Born 1943 in Neidenburg, Germany
"Perhaps this is the purest form of printmaking practiced today; that in which the completed work rather than merely reflecting the medium, evokes responses of a higher order, consequently one's impression of Strunck's work is less on the fact that these are prints but rather more on an intense visual experience of broader context than prints customarily provide," wrote Garo Antreasian in a 1973 essay reprinted in a catalogue accompanying "Juergen Strunck: Relief Prints", an exhibition hosted by the UNO Art Gallery. "Some works begin to resemble cloth and dye," observed Roger Catlin, of the prints with a palette of muted green, orange, red violet, brown, blue, and red brown. The staff writer for The Omaha World Herald added that the shapes—triangles, circles, squares, and ovals—reference "feet, eyes, hips and other body parts." "The usual questions about symbolic forms or connotations to anatomy or comparison to rainbow colors bother me since this kind of reading intrudes on the perception of the print itself and can, in many cases, make it impossible to see the work I am actually doing," Strunck wrote Tom Majeski. Students James Hejl, Matt Garrean, and William Zuelke helped the University of Dallas professor print the edition during his residency (February 23-27, 1981).
1981; relief print on Sekishu; sheet (each panel): 22 1/2 x 45 1/2 (55.88 x 114.3); edition of 34