Starting in 1979, the artist, who attended Wayne State University in Detroit, Michigan, began "Time/Space: The Hidden Dimension", a body of work created through the measurement of time. Thus I hope to reawaken the forgotten symbols in all of us that heal, and reunite us with the collective universal essence that transcends the experience of time." Edith Altman, 1983 Altman came to Chicago as a child shortly after her father was imprisoned in the Buchenwald Concentration Camp, near Weimar after Kristallnacht ( November 9-10, 1938). Through my rituals and environments I recall sacred numbers and form in geometry, architecture, psychology, and mythology. Time/Space = Hidden Dimension the Image of the Word 1981 color lithograph on Black Arches sheet: 30 5/8 x 41 (77.724 x 104.14) edition of 30īorn 1931 in Altenberg, Germany "My internal method is to seek the collective forms that connect my own personal historical experience with the prehistoric and ancient past. Printmaker April Katz and student Anita Dillman assisted him. Richard Finch, whose chop stamp is on the lower right of the reverse side, oversaw the printing of the edition. 191", 1979-80, a watercolor now in the collection of General Steel Industries, Inc. During his February 1982 residency at UNO, Achepohl worked on a lithograph based on "Egypt: Day and Night, No. "I'm interested in making it seem like you could possibly be in front of something like this, without there ever being something exactly like this which means really trying to make a more poetic statement about what ancient architecture feels like rather than what it might actually be like," explained the University of Iowa Professor of Printmaking. Maybe next time I can do something more expanded."īlue Chamber 1982 color lithograph on Arches White image: 25 5/8 x 21 1/8 65.024 x 53.644), sheet: 30 x 22 ¼ (76.2 x 56.515) edition of 36īorn 1934 in Chicago, Illinois "Egypt: Day and Night", an exhibition of Keith Achepohl watercolors inspired by architectural monuments, opened at the Joslyn Art Museum in January 1983. But it might be a touch too much of a one-line joke. Humor allows subordinate clauses and parentheses, allow you to see things in two or three different ways." "And yes, I like CRASH, too. You don't have to be numbed by something, you can draw back. He wrote to Majeski, "Humor gives me a chance to have second thoughts, to reconsider. Acconci was enthusiastic about his UNO experience and pleased with the appearance of the print, but not so much with the strength of its concept. The figures were photo etched, the windshield is aquatint in transparent blue and involved the use of a shaped zinc plate as did the rear view mirror, which was relief rolled. Majeski printed the edition with assistance provided by Gary Day and students Jeff Spencer, Wendy Wiggs, Sue Sudbeck, and Richard Brown. The sketches and notes related to a print first called "2 Frightened Faces: Ultimate Fear (The car is about to crash)" are now in the UNO Archives. Vito Acconci, a graduate of the Writer's Workshop of the University of Iowa (M.F.A., 1964), freely admitted his limited skills as a maker of objects and depended upon Tom Majeski's training and talents to realize his idea. Jay Bolotin, The Teacup Ride 2006, color woodcut with lithograph on Rives BFKįind out more about our mission, history, and programs here.
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