Saar is skilled in numerous artistic mediums, including metal sculpture, wood, fresco, woodblock print, and works using found objects. Artist Fellowship. [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]. 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. Scripps College, Otis College of Art and Design, Sculpteure, Artiste visuelle, Peintre, Artiste, Diaspora Africaine, Afro-féminisme, Corps humain, Genre, Sculpture, Arts visuels, Peinture, Art féministe, Bourse John Simon Guggenheim Memorial Foundation (1989), Prix Joan Mitchell Foundation (1998), Excellence in Design Award (2005), Fellow of United States Artists (2012), Delaware Center for the Contemporary Arts, Indianapolis Museum of Art Online Collection, John Simon Guggenheim Memorial Foundation, https://fr.wikipedia.org/w/index.php?title=Alison_Saar&oldid=170387182, Article de Wikipédia avec notice d'autorité, Page pointant vers des bases relatives aux beaux-arts, Portail:Biographie/Articles liés/Photographie, licence Creative Commons attribution, partage dans les mêmes conditions, comment citer les auteurs et mentionner la licence. In, Wilson, Judith. Alison Saar draws stories and myths from her diverse African American, Native American and European family history to create sculptures, prints, drawings and mixed media works. She made a bronze monument of Harriet Tubman that presides over a traffic island at 122nd Street in Harlem. Saar is represented by L.A. Louver in Venice, California. Son travail se concentre sur la diaspora africaine et l'identité féminine noire. En parallèle de leurs carrières distinctes distinguées, Alison Sarre et sa mère Betye Saar réalisent des œuvres artistiques ensemble[11]. Santa Barbara Seasons. [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. "Thread to the World: Alison Saar" Bomblog, 17 Nov 2011. full article, PDF. Son intérêt pour le corps, en particulier le corps maternel, présente à la fois l'endurance corporelle et culturelle des femmes afro-américaines[22]. Un article de Wikipédia, l'encyclopédie libre. Los Angeles Times, 26 Mar 2011. full article, PDF Altman, Rebekah. [9] She received an MFA from Otis College of Art and Design (Los Angeles, CA) in 1981. The Fellows of Contemporary Art (FOCA) awarded the 2020 Curator's Award to Rebecca McGrew at the Pomona College Museum of Art and Irene Tsatsos at the Armory Center for the Arts as co-curators of this exhibition. "[17] Of Saar's 2006 exhibition Coup, critic Rebecca Epstein wrote, “[Saar] demonstrates deft skill with seemingly unforgiving materials (bronze, lead, tar, wood). Alison Saar is a Los Angeles-based artist who has worked primarily in sculptures and prints for over 35 years. 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. John Simon Guggenheim Memorial Foundation, Guggenheim Memorial Foundation Fellowship, "Betye and Alison Saar Talk Art at the California African American Museum", "AT THE WHITNEY, A BIENNIAL WITH A SOCIAL CONSCIENCE", "Alison Saar Biography – Alison Saar on artnet", "Alison Saar: Bearing – MoAD Museum of African Diaspora", "OMI International Arts Center | Alison Saar", "Art that Stares, Spits and Screams at You", "Figge Art Museum – Alison Saar: STILL...", "Heavy Ideas with Elements of Play: "Alison Saar: STILL ... ," at the Figge Art Museum February 9 through April 14 | River Cities' Reader", "In Profile | The Studio Museum in Harlem", "Alison Saar | Selected works by exhibition", New York Foundation for the Arts: Interview with Alison Saar, 2009 Half-Hour TV Interview on The Creative Community, https://en.wikipedia.org/w/index.php?title=Alison_Saar&oldid=985577005, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License. Her mother, Betye Saar, 93, is a well-known artist. Dans une revue de la Biennale, la critique d'art de The New York Times, Roberta Smith, déclare que le travail d’Alison Saar se distingue parmi les "rares cas où le politique et le visuel unissent leurs forces avec une réelle efficacité"[16]. McGee, Julie L. "Field, Boll, and Monument: Toward an Iconography of Cotton in African American Art." Web. Ses œuvres ont également été présentées à l'échelle internationale avec des expositions clés au UCLA Fowler Museum de l'histoire culturelle à Los Angeles, à la L.A. Louver Gallery, à la Phyllis Kind Gallery de New York, à la galerie Ben Maltz ou au Pasadena Museum of California Art[23],[24],[25]. [11] From her mother Alison "inherited a fascination with mysticism, found objects, and the spiritual potential of art. De sa mère, l’artiste « a hérité d'une fascination pour le mysticisme, les objets trouvés et le potentiel spirituel de l'art »[5]. 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. “Reclaiming Histories: Betye and Alison Saar, Feminism, and the Representation of Black Womanhood.”, Farrington, Lisa E. "Reinventing Herself: The Black Female Nude." The daughter of the artist Betye Saar, she continues her mother’s attention to … Elle développe un  intérêt pour la sculpture et les artéfacts de différentes cultures, à travers lesquels elle apprend les propriétés de multiples matériaux et techniques[7]. Material Generally, I have to experience everything through my hands. “Women and Abjection: Margins of Difference, Bodies of Art.”. Ses créations représentent des questions liées au genre et à la race à travers à la fois son expérience personnelle et le contexte historique[20]. Elle est représentée par la L.A. Louver à Venice, en Californie[27]. "[2], Saar was born in Los Angeles, California, to a well-known African-American sculptor and installation artist, Betye Saar, and Richard Saar, a ceramicist and art conservationist. La dernière modification de cette page a été faite le 3 mai 2020 à 15:07. La jeune fille découvre notamment l’Art outsider, œuvres réalisées par des artistes autodidactes, marginaux ou adeptes de l’art naïf, telles les Watts Towers, un ensemble de huit tours édifiées par Simon Rodia, ou le Village de Grand-mère Prisbrey Bouteille à Simi Valley[5]. [29] Made in California: Art, Image, and Identity, 1900-2000 a large survey exhibition and catalogue produced Los Angeles County Museum of Art in 2000;[30] Twentieth Century American Sculpture in the White House Garden at The White House, Washington, D.C., in 1995;[31] and "Building on the Legacy: African American Art from the Permanent Collection" at the Muscarelle Museum of Art in Williamsburg, Virginia in 2018. [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. Son travail se concentre sur la diaspora africaine et l'identité féminine noire. ", Dallow, Jessica. Her work is often autobiographical and often acknowledges the historical role of the body as a marker of identity, and the body's connection to contemporary identity politics. Alison Saar œuvre avec de nombreux médiums artistiques, tels la sculpture en métal, le travail du bois, la réalisation de fresque, la gravure sur bois et les œuvres utilisant des objets trouvés ou recyclés[9],[12],[13]. In, Jones, Leisha. Mirror Mirror: The Prints and Sculpture of Alison Saar from the Jordan Schnitzer Family Foundation will be on view from September 1 to December 19, 2020. Ses sculptures très personnelles, souvent au format grandeur nature, sont marquées par leur candeur émotionnelle et par des matériaux et des messages contrastés. Lewis, Samella S. African American Art and Artists, revised and expanded 3rd ed., Berkeley: University of California Press, 2003.

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