Edith Altman

Edith Altman (23 May 1931 in Altenburg[1][2]) is a German Jewish-American artist. She emigrated from Germany to the United States at a young age. Her work investigates the lowest and the highest levels of any hierarchy. She explores systems (governmental, financial, cultural, etc.) of power, and the powerless.[3] Altman is "a student of Jewish mysticism",[4] which has influenced her work.

Edith Altman
Born(1931-05-23)23 May 1931
Altenburg, Germany
NationalityAmerican (born Germany)
Websiteedithaltman.com

Biography

Altman escaped Nazi Germany in 1938 as a little girl and emigrated to Chicago, Illinois. Her father, Max Hittman (Markus Hüttmann), escaped from Buchwenwald, where he had been imprisoned since 1938.[5] She lost her grandfathers and grandmothers on both sides of her family to the Holocaust. [6] In 1981 she attended Wayne State University in Detroit, Michigan, and was a resident at the University of Nebraska Omaha (UNO) Art Gallery for the term of one month.[7] Her work is in the Museum of Contemporary Art, Chicago (MCA).[8] She resides in the Chicago area.[9]

Influences

Altman's work is deeply influenced by both her experience as a Holocaust survivor and her Jewish faith. In her secular work, she places an emphasis on remembering the Holocaust as a central theme.[4]

Notable works
  • Reclaiming the Symbol: The Art of Memory (p. 1988) – a painting that attempts to reclaim the symbolism of the swastika and incorporates themes including kabbalism and Jewish mysticism. In the same work, she has also tried to reclaim the triangle, also expropriated by that hated regime for the purpose of sorting prisoners, for what she sees as its "original purpose" – part of the Star of David imagery.[10]
  • When We Are Born, We Are Given a Golden Tent, and All of Life is the Folding and Unfolding of the Tent (p. 1986) – a performance piece that included a tent made of canvas that was painted gold and contained silhouettes of both the artist and her father. The piece traveled to a number of exhibits in both the United States and Europe where Altman met with various people of different nationalities and religions as a religious healing experience and to face the pain of the shared experience of the Holocaust.[4]

References
  1. Watson-Jones, Virginia (1986). Contemporary American Women Sculptors. Oryx. p. 16. ISBN 978-0-89774-139-2.
  2. Baigell, Matthew (1997). Jewish-American Artists and the Holocaust. Rutgers University Press. pp. 55. ISBN 9780813524047.
  3. "Collections & Exhibitions". UMN.edu. Retrieved 12 July 2017.
  4. Baigell, Matthew (1 January 1997). Jewish-American Artists and the Holocaust. Rutgers University Press. p. 126. ISBN 9780813524047. edith altman.
  5. "Collections & Exhibitions". UMN.edu. Retrieved 12 July 2017.
  6. (2003) Edith Altman: Retrospective. Lindenau-Museum and Autoren. p. 157
  7. "UNO Print Workshop". College of Communication, Fine Arts and Media. 2018-03-12. Retrieved 6 June 2021.
  8. "Edith Altman". MCA. Retrieved 6 June 2021.
  9. "Bio". Edith Altman. Retrieved 6 June 2021.
  10. Zimmer, William (21 February 1999). "ART REVIEW; Grappling With the Effects Of the Century's Greatest Evil". The New York Times. Retrieved 12 July 2017.
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