ARTIST MONOGRAPHS

PUBLISHER
Jordan Schnitzer Family Foundation

BOOK FORMAT
Hardcover, 10.5 x 9.5 in. / 128 pgs / 180 color.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2019

PRODUCT DETAILS
ISBN 9781732321212 TRADE
List Price: $49.95 CDN $69.95 GBP £44.99

AVAILABILITY
In stock

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JORDAN SCHNITZER FAMILY FOUNDATION

Mirror, Mirror: The Prints of Alison Saar

From the Collections of Jordan D. Schnitzer and His Family Foundation

Edited by Carolyn Vaughn. Foreword by Jordan D. Schnitzer. Text by Susan Tallman, Nancy Doll, Alison Saar.

"Somnambulist" (1991) is reproduced from 'Mirror, Mirror: The Prints of Alison Saar.'

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.


"Somnambulist" (1991) is reproduced from 'Mirror, Mirror: The Prints of Alison Saar.'

Mirror, Mirror: The Prints of Alison Saar

in stock  $49.95


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FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 2/18/2020

Inequities and shared humanity in the prints of Alison Saar

Inequities and shared humanity in the prints of Alison Saar

"High Cotton" (2017) is reproduced from Mirror, Mirror: The Prints of Alison Saar, collecting works from the Jordan Schnitzer Family Foundation. "From celebrating blackness and black empowerment to depicting instances of self-imposed constraints and some of the worst crimes of racism, Saar’s work reckons with us," Weatherspoon Art Museum Director Nancy Doll writes. "It justly and importantly reminds us of the past and present inequities that people of color endure. It tugs at both our heartstrings and our moral compasses and calls upon us to examine our own biases in order to develop the kind of empathy necessary to right our wrongs. In One Writer’s Beginnings, Eudora Welty wrote: 'The memory is a living thing—it too is in transit. But during its moment, all that is remembered joins, and lives—the old and the young, the past and the present, the living and the dead.' These sentences could not more aptly describe Alison Saar’s artistic practice or intention. Expansion from the individual to the universal lodges at the very heart of her work: the sense of shared humanity, that we are equals under the skin." continue to blog


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