he said that mandalas 15. On the painting, see Herrera 2005 (note 3 above), 44–45; on both the appear ‘in times of great disorder.’ I assume he meant in times of great painting and print, Resurrection Etching, see Sarah Anne McNear, Joan disorder in the universe. But it was also a time of great disorder in my own Snyder: Works with Paper (Allentown, Penn.: Allentown Art Museum, life; thus the title of the monoprint series.” Snyder 2000 (note 4 above). 1993), 14–16. 6. Sánchez had obtained it, in turn, from Robert Blackburn the first master 16. Certainly it was in the air. Snyder reports she began working on the printer at Universal Limited Art Editions, West Islip, Long Island, and imagery for the painting in 1975 or 1976. In summer 1978, the sixth founder of the Printmaking Workshop, New York. Interview with Maurice issue of Heresies, the magazine published by the collective, was devoted Sánchez, April 1, 2010. to women and violence. 7. Telephone interview with author, April 2, 2010. 17. Richard S. Field, “On Recent Woodcuts,” Print Collector’s Newsletter 13, 8. Among the printers she has worked with more than once are Randy no. 1 (March-April 1982): 1. Hemminghaus, at the Brodsky Center for Innovative Editions at Rutgers 18. Field 1982 (note 17 above), 5. (formerly Rutgers Center for Innovative Print and Paper); Andrew 19. Elwell participated in an interesting exchange published in Print Collec- Mockler at Jungle Press Editions, New York; Robert Townsend (primarily tor’s Newsletter 13, no. 6 (January-February 1983): 189–200, “Printing at R. E. Townsend Studio, Georgetown, Mass.); Maurice Sánchez (primar- Today: Eight Views,” in which he found himself defending accusations ily at Derrière L’Étoile Studio, New York); and Chip Elwell, New York. that the revival of woodcut was a market-driven “fad.”

166 catalogue of prints 167 20. In both Love’s Deep Grapes and Things Have Tears and We Know all quotes from Snyder’s diaries in this essay come from diaries in the 14. Unpublished typewritten text (ca. 1968) by Snyder, collection of the 37. Joan Snyder, “It Wasn’t Neo to Us,” Journal of the Rutgers University Suffering, Snyder refers to the line from Virgil’s Aeneid: “sunt lacrimae artist’s personal collection. artist. Libraries 54, no. 1 (June 1992): 34. rerum et mentem mortalia tangunt” (Book 1, line 462). The phrase has 3. As quoted by Hayden Herrera, “Joan Snyder: Speaking with Paint,” 15. As quoted in Reed 2004 (note 7 above). 38. Beryl K. Smith, “The Mary H. Dana Women Artists Series: From Idea been translated in numerous ways; Robert Fitzgerald in his classic edition in Joan Snyder, Hayden Herrera, with Jenni Sorkin, and Norman L. 16. As quoted in Reed 2004 (note 7 above). to Institution,” Journal of the Rutgers University Libraries, vol. 54, no. 1 of The Aeneid translates it as “they weep for how the world goes” (lines Kleeblatt (New York: Harry N. Abrams, Inc., 2005), 18. 17. Joan Snyder, “Painting and Sculpture—Philosophy and Technique” (June 1992): 6–7. The Women Artists Series was renamed the Mary H. 62829). Snyder, who uses the spelling “lacrymae,”[or sometimes “lachry- 4. Hayden Herrera, “Joan Snyder” (interview) in “Expressionism Today: An (MFA thesis, Rutgers University, 1966), 3–4; see Joan Snyder Folder 7 Dana Women Artists Series in 1987, when Nelle Smithers, an emerita mae”] takes her translation from a letter she received from a friend. Artists’ Symposium,” special issue, Art in America 70, no. 11 (December in Mary H. Dana Women Artists Series records. See also Herrera 2005 Douglass College professor, donated funds in memory of her friend Mary 21. McNear 1993 (note 15 above), 17. 1982): 63. Among the other artists interviewed for this special issue (note 3 above), 19; and Herrera, Joan Snyder: Seven Years of Work, exh. H. Dana, Douglass Class of 1942. See also Marianne Ficarra and Ferris 22. For more on images related to Things Have Tears and We Know were Eric Fischl, Malcolm Morley, Susan Rothenberg, David Salle, Julian cat. (Purchase, N. Y.: State University of New York, Neuberger Museum, Olin, eds. Mary H. Dana Women Artists Series 25th Year Retrospective: Suffering see Herrera 2005 (note 3 above), 47; she compares Snyder’s Schnabel, and Pat Steir. 1978), 3–4. These works evolved from her first painting, Crouching Nude 25 Years of Feminism, 25 Years of Women’s Art (New Brunswick, N.J.: shrieking figures to Munch’s figure in The Scream. 5. Sally Shearer Swenson, “Interview with Joan Snyder” (conducted in Death Scene (1965; JS 67), after Beckmann’s figure. Rutgers University Libraries, 1996), 137–51, where there is an informative 23. Richard S. Field and Ruth E. Fine, A Graphic Muse: Prints by Contempo- 1992), reprinted in Lives and Works: Talks with Women Artists, ed. Beryl 18. Herrera 1978 (note 17 above), 4. 1955–96 timeline contextualizing the Mary H. Dana Women Artists rary American Women (New York: Hudson Hills Press, 1987), 35. Smith, Joan Arbeiter, and Sally Shearer Swenson (London and Lanham, 19. Susan Gill, “Painting from the Heart,” ARTnews 86, no. 4 (April 1987): Series within the history of feminist art and the women’s movement, 24. Chip Elwell died of AIDS in 1986. Md.: Scarecrow Press, Inc., 1996), vol. 2, 182. 131. locally and nationally, and with key events in American history. 25. Reviewed in Print Collector’s Newsletter 15, no. 2 (May-June 1984): 66. 6. Doris Brown, “Young Artist Finds Inspiring, Riverfront Studio,” Home 20. In her MFA thesis essay, Snyder wrote “I wanted to make a crouching 39. Smith 1996 (note 38 above), 15 n. 8. See also the original typed docu- 26. Field and Fine 1987 (note 23 above), 32. News (New Brunswick, N.J.), March 31, 1963, Arts and Hobbies section, angel . . . [which] had a three dimensional torso and flat legs which were ment in Joan Snyder Folder 1 in Mary H. Dana Women Artists Series 27. Telephone interview with author, March 31, 2010. 40: “Miss Snyder, who majored in sociology at college, ‘started painting symmetrical, as were the wings. The legs, wings, and base of the angel records. 28. “What [art] can do, perhaps, is teach us the processes we are likely to seriously’ after she met Jona Mach, an Israeli art counselor at summer were built of plywood, the feet of white pine, the torso of plaster. . . . And 40. Joan Snyder, typed artist statement, April 1972; see Joan Snyder Folder endure: Not make us cry but make us see the how and why of crying. Not camp in Port Jervis, NY, last summer, where she was in charge of 65 finally the wood and plaster were painted bright pinks, grays, white 1 in Mary H. Dana Women Artists Series records. make us grieve but display the changing nature of grief.” Michael Feingold, teenaged girls. ‘This famous Israeli artist told me about his methods and gold. I added red fringe to the waist and purple flowers to the base 41. Snyder’s Whispers/Screams poster promoted the festival, which was “Aids, Mourning, and Action,” Harper’s Magazine, June 1990, 32. and his philosophy,’ explained this intent young painter. . . .” and then put the entire piece on four wheels. . . . Needless to say, upon held from June 24 through August 6, 1972. Other artists who have been 29. Harmony Hammond, “Feminist Abstract Art—A Political Viewpoint,” 7. As quoted in an unpublished transcription (unpaginated) of an interview completion, the angel did not look like a messenger of god, but rather commissioned to make an American Dance Festival poster include Heresies 1 (January 1977): 68. conducted by Catherine Reed with Joan Snyder at her home in an earthly messenger, possessing some magical qualities, delivering a Jennifer Bartlett, Alex Katz, and Elizabeth Murray. The American Dance 30. The list has often been cited but has happily just been released in Brooklyn, New York, on April 9, 2004. See Joan Snyder Folders 11–12, sardonic message.” Snyder 1966 (note 17 above), 4–5. Festival relocated to Duke University, Durham, N.C., in 1977, facsimile version; see Liza Kirwin, Lists: To-dos, Illustrated Inventories, 14 in Mary H. Dana Women Artists Series records housed as part of the 21. Snyder 1966 (note 17 above), 2. 42. Conversation with author (while examining the poster edition of this Collected Thoughts, and Other Artists’ Enumerations from the Smith- Miriam Schapiro Archives on Women Artists in the Special Collections 22. For example, regarding Snyder’s Altar Painting of 1980, see Herrera print), January 24, 2010, followed by further elaboration of the signifi- sonian’s Archives of American Art (New York: Princeton Architectural and University Archives, Rutgers University Libraries, New Brunswick, 2005 (note 3 above), 46. cance of M in her work in an email communication of April 11, 2010. Press, 2010), 30–31. New Jersey. Reed developed this interview into her essay on Snyder in 23. See Reed 2004 (note 7 above). 43. Snyder identified “Sam” in her conversation with the author on January 31. In 2004 Snyder created a painting called Women Make Lists, which was Artists on the Edge: Douglass College and the Rutgers MFA, exh. cat., 24. Gill 1987 (note 19 above), 132. In an April 1, 2010, email to the author, 22, 2009. Paul Levitt, in an emailed communication of March 18, also the title of a show of the same year at Betty Cuningham Gallery in ed. Ferris Olin (New Brunswick: Rutgers University Libraries, 2005). Snyder clarified that Berger had the second floor, Sonnier and Winsor 2010, confirmed that he was the one who first printed Etching for Sam New York; there is a catalogue. 8. Brown 1963 (note 6 above), 40. had the third, the fourth floor was rented out, and she had the fifth floor. (cat. 12) in 1975. Snyder had executed this etching while at Norfolk in 32. Interview with Maurice Sánchez, April 1, 2010. 9. In 1951, Emily Alman, with her husband, David Alman, had founded 25. Gill 1987 (note 19 above), 132; Reed 2004 (note 7 above). 1973, but as she lacked access to a press, it had remained unprinted. 33. Henry David Thoreau, The Journal of Henry D. Thoreau, vols. 1–7 the Committee to Secure Justice for Morton Sobell, who had been 26. Herrera 2005 (note 3 above), 23–25; Herrera 1978 (note 17 above), 5–8. Levitt also confirmed that during their summer 1975 printing session, (1837–October, 1855; reprint, New York, Dover, 1962). convicted, along with Ethel and Julius Rosenberg, for espionage and See also WACK! Art and the Feminist Revolution, exh. cat., ed. Cornelia Snyder inscribed each impression of the For Sam edition with the date conspiring to steal classified atomic bomb information on behalf of the Butler and Lisa Gabrielle Mark (Los Angeles: Museum of Contemporary when she made the plate, instead of with the date when it was printed. Private/Not Private Soviet Union. The Almans were subsequently blacklisted. From 1957 Art, and Cambridge, Mass.: MIT Press, 2007), 304. Printing Etching for Sam and Imagine (cat. 13) was the only printmaking 1. As quoted in Joan Snyder, Joan Snyder: Primary Fields, exh. cat. (New to 1970, they owned a farm in Englishtown, New Jersey, where they 27. Marcia Tucker, “The Anatomy of a Stroke: Recent Paintings by Joan Levitt did for Snyder. York: Robert Miller Gallery, 2001), unpaginated. lived with their daughters, Michelle and Jenny. After securing a position Snyder,” Artforum 9, no. 9 (May 1971): 42. 44. Ruth Iskin, “Toward a Feminist Imperative: The Art of Joan Snyder,” 2. In 1974, in an undated diary entry, Snyder wrote: “Saw F.[her therapist] teaching sociology at Douglass College in early 1962, Alman remained 28. Reed 2004 (note 7 above); Herrera 1978 (note 17 above), 10. Chrysalis: A Magazine of Women’s Culture 1 (1977): 108. & ended up in grief about Grandma . . . & I became aware again but in there for twenty-six years, including an eight-year term as department 29. Reed 2004 (note 7 above). 45. Herrera 2005 (note 3 above), 39. a dif. way for the 1st time how imp. she was to my life—how warm our chair. After they retired, the Almans wrote a book about the Rosenberg- 30. Herrera 1982 (note 4 above), 63. 46. Herrera 1982 (note 4 above), 63–64; see also Herrera 2005 (note 3), relationship was—how I gave to her & she to me. How protective we Sobell case and their campaign for a new trial. Emily Alman died at age 31. See Carlene Meeker, “Joan Snyder,” in Jewish Women’s Archive. “Jewish 38–39, 67 (illus.); and Herrera 1978 (note 17), 22, 24. were of each other—how we laughed together . . . how much I loved her eighty-two on 2004 in Ballston Spa, New York. See online obituary in Women: A Comprehensive Historical Encyclopedia”: http://jwa.org/ 47. Herrera 2005 (note 3 above), 39. and miss her. She was a mother to me & probably one of the closest the Saratogian (Sarasota Springs), March 20, 2004. encyclopedia/article/snyder-joan; see also Herrera 2005 (note 3 above), 48. Herrera 1978 (note 17 above), 24; Herrera 2005 (note 3), 39 (illus.), connections I had to a maternal person in my life. Dora Cohen. I miss 10. Conversation with author, January 22, 2009. 25. 40–41. See also Sally Webster, “Joan Snyder, Fury and Fugue: Politics of you.” During the author’s 2008–10 visits to the artist’s studio, Joan 11. Herrera 2005 (note 3 above), 18. Author’s note: Until Rutgers erected 32. Linda Nochlin, “Why Have There Been No Great Women Artists?” the Inside,” Feminist Art Journal 5, no. 2 (Summer 1976): 6. Snyder was exceedingly generous in providing access to selected the Mason Gross School of the Arts in downtown New Brunswick in ARTnews 69, no. 9 (Jan. 1971): 22–39. 49. Email communication with author, March 18, 2010. At this time, Levitt personal diaries, as well as sketchbooks, from the mid-1960s up to the 1976, graduate art studies at Rutgers took place on the Douglass 33. Gill 1987 (note 19 above), 129–30. was assisting Reginald Neal (1909–1992) who was Professor of Art, present—many of which few others have read, and all of which remain College campus. 34. Conversation with author, January 22, 2009. teaching printmaking, and Chairman of the Art Department at Douglass in the artist’s possession. Snyder also generously granted permission 12. Herrera 2005 (note 3 above), 18. See also Reed 2004 (note 7 above). 35. Tucker 1971 (note 27 above), 42. College, as well as Director of the MFA Program, Rutgers University, for the author to quote from selected unpublished diaries for this essay; 1 3 . Conversation with author, January 22, 2009. 36. Swenson 1992 (note 5 above), 187. from 1959 to 1977.

168 notes noteS 169 .50 Besides Snyder, the Heresies Collective also included Patsy Beckett, 64. Artist’s statement in Joan Snyder: Paintings and Sketches, exh. cat. Joan Braderman, Mary Beth Edelson, Harmony Hammond, Elizabeth (New York, Hirschl & Adler Modern, 1988). In 1985, Snyder had her first Hess, Joyce Kozloff, Arlene Ladden, Lucy Lippard, Mary Miss, Marty solo exhibition at the Hirschl & Adler Modern gallery, which represented Pottenger, Miriam Schapiro, Elke Solomon, Pat Steir, May Stevens, her work in New York until 1998. Michelle Stuart, Susana Torre, Elizabeth Weatherford, Sally Webster, 65. Artist’s statement (written on December 10, 1989) in Joan Snyder, exh. and Nina Yankowitz. Although the first issue of Heresies does not credit cat. (New York: Hirschl & Adler Modern, 1990), unpaginated. Snyder, she confirmed in an email of March 19, 2010, that she designed 66. The quantity of monotypes (the majority being untitled) that Snyder the cover. She clarified that she did not otherwise work on the Heresies created in 1988–89 is based on the artist’s own documentation of all Selected Bibliography editorial committee or in a design capacity for any other issues “except the editioned prints, monoprints, and monotypes she has made. The the first issue which I did the cover for...that is to say that that is my author saw close to thirty of these monotypes, i.e., those remaining handwriting on the cover of the first issue...red cover, black writing.” in the artist’s studio as of 2010. Many others were sold to private Note: Joan Snyder’s complete bibliography is cited in her resume on her Henry, Gerrit. “Joan Snyder: True Grit.” Art in America 74, no. 2 (February One of Snyder’s sketchbooks for 1976 includes two undated pages with collectors. website: www.joansnyder.net. 1986): 96–101. several sketches of her Heresies masthead ideas, none of which were 67. The other 1991 monotypes she created in collaboration with Maurice Herrera, Hayden. Joan Snyder: Seven Years of Work. Exh. cat. Purchase, realized for the final cover. The Heresies Collective was the subject of Sánchez at Derrière L’Étoile Studio, New York, are: Over and Over Ackley, Clifford S., with Anne E. Havinga and Judy Weinland. The Unique N.Y.: State University of New York, Neuberger Museum, 1978. a 2009 documentary film, The Heretics, by Joan Braderman; the film (1991); With Peter (1991); Free to Explore Every Corner of Your Imagina- Print: 70s into 90s. Boston: Museum of Fine Arts, 1990. —. “Joan Snyder [interview].” In “Expressionism Today: An Artists’ includes interviews with Snyder. tion (1991); Every Corner (1991); Rough Pond (1991); Brooklyn Beanfield Ashton, Dore. Essay in Joan Snyder. Boston: Nielsen Gallery, 1991. Symposium.” Special issue, Art in America 70, no. 11 (December 1982): 51. In both an email (January 13, 2010), and a conversation with the author (1991); and Lavender with Maurice (1992). Belz, Carl. Joan Snyder Painter: 1969 to Now. Waltham, Mass.: Brandeis 63–64, 139. (May 7, 2010), Jane Kent confirmed that she printed the edition for Red 68. Snyder 1992 (note 37 above), 35. University, Rose Art Museum, 1994. —. Essay in Joan Snyder Collects Joan Snyder, 11–33. Santa Barbara, and Yellow. She recalls that she met Snyder during her teaching stint at 69. From a typewritten copy of an artist’s statement in Snyder’s record Brenson, Michael. “Art View: True Believers Who Keep the Flame of Paint- CA: Santa Barbara Contemporary Arts Forum, 1988. Princeton; they were introduced through Frances Barth (whose teaching book documenting all her paintings and prints. ing.” New York Times, June 7, 1987, H37. —. “Joan Snyder Traffics in Art and True Grit.” New York Times, July 24, assistant Kent was). Pat(ricia) Branstead (Aeropress, New York) then 70. Aprile Gallant, Curator of Prints, Drawings and Photographs at the Brown, Doris. “Young Artist Finds Inspiring, Riverfront Studio.” Home News 1994, 32. recommended Kent as a printer to Snyder. Even though, presumably, Smith College Museum of Art, Northampton, Mass., kindly checked (New Brunswick, N.J.), March 31, 1963, Arts and Hobbies section, 40. Herrera, Hayden, with Jenni Sorkin and Norman L. Kleeblatt. Joan Snyder. Snyder would have had access to Princeton’s printmaking facility, museum records about these prints; her email of November 30, 2009, Butler, Cornelia, and Lisa Gabrielle Mark, eds. WACK! Art and the Feminist New York: Harry N. Abrams, 2005. neither Snyder nor Kent recalls Snyder’s creation of this etching plate was a source of the information noted here. She further stated that Revolution. Los Angeles: Museum of Contemporary Art, and Cambridge, [Hirsch, Faye]. “Working Proof: Joan Snyder.” Art on Paper 6, no. 3 there. Kent subsequently printed the edition in New York (in a studio in Snyder was initially asked to create nine different images, each printed Mass.: MIT Press, 2007. (January–February 2002): 82–83. the same building where Aeropress was located). Kent also worked on in five impressions; thirty-six impressions were to go to the artist, four Cate, Phillip Dennis, and Jeffery Wechsler with David Gilbert. Entries on Iskin, Ruth E. “Toward a Feminist Imperative: The Art of Joan Snyder.” the printing of Resurrection (cat. 00). to Sánchez, and five to Smith (one for the collection and four to be sold the Derrière L’Étoile Studio and Chip Elwell. The Rutgers Archives for Chrysalis: A Magazine of Women’s Culture 1 (1977): 101–15. 5 2 . Gill 1987 (note 19 above), 134. to benefit the museum). According to Snyder’s records, however, it Printmaking Studios. New Brunswick, N.J.: Jane Voorhees Zimmerli Art Jones, Bill. “Painting the Haunted Pool.” Art in America 82, no. 10 (October 53. For further discussion about the Resurrection painting, see Herrera appears that she did not manage to create nine different images during Museum at Rutgers, 1983. 1994):120–23, 157. 1978 (note 17 above), 34, 36; Herrera 2005 (note 3 above), 44; and a that session; her records cite only one additional print, Purple Chant. Coppola, Regina. Essay in Joan Snyder: Women Make Lists. New York: Betty Lister, Arlene, and Joan Snyder. “A Conversation.” In Joan Snyder. Boston: brochure (Joan Snyder: MATRIX 67), with an essay by Judith C. Rohrer, 71. The artist’s statement about this print is published in Jewish Women’s Cuningham Gallery, 2004. Nielsen Gallery, 1991. produced by the Wadsworth Atheneum, Hartford, Conn., to accompany Archive, “Jewish Women and the Feminist Revolution”: http://jwa.org/ Cotter, Holland. “Taking It Personally: Putting Emotions to Paper.” New York McNear, Sarah Anne. Joan Snyder: Works with Paper. Exh. cat. Allentown, the display of the painting from May 12 to August 1981 (Museum of Fine feminism/_html/JWA065.htm. Times, April 8, 1994, C26. Penn.: Allentown Art Museum, 1993. Arts, Boston, object file for Resurrection). 72. Eileen M. Foti, email to author, April 2, 2010. Diehl, Carol. “Joan Snyder.” In Joan Snyder: New Paintings. Philadelphia: Ottmann, Klaus. “From Grief to Spring.” Joan Snyder . . . and Seeking the 54. Herrera 1982 (note 4 above), 63. 73. Email to author, April 12–13, 2010. Locks Gallery, 1995. Sublime. Boston: Nielsen Gallery, 2008. 55. Snyder identified “E. L.” in an email to the author of April 1, 2010. 74. Artist’s statement in Joan Snyder: In Times of Great Disorder, exh. cat. -----. “Nests, Wounds, and Blossoms.” Art in America 90, no. 2 (February Perl, Jed. “Houses, Fields, Gardens, Hills.” New Criterion 4, no. 6 (February 56. Jane Kent email to the author of January 13, 2010, and conversation of (Boston: Nielsen Gallery, 2000). See also Herrera 2005 (note 3 above), 2002): 104–7. 1986): 43–49. May 7, 2010. 56–57. Ficarra, Marianne, and Ferris Olin, eds. Mary H. Dana Women Artists Series —. “Snyder’s Earth, Freud’s Skin.” New Criterion 12, no. 6 (February 57. Herrera 2005 (note 3 above), 49. 75. Conversation with author, January 22, 2009. 25th Year Retrospective: 25 Years of Feminism, 25 Years of Women’s Art. 1994): 51–57. 58. For a discussion of this quotation, see note 20 of Hirsch essay. For 76. Snyder 2001 (note 1 above), unpaginated. New Brunswick, N.J.: Rutgers University Libraries, 1996. —. “Seeing and Time.” New Republic 219, no. 5 (August 3, 1998): 31–37. Snyder, the words “lacrymae [or lachrymae] rerum” connote most 77. [Faye Hirsch], “Working Proof: Joan Snyder,” Art on Paper 6, no. 3 Field, Richard S. “On Recent Woodcuts.” Print Collector’s Newsletter 13, no. —. “Dream Team.” New Republic 220, no. 24 (June 14, 1999): 32–35. powerfully “the tearfulness of things” or “things have tears.” (January–February 2002): 83. 1 (March-April 1982): 1–6. —. “Mixed Media [review of Joan Snyder exhibition at Hirschl & Adler 59. For more on this painting, see Herrera 2005 (note 3 above), 47–48, 78. Email from Mira Dancy to author, April 13, 2010. Dancy, who received her Field, Richard S., and Ruth E. Fine. Entry on Joan Snyder. In A Graphic Modern, New York].” New Criterion 8, no. 8 (April 1990): 52–54. and Sarah Anne McNear, Joan Snyder: Works with Paper, exh. cat. MFA degree from Columbia University in 2009, continues as Snyder’s Muse: Prints by Contemporary American Women, 148–50. New York: Princenthal, Nancy. “Feminism Unbound.” Art in America 95, no. 6 (June- (Allentown, Penn.: Allentown Art Museum, 1993), 11–12. student assistant in addition to pursuing her own painting career. Hudson Hills Press in association with the Mount Holyoke College Art July 2007):142–52. 60. For more about this painting, see Herrera 2005 (note 3 above), 48–49. 79. These small sculptures reside amid paints in Snyder’s Brooklyn studio. Museum, 1987. Reed, Catherine. “Joan Snyder.” In Artists on the Edge: Douglass College 61. Herrera 2005 (note 3 above), 49. 80. Joan Snyder, “The Wonder of It” in Re: Generation, Mary H. Dana Gill, Susan. “Painting from the Heart.” ARTnews 86, no. 4 (April 1987): and the Rutgers MFA, exh. cat., edited by Ferris Olin, with an introduc- 62. Jed Perl, “Snyder’s Earth, Freud’s Skin,” New Criterion 12, no. 6 (Febru- Women Artists Series, exh. cat. (New Brunswick, N.J.: Rutgers Univer- 128–35. tion by Joan Marter, 42–46. Mary H. Dana Women Artists Series. New ary 1994): 51. sity Libraries, 2006), unpaginated. Hammond, Harmony. “Feminist Abstract Art – A Political Viewpoint.” Brunswick, N.J.: Rutgers University, Mabel Smith Douglass Library, 63. Artist’s statement for the 40th Biennial of Contemporary American Art 81. Email to author, April 12, 2010. Heretics 1 (January 1977): 66–70. 2005. at the Corcoran Gallery in 1987, as reprinted in Meeker (note 31 above).

170 notes 171 Siegel, Katy, ed. High Times, Hard Times: New York Painting 1967–1975. —. “The Wonder of It.” In Re: Generation. Mary H. Dana Women Artists New York: Independent Curators International and D.A.P. (Distributed Series. Exh. cat. New Brunswick, N.J.:, Rutgers University Libraries, Art Publishers), 2006. 2006. Smith, Beryl K. “The Mary H. Dana Women Artists Series: From Idea to Sorkin, Jenni. “The Shapes of Lines.” In Joan Snyder: Works on Paper Institution.” Journal of the Rutgers University Libraries 54, no. 1 (June 1970’s and Recent. Exh. cat. New York: Alexandre Gallery, 2004. 1992): 4–16. Swenson, Sally Shearer. “Interview with Joan Snyder.” In Lives and Works: Snyder, Joan. “Artist’s Statement.” Studio International Journal of Modern Talks with Women Artists, edited by Beryl Smith, Joan Arbiter, and Sally Art 188, no. 968 (July–August 1974): 32. Shearer Swenson, vol. 2, 181–89. London and Lanham, Md.: Scarecrow Index —. “Painters Reply.” Artforum 14, no. 1 (September 1975): 34–35. Press, Inc., 1996. —. Artist’s statement in Joan Snyder. Exh. cat. New York: Hirschl & Tarlow, Lois. “Profile: Joan Snyder.” Art New England (February 1987): Adler Modern, 1988. 14–16. index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry —. Artist statement in Joan Snyder. Exh. cat. New York: Hirschl & Adler Tucker, Marcia. “The Anatomy of a Stroke: Recent Paintings by Joan index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry Modern, 1990. Snyder.” Artforum 9, no. 9 (May 1971): 42–45. index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry —. “It Wasn’t Neo to Us.” Journal of the Rutgers University Libraries 54, Tyler, Ken, et al. “Printing Today: Eight Views.” Print Collector’s Newsletter index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry no. 1 (June 1992): 34–35. 13, no. 6 (January-February 1983): 189–200. index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry —. Joan Snyder: Paintings and Sketches. Exh. cat. New York: Hirschl & Walls, Michael. Joan Snyder. San Francisco: San Francisco Art Institute, index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry Adler Modern, 1998. 1979. index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry —. Artist’s statement in Joan Snyder: In Times of Great Disorder. Exh. Webster, Sally. “Joan Snyder, Fury and Fugue: Politics of the Inside.” index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry cat. Boston: Nielsen Gallery, 2000. Feminist Art Journal 5, no. 2 (Summer 1976): 5–8. index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry —. “Primary Fields.” In Joan Snyder: Primary Fields. Exh. cat. New York: Wechsler, Jeffrey. Twelve from Rutgers. New Brunswick, N.J.: Rutgers, The index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry Robert Miller Gallery, 2001. State University of New Jersey, University Art Gallery (now the Jane index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry —. Joan Snyder: The Nature of Things. Exh. cat. Boston: Nielsen Gallery, Voorhees Zimmerli Art Museum), 1977. index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry 2002. index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry

172 selected bibliography 173 index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index entry index 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174 index Index 175 Photography Credits Lenders

photography credits photography credits photography credits photography photography credits photography credits photography credits photography credits photography credits photography credits photography credits credits photography credits photography credits photography credits photography credits photography credits photography credits photography photography credits photography credits photography credits photography credits photography credits photography credits photography credits credits photography credits photography credits photography credits photography credits photography credits photography credits photography photography credits photography credits photography credits photography credits photography credits photography credits photography credits credits photography credits photography credits photography credits photography credits photography credits photography credits photography photography credits photography credits photography credits photography credits photography credits photography credits photography credits credits photography credits photography credits photography credits photography credits photography credits photography credits photography photography credits photography credits photography credits photography credits photography credits photography credits photography credits credits photography credits photography credits photography credits

Zimmerli Staff

photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits photography credits

176