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Bernard Aptekar
The Coffee Break

1983

Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request

About the Item

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The use of clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "Coffee Break" has been conceived while Aptekar was working on a monumental piece of 23 x 45 x 17 feet titled "The Defeat of the City of Plutonium: A Holocaust Prevented". It depicts " a cross section of humanity struggling to overcome destructive and brutal cultural forces". This is print #9 of an edition of 20
  • Creator:
    Bernard Aptekar (1936, American)
  • Creation Year:
    1983
  • Dimensions:
    Height: 38 in (96.52 cm)Width: 50 in (127 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    New York, NY
  • Reference Number:
    Seller: BA0081stDibs: LU24921347103

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A Piece of Technology
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Man Into Machine
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As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...
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1980s Expressionist Figurative Prints

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Moving Woman
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As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "Moving Woman" has been conceived while Aptekar was working on a monumental piece of 23 x 45 x 17 feet titled "The Defeat of the City of Plutonium: A Holocaust Prevented". The strong image of a human female naked body depicted as being one of the building parts...
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