Palms Monoprint

Judith Amdur

judithamdur.com
I am continually exploring the ephemeral nature of movement, integrating performance concepts into my visual art. The art I create is imbued with a sense of movement - lines, form and color travel through space trailing an invisible wake behind. My work is often not fixed in place, which creates a John Cage quality of possibilities. Chance and change are possible. Work can often be configured in different ways - picked up and moved as though it were a performance that was evolving for a specific site.
In my early life I always painted. My parents let me paint huge murals on our walls and I did several murals for the community but did not think of it as a career. I went to San Francisco State University where I studied Dance, psychology and Science with a focused on the human body in movement. After three years in college I got a summer job as an actress in The Sound of Music. That lead to a few years exploring what life would be like as an actress. All the while I painted as a way to center myself and I had a few exhibitions of my paintings. By 24 I turned all of my attention to art making and moved to the art haven of Santa Fe New Mexico. It was there that my life as an artist was launched. My skills as a visual artist were honed with the help of that supportive art community. Working from my studio in Santa Fe I made paintings that were exhibited all over the US and Europe. In 1997 I moved to Seattle for 14 years. The landscape of the Pacific Nothrwest impressed called to me. Inspired by Japanese artist Katsushika Hokusai and his 36 views of Mount Fuji, I created 36 Views of Mount Rainier in the medium of Hokusai, wood block printing.The loss of my father to Leukemia and my mother to Alzheimer’s fundamentally changed my artistic direction. I had previously always expressed my self  by making images I turned my focus to writing a book. I worked through my grief as I wrote about my creavtive, loving and artistic family.The process helped me understand how they had always supported me and my development as an artist. After the book launch in 2016 I moved to Alexandria, Virginia and became a member of Printmakers Inc at the Torpedo Factory. As fortune would have it that I have found another wonderful supportive artistic community that has embraced me as I return to print making.
Sylvia Solochek Walters received her undergraduate degrees in art and her MFA from the University of Wisconsin-Madison. Her woodcuts have been shown in numerous national/international exhibitions and have won many awards – including Honors in 2014 for Tradition in Printmaking from the Southern Graphics Council International at their annual conference in San Francisco. Her prints are held in the collections of the Milwaukee, St. Louis, Oakland and Chazen Art Museums, the Milwaukee and Judah Magnes Museums of Jewish Art, the San Francisco Fine Arts Museums Achenbach Graphic Arts Foundation Collection, the Library of Congress, the New York Public Library and the Museum of Texas Tech University among others. She is currently represented by the Kala Art Institute Gallery in Berkeley and the Annex Galleries, Santa Rosa, California.Walters began teaching in 1963 and subsequently taught relief printmaking, drawing, painting, and related courses at large and small, public and private colleges, art schools and universities in different parts of the country. Eventually, she and her husband, Jim Walters, and their two cats settled in St. Louis, where they both taught at the University of Missouri at St. Louis (UMSL) and where she founded the art department. She became the department's first (and third) Chair as well as its gallery director for 10 years. In 1984, she was invited to become a faculty member and the permanent Chair of the art department at San Francisco State University. With the exception of two years during which time she served as Acting Dean of the College of Creative Arts at SFSU, she remained in that position for twenty years until her working retirement in 2004 after which she taught relief printmaking for five years. Awarded Professor Emerita status in 2009, she currently serves on the Board of the Kala Art Institute. In 2013 she was Assistant Editor (along with editor Maryly Snow) for California Society of Printmakers: One Hundred Years 1913-2013, an award-winning publication produced to celebrate the centennial of the CSP. The book was re-edited and reissued as an e-book in 2015.
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