A New York Times Book Review 2019 holiday gift guide pickOne of Time Magazine's best photo book of 2019For 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.

Artists from Lorna Simpson to Andy Warhol explore the iconography and culture of foodShowing 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.

An eye-popping collection of Winters’ print works from the past four decadesWith more than 800 images, this lavishly produced book provides a comprehensive documentation of the boundary-pushing printmaking work of American artist Terry Winters (born 1949). It contains eight foldout sections that contextualize the artist’s work in print with his work in painting and drawing.

The first in-depth examination of the Seneca Nation artist’s prints, an ongoing and central part of her practiceThe interdisciplinary oeuvre of Seneca Nation member Marie Watt (born 1967) draws from history, biography, Iroquois proto-feminism and Indigenous teachings. Her work underscores the sacred role of storytelling throughout history and across culture, delving into elemental themes such as dreams, myths, memories, earth and the cosmos.This catalog, published on the occasion of Watt’s retrospective traveling exhibition, is the first-ever inquiry into the artist’s printmaking processes and techniques. Spanning from 1996 to the present, the book compiles a considerable breadth of prints: from her early print works at her alma mater Yale to her collaborations with masters of the trade at Crows Shadow Institute, Sitka Center for Art and Ecology, Tamarind Institute and, most recently, Mullowney Printing Company. Scholarly essays by curator John Murphy and art historian Jolene Rickard reflect upon Watt’s contributions to the discipline.

A New York Times Book Review 2019 holiday gift guide pickOne of Time Magazine's best photo book of 2019For 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.

Artists from Lorna Simpson to Andy Warhol explore the iconography and culture of foodShowing 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.

An eye-popping collection of Winters’ print works from the past four decadesWith more than 800 images, this lavishly produced book provides a comprehensive documentation of the boundary-pushing printmaking work of American artist Terry Winters (born 1949). It contains eight foldout sections that contextualize the artist’s work in print with his work in painting and drawing.

The first in-depth examination of the Seneca Nation artist’s prints, an ongoing and central part of her practiceThe interdisciplinary oeuvre of Seneca Nation member Marie Watt (born 1967) draws from history, biography, Iroquois proto-feminism and Indigenous teachings. Her work underscores the sacred role of storytelling throughout history and across culture, delving into elemental themes such as dreams, myths, memories, earth and the cosmos.This catalog, published on the occasion of Watt’s retrospective traveling exhibition, is the first-ever inquiry into the artist’s printmaking processes and techniques. Spanning from 1996 to the present, the book compiles a considerable breadth of prints: from her early print works at her alma mater Yale to her collaborations with masters of the trade at Crows Shadow Institute, Sitka Center for Art and Ecology, Tamarind Institute and, most recently, Mullowney Printing Company. Scholarly essays by curator John Murphy and art historian Jolene Rickard reflect upon Watt’s contributions to the discipline.