Böcker utgivna av Jordan Schnitzer Family Foundation

"Showing how artists in the 20th and 21st centuries have considered this universal subject, The Art of Food provides a lens with which to examine food beyond its purpose as body fuel. Food is integral to our relationships, cultures and languages. We transform it by cutting, cooking and dressing it. We use food as an intermediary to connect with others through holiday meals, business lunches and dates. We deny food to others as a tool of suppression and cultural erasure. Through the works of artists such as Enrique Chagoya, Damien Hirst, Hung Liu, Analia Saban, Lorna Simpson and Andy Warhol, from the Collections of Jordan D. Schnitzer and His Family Foundation, it becomes clear why food is a recurring subject in art"--

Published in conjunction with an exhibition of the same name held at the Palmer Museum of Art at Penn State, [University Park, PA, August 28-December 10, 2021].

For more than 50 years, American conceptualist Mel Bochner (born 1940) has been shaping dialogs between art and language through exhibition concepts, paintings and sculptures that embrace systems and structures to reveal their cracks and limitations, undermining the means we use to comprehend the world. Bochner created his first prints in 1973 at the invitation of publisher Robert Feldman of Parasol Press (who introduced a generation of minimalist and conceptual artists to printmaking through his work at Crown Point Press). Since then, Bochner has employed many different forms of printmaking, using and abusing its material possibilities and its unpredictability to counter the methodical fashion in which plates and stencils are cut, characters per line are fixed, or print runs set. This volume surveys Bochner's longstanding engagement with various types of printmaking, from aquatints to monoprints.

Mirror, Mirror collects the vast body of prints made by Los Angeles-based artist Alison Saar (born 1956) over the past 35 years. Addressing issues of race, gender and spirituality, her lithographs, etchings and woodblock prints are evocations of the sculptures for which she is renowned. Saar undertakes printmaking with the same tangible approach to unconventional materials and methods found in her sculpture. Cast-off objects such as old chair backs and found ceiling tin become the foundations for etching or lithography plates. Carved wooden panels used for wood block prints echo similar techniques established in her hewn wooden forms. In addition to printing on paper, Saar also employs a variety of used fabrics like vintage handkerchiefs, old shop rags and antique sugar sacks that are layered, cut, sewn and collaged--empowering the content of the image while resisting the flat repetitive nature of the medium.

In addition to his achievements in abstract painting and sculpture, Frank Stella has also made major contributions to the history of the modern print. An exploration of the artist's innovative use of the medium, Frank Stella: Prints reveals the intimate relationships between Stella's prints and his works in other mediums, demonstrating how Stella blasted a hole in the traditional tools and aesthetics of printmaking with works of compelling complexity and beauty. Frank Stella: Prints registers in chronological sequence more than 300 editioned prints, reproduced in full color, including works in series and portfolios. Related works in other mediums--paintings, metal reliefs, maquettes and sculpture--are also illustrated for comparison. Complete documentation of each print offers a privileged insight into the creative process behind these works of art. An introductory essay, prefaces to each series and comments on individual prints provide background information, analysis and interpretation. Frank Stella: Prints also features an illustrated chronology, a glossary tailored to Stella's practice, a bibliography and an index. Soon after arriving in New York in the late 1950s, Frank Stella (born 1936) came to prominence with his striped Black Paintings and shaped canvases. His early painting project reduced the medium to its most fundamental elements and introduced a key concept of Minimalism at an early date: 'What you see is what you see.' But it was not long before Stella, a restlessly experimental worker, abandoned austerity for brighter colors, irregular shapes, rougher textures and gestural brushstrokes.