When justice is at stake, artists have spearheaded challenging conversations. The work in this book bears witness to stories that challenge dominant paradigms. Among the 50 artists represented here are Carlos Amorales, Loretta Bennett, Mark Bradford, Willie Cole, Abraham Cruzvillegas, Ellen Gallagher, Glenn Ligon, Julie Mehretu and Wangechi Mutu.

Witness: Themes of Social Justice in Contemporary Printmaking and Photography: From the Collections of Jordan D. Schnitzer and His Family Foundation

Arts & Photography

Collections, Catalogs & Exhibitions

Jordan Schnitzer Family Foundation

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.

Frank Stella: Prints: A Catalogue Raisonné

Axsom, Richard

History & Criticism

"I’m for mechanical art,” said Andy Warhol (1928–87). “When I took up silkscreening, it was to more fully exploit the preconceived image through commercial techniques of multiple reproduction.” Printmaking was a vital artistic practice for Warhol. Prints figure prominently throughout his career from his earliest work as a commercial illustrator in the 1950s to the collaborative silkscreens made in the Factory during the 1960s and the commissioned portfolios of his final years. In their fascination with popular culture and provocative subverting of the difference between original and copy, Warhol’s prints are recognized now as a prescient forerunner of today’s hyper-sophisticated, hyper-saturated and hyper-accelerated visual culture. Andy Warhol: Prints, published to accompany a major exhibition at the Portland Art Museum―the largest of its kind ever to be presented―includes approximately 250 of Warhol’s prints and ephemera from the collection of Jordan D. Schnitzer, including iconic silkscreen prints of Campbell’s soup cans and Marilyn Monroe. Organized chronologically and by series, Andy Warhol: Prints establishes the range of Warhol’s innovative graphic production as it evolved over the course of four decades, with a particular focus on Warhol’s use of different printmaking techniques, beginning with illustrated books and ending with screen printing.

Andy Warhol: Prints: From the Collections of Jordan D. Schnitzer and his Family Foundation

Engaging a wide range of experiences, techniques and materials, the nine artists featured in this volume challenge the images of black women that continue to pervade our culture and influence perceptions: stereotypes such as the suffering mama, the angry black woman and the temptress. Brought together in this publication, works by Romare Bearden, Mildred Howard, Wangechi Mutu, Lorna Simpson, Kara Walker, Robert Colescott, Ellen Gallagher, Alison Saar and Mickalene Thomas disrupt expectations and replace simplistic narratives with nuanced, sophisticated meditations on contemporary identity.

Beyond Mammy, Jezebel & Sapphire: Reclaiming Images of Black Women

This anthology of personal tributes to Ellsworth Kelly is a companion volume to The Prints of Ellsworth Kelly: A Catalogue Raisonné (Jordan Schnitzer Family Foundation, 2012). Letters to Ellsworth gathers the reflections of men and women who have been close to Kelly and his art over the years. In many cases, the proximity has been to the artist's prints. Curators, art historians, publishers, printers, dealers, and collectors-all known to and in many instances friends of the artist-contribute personal essays on Kelly's prints, his art.The eighteen essays that make up this book, in one instance a photo essay, are memorable testaments to Kelly's art. Authors write engagingly of curating and installing exhibitions, collaborating with the artist in the workshop, cataloguing his prints at an auction house, publishing them, representing and selling them, collecting and lending the prints to institutions, and even of acquiring their first print by Kelly. Letters to Ellsworth offers an intimate look at the bonds between friends and artist unlike any other book on one of the most important artists of the 20th and 21st centuries.

Letters to Ellsworth by Richard H. Axsom (2012-05-03)

EDITED BY RICHARD H. AXSOM

For more than sixty years, Ellsworth Kelly has been making prints, prints that are integral to his art as a whole. The abstract lithographs, screenprints, and etchings celebrate, as do Kelly’s paintings and sculptures, the sensuous primacy of vibrant color merged with emphatic shape. The plant lithographs rephrase in lithographic crayon the spontaneity of his plant drawings in ink and pencil. Together, their contemplative lyricism places them among the most beautiful prints ever made. Now Kelly’s complete oeuvre in prints is gathered into a two-volume catalogue raisonné, each of the more than three hundred works reproduced in color with full documentation. In addition, two essays—one on the work before 1987 and one on the work since then—elucidate the artist’s sources, working methods, stylistic evolution, and all-important collaborations with printers and printmaking workshops. A chronology further places the prints in context.

The Prints of Ellsworth Kelly: A Catalogue Raisonné

Richard H. Axsom

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.

Amazing! Mel Bochner Prints: From the Collections of Jordan D. Schnitzer and His Family Foundation

Individual Artists

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.

Mirror, Mirror: The Prints of Alison Saar: From the Collections of Jordan D. Schnitzer and His Family Foundation

Drawn from the collections of Jordan D. Schnitzer and His Family Foundation, Global Asias examines the cosmopolitan and the mundane, the exuberant and the somber, and the subtly subversive and enigmatic characteristics of contemporary Asian and Asian American art. Though the artists featured in the exhibition share a common Asian heritage, their backgrounds and styles differ vastly, and each artist draws on an array of motifs, techniques, and cultural motivations to construct diverse "Asias" in a modern global context. The fifteen artists represented here were born in Japan, China, Korea, Vietnam, Argentina, or the United States; all are adept at crossing borders-not only physical ones but also those in media, styles, genre, and materiality. The full recognition of works by Asian and Asian American artists, this exhibition suggests, rewrites the history of modern art as well as the history of American art, both of which turn out to be more vibrant and colorful than we knew, once we embrace such inclusivity.

Global Asias: Contemporary Asian and Asian American Art from the Collections of Jordan D. Schnitzer and His Family Foundation

Vaughan, Carolyn

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 with spices, marinades and garnishes. We use food as an intermediary to connect with others through holiday meals, business lunches, dates and more. 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, highlighted from the Collections of Jordan D. Schnitzer and His Family Foundation, it becomes clear why food is a recurring subject in art.

The Art of Food: From the Collections of Jordan D. Schnitzer and His Family Foundation

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Books by Jordan Schnitzer Family Foundation