Published by Benton Museum of Art at Pomona College. Edited with text by Rebecca McGrew, Irene Tsatsos. Text by Camille Dungy, Harryette Mullen, Alison Saar, Christina Sharpe, Evie Shockley. Interview by Irene Tsatsos.
Drawing inspiration from the imagery of African, Caribbean and Latin American folk art as well as found objects and her own upbringing in a multiracial artist family, Los Angeles artist Alison Saar (born 1956) creates works that reflect on the duality of body and spirit within the context of a larger cultural setting, focusing in particular on black womanhood. In life-size wooden sculptures and mixed-media portraits, Saar crafts complex narratives about diasporic identity.
This publication accompanies an exhibition co-organized by the Benton Museum of Art at Pomona College in Claremont, California and the Armory Center for the Arts in Pasadena, California. Alongside photographic reproductions of Saar’s work, the clothbound catalog contains an interview between Saar and the exhibit’s co-curator, never-before-published photographs from the artist’s childhood and poetry by Camille Dungy, Harryette Mullen and Evie Shockley.
PUBLISHER Benton Museum of Art at Pomona College
BOOK FORMAT Clth, 9.25 x 12.5 in. / 164 pgs / 60 color / 18 bw.
PUBLISHING STATUS Pub Date 9/8/2020 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2020 p. 111
PRODUCT DETAILS ISBN 9780997930634TRADE List Price: $45.00 CDN $63.00 GBP £40.00
From the Collections of Jordan D. Schnitzer and His Family Foundation
Published by Jordan Schnitzer Family Foundation. Edited by Carolyn Vaughn. Foreword by Jordan D. Schnitzer. Text by Susan Tallman, Nancy Doll, 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.