The Hallie Ford Museum of Art in Salem presents “Witness: Themes of Social Justice in Contemporary Printmaking and Photography from the Collections of Jordan D. Schnitzer and His Family Foundation” through Dec. 20 in the Melvin Henderson-Rubio Gallery and the Maribeth Collins Lobby.
Drawn from one of the legendary contemporary print collections in the United States, “Witness” explores issues of race, identity and social justice in contemporary printmaking and photography. The exhibition has been organized by Portland art historian and scholar Elizabeth Bilyeu and explores four thematic sections: Stories and Histories, Pressures of Pop Culture, Challenging Expectations of Place and Unconventional Portraits. The exhibition features 82 prints by 40 nationally and internationally recognized artists, including Enrique Chagoya, Lalla Essaydi, Mildred Howard, Hung Liu, Nicola Lopez, Wendy Red Star (Apsáalooka), Roger Shimomura, Kara Walker and Marie Watt (Seneca).
LeRonn Brooks, an assistant professor of African and African American Studies at Lehman College of the City University of New York, will deliver an illustrated lecture on the theme of social justice in modern and contemporary art on September 29 at 5 p.m., Admission to this series of lectures is complementary and they will be held in the Paulus Lecture Hall at the Willamette University College of Law located at 245 Winter St. SE, Salem, Oregon.
Hallie Ford Museum of Art at Willamette University
Public contact: 503-370-6855 | museum-art@willamette.edu
Exhibition website: willamette.edu/go/witness
IMAGE: Roger Shimomura (American, b. 1939), “Nisei Trilogy: The Camps,” 2015, ed. 4/50, lithograph, 18 1/2 x 27 inches, Collection of Jordan D. Schnitzer, 2015. 794b. Photo: Strode Photographic LLC
HEAD: Salem museum presents social justice print/photo exhibit
The Hallie Ford Museum of Art in Salem presents “Witness: Themes of Social Justice in Contemporary Printmaking and Photography from the Collections of Jordan D. Schnitzer and His Family Foundation” through Dec. 20 in the Melvin Henderson-Rubio Gallery and the Maribeth Collins Lobby.
LeRonn Brooks, an assistant professor of African and African American Studies at Lehman College of the City University of New York, will deliver an illustrated lecture on the theme of social justice in modern and contemporary art on Sept. 29 at 5 pm. Admission is complementary.
The lecture is in conjunction with the exhibit “Witness: Themes of Social Justice in Contemporary Printmaking and Photography from the Collections of Jordan D. Schnitzer and His Family Foundation.” The exhibit is up Sept. 15 through Dec. 20 in the Melvin Henderson-Rubio Gallery and the Maribeth Collins Lobby of the The Hallie Ford Museum of Art in Salem.
Drawn from one of the legendary contemporary print collections in the United States, “Witness” explores issues of race, identity and social justice in contemporary printmaking and photography. The exhibition has been organized by Portland art historian and scholar Elizabeth Bilyeu and explores four thematic sections: Stories and Histories, Pressures of Pop Culture, Challenging Expectations of Place and Unconventional Portraits. The exhibition features 82 prints by 40 nationally and internationally recognized artists, including Enrique Chagoya, Lalla Essaydi, Mildred Howard, Hung Liu, Nicola Lopez, Wendy Red Star (Apsáalooka), Roger Shimomura, Kara Walker and Marie Watt (Seneca).
This program has been cancelled. We apologize for the inconvenience.
Mel Bochner: Enough Said from the Collections of Jordan D. Schnitzer and His Family Foundation
Mel Bochner (b.1940) consistently probes the conventions of painting and language. Bochner’s text-based works will be on view.
From the Collections of Jordan D. Schnitzer and His Family Foundations, this body of recent works, 2007-2018, challenge audiences to reflect on the nature and structure of everyday language. Curated by Bruce Guenther, adjunct curator for special exhibitions, the exhibition explores language as image and idea through Bochner’s long-held interest in complex printmaking techniques.
“Bochner’s historic use of language and words as both a linguistic system of inquiry and as a formal visual vocabulary of his painting practice has found new focus in the last decade through the artist’s intense engagement with printmaking and his exploration of the relationships of words as image, text, voice and thinking,” says Guenther. “He plumbs English and Yiddish for language’s power to establish identity, to command respect, or to attack in works of unpredictable emotionality and humor.”
“Mel Bochner is one of the most important conceptual artists of our time. His word art makes us smile, laugh, frown and jeer – but always forces us to think,” says Jordan D. Schnitzer. “He seduces us with emotions, words and phrases that we all have used. Whether we laugh or frown experiencing his art, we are forever moved.”
Born in 1940 to an Orthodox family in Pittsburgh, the artist attended Hebrew school and was exposed to art early through his father, who was a sign painter with a workshop in the family’s basement. Displaying an early talent for drawing, Bochner participated in the Carnegie Museum of Art’s innovative children’s art classes, eventually winning a scholarship to Carnegie Melon University.
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