Sylvia Solochek Walters (born 1938) is an American artist and educator.Shiller, Marlene. "Sylvia Solochek Walters: Woodcut Artist", American Artist, October 1979, Cover and p. 50–55, 107–113.Auer, James. "Sylvia Walters' woodcuts take time and are worth it," The Milwaukee Journal, December 12, 1982.Snow, Maryly and Sylvia Solochek Walters (eds). California Society of Printmakers: One Hundred Years 1913–2013, San Francisco: California Society of Printmakers, 2013. Accessed February 4, 2020. She has produced drawings, paintings and collage works in her career, but is best known for complex woodcut prints created through the "reduction and stencil" process.Watrous, James. "A Century of Color Woodcuts," American Color Woodcuts: Bounty from the Block, 1880s–1990s, Madison, WI: Chazen Museum of Art, 1993, p. 12, 68, 121. Retrieved February 3, 2020.Ayers, Julia. Printmaking Techniques, New York: Watson-Guptill, 1993, p. 47, 53. Accessed February 3, 2020. Her work combines elements of realist, decorative and formalist art, flat and illusionistic space, and varied patterning and textures.Starbuck, Carol. "Sylvia Solochek Walters," New Art Examiner, April 1978, p. 18.King, Mary. "Shows of Woodcuts, Lithographs, Paintings," St. Louis Post-Dispatch, March 21, 1978. She has largely focused on portraits, still lifes and domestic interiors, and collage-like combinations of personal symbolism—concerns that writers often align with early feminist art.Rice, Nancy N. "Sylvia Solochek Walters", New Art Examiner, March 1982.
Walters has exhibited internationally and at the Milwaukee Art Museum, St. Louis Art Museum, Chazen Museum of Art, and Nelson-Atkins Museum of Art.Peters, John Brod. "'Mid-America Five' show at St. Louis Art Museum," St. Louis Globe Democrat, June 29, 1974.Stevens, Andrew. 150 Years of Wisconsin Printmaking, Madison, WI: Chazen Museum of Art, 1998, p.67. Retrieved February 3, 2020.Auer, James. "Jewish art defies easy categorization," The Milwaukee Journal, April 17, 1994. Her work belongs to the public art collections of the Fine Arts Museums of San Francisco, New York Public Library and Library of Congress, among others.Fine Arts Museums of San Francisco. Sylvia Walters, Collection. Retrieved February 2, 2020.Library of Congress. Woman's work is never done, Sylvia Solochek Walters, Collection. Retrieved February 4, 2020.St. Louis Post-Dispatch. "Work Acquired by University," May 26, 1970, p. 3W.California State University. Landscape Visions, Long Beach, CA: California State University, 1989, p. 51. She has received awards from the National Endowment for the Arts, national printmaking competitions, and publishing organizations, for her book design and editing.Bagley, Mary. "Walters excels as artist," Current, April 12, 1979.Art Libraries Society of North America. "2014 Worldwide Books Award for Publications," News, May 27, 2014. Retrieved February 4, 2020.Cargas, Harry, "Choices From the Output of 45 University Presses," St. Louis Post-Dispatch, September 1, 1974. Walters served as a longtime professor and chairperson in the art department at San Francisco State University before retiring as Professor Emerita of Art in 2009. She lives and works In Oakland, California.Gralnick, Herbert. "Art: From Kitchen to Gallery," St. Louis, June 1984, p. 85–87.Varner, Diane. "Paperviews Juror's Views," San Francisco Women Artists Bulletin, November 1995.
Early life and career Sylvia Solochek was born in 1938 and raised by a traditional Jewish family in Milwaukee. In 1956, she enrolled at University of Wisconsin–Madison, where she earned BS, MS and MFA (1960–2) degrees, working in a figurative style that bucked the era's dominant Abstract Expressionism.Key, Donald. "Drafting of Bold Direction," The Milwaukee Journal, January 17, 1971. The school was one of three Midwestern centers—with University of Iowa and University of Indiana, Bloomington—leading a printmaking renaissance in the United States; its faculty included renowned printmakers Warrington Colescott, Dean Meeker, and Alfred Sessler who, in addition to German Expressionism and Japanese woodblock prints, particularly influenced Walters.Colescott, Warrington and Arthur Howe. Progressive Printmakers: Wisconsin Artists and the Print Renaissance, Madison, WI: University of Wisconsin Press, 1999. Retrieved February 4, 2020.Key, Donald. "Focus Is on Human Figure," The Milwaukee Journal, October 4, 1964. During this time, she won acceptance to several national print shows, which would continue throughout her career.Hazelwood, Art. "California in Relief: A History in Wood and Linocut Print," California in Relief, Moraga, CA: Hearst Art Gallery, 2009.Independent Coast Observer. "A show of monotypes, monoprints, and hybrid prints at Gaulala Arts," July 2007.
After graduating, Walters taught art—a rarity for women then—at schools in New York, Wisconsin and Nebraska while working as a book designer and making art. In 1969, after a move with her husband Jim Walters to St. Louis, she began teaching at University of Missouri, St. Louis (UMSL) and became active in organizations such as the Community of Women Artists (CWA) and Art Coordinating Council of the Area (ACCA).King, Mary, "Mini-Retrospective for UMSL Artist," St. Louis Post-Dispatch, January 14, 1982, 4D.Rice, Nancy N. "Sylvia Solochek Walters—A Profile", SEEN, Fall 1977. She served as director of the UMSL Gallery for ten years, developing public panel discussions and exhibitions such as "American Women Printmakers" (1975), which included work by Louise Nevelson, Judy Chicago, Pat Steir and herself.Rouff, Mary Louise. "Works of 23 Women Artists on Exhibit at Campus Here," St. Louis Post-Dispatch, October 9, 1975, p. 4B.University of Missouri, St. Louis. American Women Printmakers, St. Louis, MO: University of Missouri, St. Louis, 1975. Retrieved February 5, 2020. In 1977, she founded and became the first chairperson of the school's new independent art department.The Milwaukee Journal. "Announcements," August 1, 1977.
In 1984, Walters moved to San Francisco, where she was hired as chairperson of San Francisco State University's art department, serving in that post until 2004, before retiring as Professor Emerita in 2009. She also wrote essays for catalogues and publications including Print Commentary, Journal of the Print World and The California Printmaker,Walters, Sylvia Solochek. "St. Louis Editions: Bait and Switch," Print Commentary, Vol. 2, No. 1, 1982.Walters, Sylvia Solochek. "Warrington Colescott, 1921-2018," Journal of the Print World, October 2018.Walters, Sylvia Solochek. "Alone in a Crowd: Prints of the 1930s–40s by African American Artists," The California Printmaker, Spring, 1993. on women and African-American printmakers and artists such as Warrington Colescott, John Gutmann, Chiura Obata and Ruth Weisberg.Walters, Sylvia Solochek. American Women Printmakers, St. Louis: University of Missouri.-St. Louis, 1975.Walters, Sylvia Solochek and Mark Johnson. John Gutmann: Parallels in Focus, San Francisco: San Francisco State University, 1997. Retrieved February 5, 2020.Walters, Sylvia Solochek. "Obata's Yosemite," The California Printmaker, Summer 1993.Walters, Sylvia Solochek. "Ruth Weisberg in Chicago," The California Printmaker, Spring 1992.
Work and technique Walters is best known for hand-printed, "reduction and stencil" woodcut prints exploring genres including portraiture, still life and interiors. In that process, a single woodblock is used for the entire print rather than one block for each color; once a color is printed using a stencil to limit the ink flow, that part of the block is cut away and the process is repeated for the next color. By printing through stencils in specific areas, she achieves surprisingly varied and refined textures, shading, and details that contrast with the hard-edged, splintery look typically associated with woodcuts. She has generally worked on small editions of complex prints—often featuring 20 to 60 colors—one at a time over a period of eight to ten months, producing between one and four per year.
Walters's mature style is noted for its subtle color and texture, abundant use of patterning to create pictorial interest, and drawing that has been compared to Philip Pearlstein and ranges from vigorous to delicate.Rubin, Michael G. "Woodcut prints testify to Sylvia Walters' growth," St. Louis Globe Democrat, January 1982. Describing her print Summer Self-Portrait (1977) in American Color Woodcuts: Bounty from the Block, 1880s–1990s, artist and art historian James Watrous summed up such work as "gracious in likeness and elegant in artistic ordering, with a sublimation of subject and sensitivity to form."
Early work (1962–1971) Much of Walters's work in the 1960s focused on expressive black-and-white woodcuts and lithographs of metaphorical and allegorical human figures, often Old Testament subjects or musicians.Key, Donald. Review, The Milwaukee Journal, February 10, 1974. St. Louis Post-Dispatch writer Mary King described the "vertically curling and knotting" central form of the woodcut Fragment I as an "agitated tower of textures and line shapes" that was "only incidentally a figure."King, Mary, "Art Show at Forest Park College," St. Louis Post-Dispatch, September 9, 1978, p. 30. Depicted in thorny, ropy lines that thickened into shapes, divided or slid into one another like branches or flowing liquid, they drew comparisons to the work of Leonard Baskin. In a review of her 1964 solo exhibition, Milwaukee Journal critic Donald Key suggested her bold, spiraling and stretched linear patterns evoked rising musical passages or the vibration of string tones (e.g., Small Musician After Degas). Her densely worked Biblical works—some incorporating Hebrew writing—evoke archetypes and symbols that critics characterized as dream-like, somber and mysterious.Gould, Whitney. "Art Fair Opens," Madison Capital Times, 1966.Anderson, Donald M. The Art of Written Forms, New York: Holt, Rinehart and Winston Inc., 1969. Retrieved February 2, 2020.
Walters complemented her early printmaking with brightly colored, more personal pastel drawings and oil paintings of figures, still lifes and scenes such as Umbrellascape, a nearly abstract, rhythmic composition of overlapping beach umbrellas and furniture. By the end of the decade, she had incorporated the intensity of this work into prints centered on realistic, monumental images of emblematic women.Peters, John Brod. "Artists Guild Prints, Drawings—A Uniformly Bad Show," St. Louis Globe Democrat, November 8, 1970. In a 1971 solo show, she exhibited such prints (e.g., Bazaar I, Shield I, Byzantine Becky), which paired forthright portraits and symbolic motifs suggesting subconscious processes with subtle surfaces, blazing color, and diverse drawn and stamped patterns.
Mature work (1972– )