In, Wilson, Judith. Ahead of her biggest exhibition to date, the sculptor talks about Black Panther imagery, the goddess Yemoja and her own quest to balance anger and beauty. In, Jones, Leisha. Alison Sarre est lauréate d'une bourse de la John Simon Guggenheim Memorial Foundation, d'une bourse d'artistes du National Endowment for the Arts et d'une bourse d'artistes de la ville de Los Angeles (C.O.L.A.)[32],[33],[34]. [16] In a review of the Biennial, New York Times art critic Roberta Smith said that Saar's work was among the "few instances where the political and visual join forces with real effectiveness. [7] This is where she learned to carve, and she notes that it later influenced the materials she would use in her pieces. Nolwen Cifuentes/The New York Times. [20][5] Her solo institutional exhibitions include: Alison Saar: Bearing at the Museum of the African Diaspora in 2015-16;[21][22] Winter at The Fields Sculpture Park, Omi International Arts Center in 2014-15;[23] Hothouse at the Watts Towers Art Center in 2014-15;[24] and STILL... that opened at the Ben Maltz Gallery, Otis College of Art and Design in 2012 and traveled to the Figge Art Museum, Massachusetts College of Art and Design in 2013.[25][26][27]. Saar is skilled in numerous artistic mediums, including metal sculpture, wood, fresco, woodblock print, and works using found objects. Un article de Wikipédia, l'encyclopédie libre. Originaire de Californie, Alison Saar est la fille de Betye Saar, sculpteure et artiste visuelle afro-américaine reconnue, et de Richard Saar, un défenseur de l'art[3]. Alison Saar, née le 5 février 1956 à Los Angeles, est une sculpteure et artiste visuelle multimédias basée à Los Angeles, en Californie. ", Dallow, Jessica. [12][13][9] Her sculptures and installations explore themes of African cultural diaspora and spirituality. She was included in the 1993 Whitney Biennial held at the Whitney Museum of American Art.[32][17]. Le travail d’Alison Saar est exposé dans des musées, des biennales, des galeries et des lieux d'art public. Saar is a recipient of a fellowship from the John Simon Guggenheim Memorial Foundation, an Artist Fellowship from the National Endowment for the Arts, and a City of Los Angeles (C.O.L.A.) Ses filles Alison, Lezley et Tracye, l’accompagnent dans des musées, expositions et vernissages durant leur enfance[4]. L'exposition explore les façons dont l'héritage et l'histoire impactent le corps humain, et comment cette histoire façonne et guide la façon dont la société conceptualise l'identité. Her father, Richard Saar, was a conservator and ceramicist. [7], Saar received a dual degree in art history and studio art from Scripps College (Claremont, CA) in 1978, having studied with Dr. Samella Lewis. Elle est alors l’élève du Dr Samella Lewis[8]. Son travail se concentre sur la diaspora africaine et l'identité féminine noire. Feb 3, 2016 - Explore Brenda Oelbaum's board "Alison Saar", followed by 184 people on Pinterest. The following essay is excerpted from the catalogue Alison Saar: Of Aether and Earthe, published by the Benton Museum of Art at Pomona College to coincide with the exhibition of the same name at the Benton Museum and Armory Center for the Arts (145 N Raymond Ave, Pasadena, Calif.), opening in 2021. [3] Saar's mother Betye was involved in the 1970s Black Arts Movement and frequently took Alison and her sisters, Lezley and Tracye, to museums and art openings during their childhood. Elle est représentée par la L.A. Louver à Venice, en Californie[27]. Saar's work has been exhibited internationally with key exhibitions at the UCLA Fowler Museum of Cultural History, L.A. Louver Gallery, Phyllis Kind Gallery in New York City, Ben Maltz Gallery, and Pasadena Museum of California Art. Alison Saar is a Los Angeles-based artist who has worked primarily in sculptures and prints for over 35 years. Son travail se concentre sur la diaspora africaine et l'identité féminine noire. Feb 17, 2016 - Explore Heea's board "alison saar", followed by 1316 people on Pinterest. Snake Man, in the collection of the Honolulu Museum of Art, is an example of how the artist references both African … She made a bronze monument of Harriet Tubman that presides over a traffic island at 122nd Street in Harlem. In them she merges the personal and the public, the positive and the negative of human life and spirit. En 1993, l’œuvre Hi, Yella est inclus dans à la Whitney Biennial, une référence dans les expositions américaines d’art contemporain[14],[15]. The artist's multiethnic upbringing, multiracial identity and her studies of Latin American, Caribbean and African art and religion have informed her work. Wilson, Judith. [8] Her thesis focused on African-American folk art. [She] juggles themes of personal and cultural identity as she fashions various sizes of female bodies (often her own) that are buoyant with story while solid in stance.”[18], Saar's work has been exhibited in museums, biennials, galleries, and public art venues. [1] Saar is well known for "transforming found objects to reflect themes of cultural and social identity, history, and religion. Pour la critique d'art Rebecca Epstein : "L’artiste démontre une habileté rare avec des matériaux apparemment impitoyables (bronze, plomb, goudron, bois), et jongle avec les thèmes de l'identité personnelle et culturelle alors qu'elle façonne différentes tailles de corps féminins (souvent le sien)"[17],[18]. The daughter of the artist Betye Saar, she continues her mother’s attention to … Significant group exhibitions include: In Profile: Portraits from the Permanent Collection at The Studio Museum in Harlem in 2015;[28] African American Art since 1950: Perspectives from the David C. Driskell Center, a traveling exhibition and catalogue that was presented at the University of Maryland in 2012, Taft Museum of Art in 2013, Harvey B. Gantt Center in 2014, Figge Art Museum in 2014-15, Polk Museum of Art in 2015, and Sheldon Museum of Art in 2016. "Alison Saar," Art in America, 14 Nov 2012. full article, PDF Roach, Hadley. For Los Angeles sculptor Alison Saar, art came from both sides of the family. Alison Saar is a contemporary American artist who addresses ideas of race, gender, culture, spirituality, and humanity through her figurative sculptures and paintings. Employing both found and traditional artistic materials, Alison Saar’s sculptures and assemblages meditate on a range of experiences related to the African diaspora and femininity. Ses sculptures très personnelles, souvent au format grandeur nature, sont marquées par leur candeur émotionnelle et par des matériaux et des messages contrastés. [5] Saar's love of nature, intense interest in vernacular folk art and admiration of artists' ability to create beauty through the use of discarded items stemmed from her upbringing and exposure to these experiences and types of art. Alison Saar imprègne son travail d'un haut degré de sous-texte culturel. *** I. "[5], Saar is skilled in numerous artistic mediums, including metal sculpture, wood, fresco, woodblock print, and works using found objects. Elle est ainsi reconnue pour son travail de transformation des objets trouvés comme témoins de l'identité culturelle, sociale, de l'histoire et de la religion d’un peuple[2]. En parallèle de leurs carrières distinctes distinguées, Alison Sarre et sa mère Betye Saar réalisent des œuvres artistiques ensemble[11].

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