Helen Altman

Helen Altman (born 1958, Tuscaloosa, Alabama, United States) is an artist based in Fort Worth, Texas.[1] Altman received both her BFA, in 1981, and MA, in 1986, from the University of Alabama, Tuscaloosa. In 1989 she earned her MFA from the University of North Texas, Denton.

Work

Altman's earlier works include sculptures made from household appliances,[2] and use humor to draw attention to more serious themes. For example, Weeping Iron is a leaking iron encased within a laundry basket resting upon an ironing board which is smothered by men’s dress shirts. The absurdity of a crying iron is only the first layer of meaning, the second relating to a woman trapped under the weight of household duties.[3]

Altman’s work includes quilted moving blankets imprinted with found images of nature. Through these works Altman juxtaposes nature with artificiality; her subjects are innate while the materials and means of creating the work are synthetic.[4] Altman also creates birds made from wire whose exoskeletons encompass various found objects.

Altman ‘s “torch” drawings of animals range in subject matter from exotic animals to household pets. She created these drawings by first soaking paper in water and then carefully burning an image into the surface with a propane torch.[5] This process leaves little room for error as the surface must remain wet otherwise it will ignite; there is no re-torching.[6] The end result is an image that floats in the center of the page with varying hues of brown fading into the paper like a mirage.

In a 2009 solo exhibition at DCKT Contemporary, Altman displayed Goldfish, a 45-gallon aquarium filled with dozens of cast plastic goldfish weighed down individually by fishing weights. Apart from the recurring theme of natural subjects represented by artificial means, Altman is also questioning individuality, loneliness and loss of identity.

Altman attempted to take fear out of death in the exhibit “Dead or Alive” at the Museum of Arts and Design in New York. She used several types of herbs and other natural foodstuffs ranging from juniper berry to lavender to yellow mustard seed to cast human skull sculptures. Altman intended for the viewer to approach the skulls and be captivated by their fragrance instead of repulsed by their association with death. “It’s like the traditional sugar skulls you see in Mexico for Day of the Dead,” she said. “You make death into a sweet thing to be eaten so that people don’t fear it.”[7]

Exhibitions

Permanent Collections

Solo Exhibitions

Group Exhibitions

References

  1. ↑ Greene, Alison de Lima; Jimenez, Alejandra (2000). Texas: 150 Works from the Museum of Fine Arts, Houston. H.N. Abrams. p. 222. Retrieved 2008-06-13.
  2. ↑ Kutner, Janet (1992-09-26). "MIND OVER MATTER: Artist Helen Altman creates beauty out of ugliness". The Dallas Morning News. Retrieved 2008-06-13.
  3. ↑ Bourbon, Matthew. "Helen Altman: Home Again". Art Lies: A Contemporary Art Journal. Retrieved 2011-02-08.
  4. ↑ Odem, Michael (2002). "Helen Altman: My Best Eggs". Artforum. Retrieved 2011-02-08.
  5. 1 2 "Helen Altman: Dunn and Brown Contemporary. (Dallas).("My Best Eggs", drawing exhibition)". Artforum International. 2002-01-01. Retrieved 2008-06-13.
  6. ↑ Ostrower, Jessica (2004). "Helen Altman at DCKT". Art in America.
  7. ↑ Angier, Natalie (2010-05-03). "Of Compost, Molecules and Insects, Art is Born". The New York Times.
  8. 1 2 3 4 5 "PULSE MIAMI 2007 EXHIBITORS". Pulse Miami. Retrieved 2008-06-13.
  9. ↑ "Tree Line by Helen Altman". Retrieved 2011-02-08.
  10. ↑ "Helen Altman at DCKT". Art in America. 2004-09-01. Retrieved 2008-06-13.
  11. ↑ Daniel, Mike (1999-01-21). "Blasting impressions: Artist carries a torch for fire". The Dallas Morning News. Retrieved 2008-06-13.

External links

This article is issued from Wikipedia - version of the Thursday, April 28, 2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.