Herve Telemaque

Herve Telemaque, "Aube", 1979, Engraving, 29.9x22 in

1979

Frederic Amat (Spain, 1952) 'La ventana del somni - 6', 1983 engraving on paper 35.9 x 24.9 in. (91 x 63 cm.) ID: AMA1279-003-000 Hand-signed by author Unframed

Nemesio Antunez (Chile, 1918-1993) 'City playground', 1978 engraving on paper 22.1 x 30 in. (56 x 76 cm.) ID: ANT1385-008-000 Hand-signed by author Unframed

Frederic Amat (Spain, 1952) 'La ventana del somni - 1', 1983 engraving on paper 35.9 x 24.9 in. (91 x 63 cm.) ID: AMA1279-006-000 Hand-signed by author Unframed

Frederic Amat (Spain, 1952) 'La ventana del somni - 3', 1983 engraving on paper 35.9 x 24.9 in. (91 x 63 cm.) ID: AMA1279-004-000 Hand-signed by author Unframed

Frederic Amat (Spain, 1952) 'Barcelona ´83', 1983 engraving on paper 30 x 22.1 in. (76 x 56 cm.) ID: AMA1279-008-000 Hand-signed by author Unframed

Frederic Amat (Spain, 1952) 'Tránsito', ca.1980-1989 engraving on paper 29.6 x 41.4 in. (75 x 105 cm.) Edition of 75 ID: AMA1279-001-075 Hand-signed by author Unframed

An original mixed media, Photo Etching, Aquatint, Drypoint on paper by the collaboration of two artists, Robert Flemming and Mizin Shin. This piece entitled Judgment Hour measure ...

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...

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...

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...

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 "The Football Players...

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 "The Hot Dog...