Alison Saar

Made in California: Art, Image, and Identity, 1900-2000 a large survey exhibition and catalogue produced Los Angeles County Museum of Art in 2000; Twentieth Century American Sculpture in the White House Garden at The White House, Washington, D.C., in 1995; and "Building on the Legacy: African American Art from the Permanent Collection" at the Muscarelle Museum of Art in Williamsburg, Virginia in 2018.

In 2021, Saar curated SeenUNseen at L.A. Louver which coincided with a reading by Myriam J. A. Chancy.

Alison Saar (born February 5, 1956) is a Los Angeles, California based sculptor, mixed-media, and installation artist.

Her artwork focuses on the African diaspora and black female identity and is influenced by African, Caribbean, and Latin American folk art and spirituality.

Saar is well known for "transforming found objects to reflect themes of cultural and social identity, history, and religion."

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 conservator.

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.

They also saw Outsider Art, such as Simon Rodia's Watts Towers in Los Angeles and Grandma Prisbrey's Bottle Village in Simi Valley.

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 worked with her father as a conservator for eight years, starting while she was still in high school.

This is where she learned to carve, and she notes that it later influenced the materials she would use in her pieces.

Dealing with artifacts from different culturesChinese frescoes, Egyptian mummies, and Pre-Columbian and African arttaught Alison about properties of various materials, techniques, and aesthetics.

Saar received a dual degree in art history and studio art from Scripps College (Claremont, CA) in 1978, having studied with Dr. Samella Lewis.

Her thesis focused on African-American folk art.

She received an MFA from Otis College of Art and Design (Los Angeles, CA) in 1981.

In addition to their distinguished separate careers Saar and her mother Betye Saar have produced artworks together.

From her mother Alison "inherited a fascination with mysticism, found objects, and the spiritual potential of art."

In 1983, Saar had an artist in residence in Harlem at the Studio Museum.

She also had another residency in New Mexico in 1985.

There she integrated both her urban style with Southwest Native American and Mexican influences.

Saar is skilled in numerous artistic mediums, including metal sculpture, wood, fresco, woodblock print, and works using found objects.

Her sculptures and installations explore themes of African cultural diaspora and spirituality.

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.

Snake Man, in the collection of the Honolulu Museum of Art, is an example of how the artist references both African culture and the human body in her work.

The artist's multiethnic upbringing, multiracial identity and her studies of Latin American, Caribbean and African art and religion have informed her work.

Her highly personal, often life-sized sculptures are marked by their emotional candor, and by contrasting materials and messages she imbues her work with a high degree of cultural subtext.

Her sculptures represent issues relating to gender and race through both her personal experience and historical context.

Saar investigates practices of Candomblé, Santería, and Hoodoo.

Believing that objects contain spirits, she transforms familiar found objects to stir human emotions.

In a review of the Whitney 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."

Saar's work Hi, Yella was included in the 1993 Whitney Biennial held at the Whitney Museum of American Art, a benchmark in American exhibitions for its critical tone and content.

In 2021, the Benton Museum of Art and Armory Center for the Arts surveyed her work in a joint exhibition titled "Alison Saar: Of Aether and Earthe".

Saar is represented by L.A. Louver in Venice, California.

Of Saar's 2006 exhibition Coup, critic Rebecca Epstein wrote, “[Saar] demonstrates deft skill with seemingly unforgiving materials (bronze, lead, tar, wood).

[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.”

Saar's work has been exhibited in museums, biennials, galleries, and public art venues.

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.

She was an artist-in-residence at Dartmouth College and at The Studio Museum in Harlem.

Her solo institutional exhibitions include: Alison Saar: Bearing at the Museum of the African Diaspora in 2015-16; Winter at The Fields Sculpture Park, Omi International Arts Center in 2014-15; Hothouse at the Watts Towers Art Center in 2014-15; 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.

Significant group exhibitions include: In Profile: Portraits from the Permanent Collection at The Studio Museum in Harlem in 2015; 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.