Joan Snyder

Snyder is the recipient of a 1974 National Endowment for the Arts Fellowship[5], a 1983 John Simon Guggenheim Memorial Fellowship, a 2007 MacArthur Fellowship,[6] and a 2016 Arts & Letters Award in Art[7] from the American Academy of Arts & Letters.

Joan Snyder was born on April 16, 1940, in Highland Park, New Jersey. She received her AB from Douglass College in 1962 and her MFA from Rutgers University in 1966.

In 1969 Snyder married photographer Larry Fink. She gave birth to their daughter, Molly, in 1979. They were divorced in 1985.[8] Her grandson Elijah was born in 2012. In 2011 Snyder married her partner of 28 years, Margaret Cammer, a retired New York State Acting Supreme Court Judge and the former NY Deputy Administrative Judge of The New York City Civil Court.

Snyder currently lives and works in Brooklyn and Woodstock, NY. She is represented by Franklin Parrasch Gallery in New York, NY, Blain|Southern Gallery in London, UK, Parrasch Heijnen Gallery in Los Angeles, CA, Elena Zang Gallery in Woodstock, NY, and Anders Wahlstedt Fine Art in New York, NY

After graduating from Douglass College in 1962 with a BA in Sociology,[9] Snyder received her MFA from Rutgers University in 1966.

While living on a New Jersey farm in 1962, Snyder worked in a studio on the Raritan River in New Brunswick, creating some of her earliest paintings of farm and landscape scenes, as well as expressionist portraits. In the mid to late 60's she was working explicitly with the idea of female sensibility, using materials in her paintings such as lentil seeds, flocking, thread, glitter and gauze. Snyder describes her processes involving non-art materials as a type of ritual act for the painting.[9] Snyder's ideas often take form in her paintings through other means other than paint such as music, poetry and words to further push the intent of her pieces.[9] These works eventually led to Snyder's seminal stroke paintings in the late 60's and early '70's. Snyder worked alongside artists such as Mary Heilmann, Jennifer Bartlett and Harriet Korman during the 1960s, all of whom were attempting to bring more process into their art making.[10]Some of Snyder's work includes:

• Large Flock Membrane Painting, 1969, acrylic, flock, spray enamel on canvas, 71 x 71 in. Collection of The National Museum of Women in the Arts, Washington, D.C.
• Smashed Strokes Hope, 1971, oil, acrylic, spray enamel on canvas, 72 x 144 in. Collection of The Metropolitan Museum of Art, New York, NY.
• Sweet Cathy's Song, 1978, oil, acrylic, crayon, paper mache, children's drawings on canvas, 78 x 144 in. Collection of the Museum of Modern Art, New York, NY.
• Winter 1992 for Mom and Pop, 1993, silk, straw, oil, acrylic on linen, 78 x 102 in. Collection of The San Francisco Museum of Modern Art, San Francisco, CA.
• And Always Searching for Beauty, 2001, oil, acrylic, paper mache, herbs on linen, 78 x 102 inches. Collection of the Tang Museum, Skidmore College, Saratoga, NY.
• See What a Life, 2010, etching and woodcut print, 24 x 36 in.
• Amor Matris, 2015, oil, acrylic, papier-mâché, paper, etching fragments, rosebuds, twigs, glitter on canvas, in 2 parts, 66 x 84.5 in.

In the early 1970s Snyder began to explore paint as subject, reconstructing abstract painting through gestural strokes on canvas over a gridded background. These paintings, more commonly known as her 'stroke' paintings, were included in the 1973 and 1981 Whitney Biennials as well as the Corcoran Biennial in 1975.

Following the stroke paintings in the mid 70s, Snyder's work once again revisited female sensibility and the work more vigorously explored materiality. By the late 70s she abandoned the formality of the grid and began to more explicitly incorporate symbols and text in her paintings.[11]

In 1971 Snyder founded the Mary H. Dana Women Artist Series, "the oldest continuous running exhibition space in the United States dedicated to making visible the work of emerging and established contemporary women artists."[12]

She became a contributing member of Heresies, a Feminist Publication On Art and Politics, alongside artists and critics including Ida Applebroog, Joyce Kozloff, Lucy Lippard, Nina Yankowitz, Joan Braderman, Sue Heinemann and Miriam Schapiro, among many others.

• 1976: Portland Center for the Visual Arts (Portland, Oregon) mounted an exhibition titled Recent Paintings.[1]
• 1977: Wake Forest University hosted a solo exhibition of her work.[1]
• 1978: Seven Years of Work, Neuberger Museum, Purchase, N.Y. (catalogue)[1]
• 1978: solo exhibition, Women's Art Registry of Minneapolis[1]
• 1979: solo exhibition, San Francisco Art Institute[1]
• 1981: Resurrection and Studies, Matrix Gallery, Wadsworth Atheneum, Hartford, Connecticut[1]
• 1994: Joan Snyder, Painter: 1969 to Now was displayed at Parrish Art Museum in Southampton, L.I. It was an exhibition made up of the first 25 years of her life's work up until that point in her career.[10]
• 2005: The Jewish Museum in New York City presented a 35-year survey of Snyder's work[13][14] that traveled to the Danforth Museum of Art in Framingham, Massachusetts. The exhibition was accompanied by a monograph, Joan Snyder, with an introduction by Norman Kleeblatt and essays by Hayden Herrera and Jenni Sorkin.
• 2011: Dancing With The Dark: Joan Snyder Prints 1963-2010 opened at the Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, and traveled to Boston University Art Gallery, Boston, MA;[15] University of Richmond Museums, Richmond, VA; University of New Mexico Art Museum, Albuquerque, NM accompanied by a comprehensive exhibition catalogue with an essay by the curator, Marilyn Symmes.
• 2015: Sub Rosa opened at Franklin Parrasch Gallery in Manhattan NY, an exhibition of recent work.[16] An exhibition catalogue with an essay by Joan Snyder was published in conjunction with the exhibition.
• 2018: her painting Smashed Strokes Hope (1971) was included in Epic Abstraction: Pollock to Herrera, a major exhibition at The Metropolitan Museum of Art, New York, NY.
• 2019: Blain|Southern presented Rosebuds & Rivers, Joan Snyder's first solo exhibition in the UK, composed of new and recent paintings.[17] A monograph, Joan Snyder: Rosebuds & Rivers, was published on the occasion of the show, and features essays by Craig Burnett, art critic Rhonda Lieberman and an artist interview with Mary Schneider Enriquez, Associate Curator of Modern and Contemporary Art at Harvard Art Museums.[18]

Snyder's work can be found in many public collections including The Metropolitan Museum of Art, The Museum of Modern Art, The Whitney Museum of American Art, The Jewish Museum, The Guggenheim, The Brooklyn Museum, The High Museum of Art, The San Francisco Museum of Modern Art, Art Institute of Chicago, The Phillips Collection, The Dallas Museum of Fine Art and The National Museum of Women in the Arts.

• Herrera, Hayden (2006). Joan Snyder. Harry N Abrams. ISBN 0810992183.
• Klaus, Ottoman (2008). Joan Snyder ...and seeking the sublime. Nielsen Gallery. ISBN 978-0-9713548-5-2.
• Symmes, Marilyn (2011). Dancing with the Dark: Joan Snyder Prints 1963-2010. Prestel. ISBN 978-3791351063.
• Snyder-Fink, Molly. (2018). "My Mother's Altar: Joan Snyder Paints to Face Herself",Woman's Art Journal, Fall/Winter 2018.
• Burnett, Craig; Enriquez, Mary Schneider; Lieberman, Rhonda (2019). Chiu, Rowena (ed.). Joan Snyder: Rosebuds & Rivers. London, UK: Blain|Southern. ISBN 978-1-9995962-2-4.

• Joan Snyder at ArtCyclopedia
• Joan Snyder at Artnet
• Interview with Phong Bui
• Full Biography at Nielsen Gallery