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Alison Saar | Breach Sept. 17–Dec. 17, 2016

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Alison Saar | Breach Sept. 17–Dec. 17, 2016 Alison Saar explores issues of gender, race, racism, and the African diaspora. She mines mythology, ritual, history, music, and her biracial heritage as sources for her work. During a 2013 residency at the Joan Mitchell Center in New Orleans, Saar was dismayed to see how little had been done to rebuild African American communities devastated by Hurricane Katrina eight years earlier. Upon her return to Los Angeles, she began researching the histories of American floods and the effect on African Americans.The Great Mississippi River Flood of 1927, described as one of the worst natural river disasters in U.S. history, piqued her interest. Heavy rains resulted in the river breaching levees, creating a historic catastrophe that had a profound impact on the life of African Americans living in the Mississippi Delta. The flood exposed the conditions of poor African American sharecroppers and tenant farmers and their relationship with cotton plantation owners. The flood also resulted in social, cultural, federal policy, and political changes. With water imagery woven throughout, Breach is the culmination of Saar’s creative research on American rivers and their historical relationship to the lives of African Americans. Through mixed media sculpture, paintings, and works on paper, she explores floods not only as natural phenomena; but also the complex interaction of social, cultural, and political factors associated with flooding and its aftermath. galleries.lafayette.edu [email protected] 610 330 5361 1. Breach, 2016 wood, ceiling tin, found trunks, washtubs and misc objects 155 x 60 x 51 in. (393.7 x 152.4 x 129.5 cm) (Inv# AlS16-15) $ 95,000 3 parts: 1) Figure: 72 x 22 x 18 in. 2) Trunks Nest 3) Raft: 4 x 36 x 41 in. Left 2. Silttown Shimmy, 2016 wood, ceiling tin, enamel paint, tar and silt 28 x 8 1/2 x 5 1/2 in. (71.1 x 21.6 x 14 cm) (Inv# AlS16-14) Right 3. Black Bottom Stomp, 2016 wood, acrylics, ceiling tin, silt, tar and wax 30 x 9 x 7 in. (76.2 x 22.9 x 17.8 cm) Inv# AlS16-34) Left 4: Painting Staunch, 2016 Charcoal, call and acrylics on found seed sacks, & linens. 64 x 27 Inches Right: 5. Painting Breach, 2016 Charcoal, chalk and acrylic on found seed sacks and linens 65 x 30 inches Left: 6. Painting Sluefoot Slag, 2015 acrylic, gesso and charcoal on found sugar sacks and linens 53 x 26 1/2 in. (134.6 x 67.3 cm) Right: 7. Painting MuddyWater Mambo, 2015 acrylic, gesso and charcoal on found and dyed denim, sugar sacks and linens 50 x 25 in. (127 x 63.5 cm) Left: 8: Painting Swampside Shag, 2015 acrylic, gesso and charcoal on found and indigo-dyed denim, sugar sacks and linens 48 x 27 in. (121.9 x 68.6 cm) Right: 9: Painting Backwater Boogie, 2015 acrylic, gesso and charcoal on found indigo-dyed sugar sacks and linens 50 x 27 in. (127 x 68.6 cm) 10. Drawing on found -trunk drawer Acheron, 2016 Charcoal and chalk on found trunk drawer and sugar sacks 29.5 x 16 x 4 in. (74.9 x 40.6 x 10.2 cm) (Inv# AlS16-23) 11. Drawing on found -trunk drawer Silted Brow, 2016 charcoal, chalk & acrylic on linen and found trunk drawer 17 x 27 x 3 in. (43.2 x 68.6 x 7.6 cm) (Inv# AlS16-36) 12 Mixed media installation Hades D.W.P., II, 2016 with poems by Samiya Bashir, Acheron, Phlegethetha, Lethe, Styx, and Cocytus etched glass jars, water, dye, wood, cloth and ink transfer, electronics, found ladles and cups 30 x 50 x 16 in. (76.2 x 127 x 40.6 cm) Note: D.W.P. is the Department of Water and Power in Los Angeles 13. print Deluge, 2016 Woodcut on hand dyed paper 23 1/2 x 14 1/2 in. (59.7 x 36.8 cm), Tandem Press Framed Dimensions: 26 5/8 x 17 3/4 x 1 1/2 in. (67.6 x 45.1 x 3.8 cm) Edition of 30 (Inv# AlS16-24) 14. print Backwater Blues, 2014 Woodcut and chine colle 27-3/8 x 14-3/8 in. (69.5 x 36.5 cm) Tandem Press framed: 30 3/8 x 17 3/8 in. (77.2 x 44.1 cm) Inv# AlS14-4) Alison Saar-Breach, 2016 crate sizes from Los Angeles to PA US Art shuttle service Crate 71.000 51.000 47.000 Crate 12.000 98.000 8.000 Crate 42.000 48.000 24.000 Crate 36.000 78.000 28.000 Bin Box 28.000 48.000 24.000 Bin Box 28.000 48.000 24.000 Total Cubic Feet : 217 One additional box might be added, approx 24 x 30 x 30 Artist’s book During spring 2016 Alison Saar and poet Evie Shockley collaborated on an artists’ book at Lafayette’s Experimental Printmaking Institute, E.P.I. See photos of work in progress below and following page. Saar will complete the edition during her September 2016 residency 15. Artist’s book, collaboration between Alison Saar and poet Evie Schockley mami wata (or, how to know a goddess when you see one), 2016 Consists of 20/20 Box editions 5/5 artist proof sets each in a unique found box with 3 poems—one on cloth, one two-part and sewn, one folded and tied—3 woodcuts, and a colophon (digital print) 4. Distressed cigar box (found object), Lethe Interior of case serigraph on plexiglas, overall size varies based on cigar box dimensions Serigraph, distressed stained fabric, col- Etching, serigraph, embossed letter press text, lograph, hand sewn Etching, serigraph, distressed ink stained rice pa- (Rives BFK) cotton rag paper; part III of poem, (print coming out per(Kinwashi), hand sewn edge; part I of poem: etch- etched and embossed with letterpress; folded of the mouth) 26 ing, 2-part print, sewn at top; rolled; approx 18 inches and tied with hand dyed cotton inches long; part II x 7-3/4 inches poem 15. Artist’s book, collaboration between Alison Saar and poet Evie Shockley, produced at EPI mami wata (or, how to know ii. mami speaks a goddess when you see one) you make me iii. migrant’s prayer i. a deity’s history with wood and the fear- sharpened knife’s is that you, mami, wrapped in that soft if you show your tail edge. you make white fleece, casting that cold, hard glance me with paint i’ll spank it , the mamas and awe. you carve would say to the daughters me with snakes, in all directions? is that your spray swirling, spotted and diamond- stinging, in the bitter wind, your blue bosom meaning keep your behind backed, you wrap behind you, meaning ass- me in their tails glittering with diamonds thick as ice floes? backwards is the wrong or give me my own. i recognize your excess in this, your muscle, you make me direction. later, this threatened a ritual figure: i am but miss the wildness of your free: rushing showing called up negro chaps the second story mirror-gray green golden muddy into every in paris, uniformed, fighting of your masks. you make me crevice, trailing delta silt in cool deadly with fabric and fiber fingers as long as your nom de guerre—miss- wwii-era stereotypes. now tails with pigment, speak of grown-ass women braid and thread. you who catch the secrets of fish, make me with issippi—over every surface, swallowing myth, fantasy, what you will. miss. fear. yearn to possess. whose bare blue breasts hint and affection. you make at the source of their power me with dreads stirring beneath the water. and dread. you shape Evie Shockley me from copper, January 24, 2016 cut me from patterned tin. you make me with borrowed cultures, with local need. you make me your tormentor and deliverer: i am the demon-goddess of your home’s floral and perfumed altar, i am the irresistible thief, who flashes and fills your eyes with my full breasts before i rob you blind. you make me powerful as tides, with rushing rivers of hair, you flood me with mystery and desire, so—no wonder— i do what you have given me to do. 5 a,b,c. Digital pigment prints on dissolvable paper Installation views of Silt, Soot and Smut Silt, Soot and Smut at L. A. Louver, Venice, Calif., May 25 - 1 Jul 2016, was a larger version of the exhibition Breach, Grossman Gallery, Lafayette College. http://www.lalouver.com/exhibition.cfm?tExhibition_id=1206 review in LA Times: http://www.latimes.com/entertainment/arts/la-et-cm-knight-saar-review-20160614-snap- story.html review in Bermudez Project http://www.bermudezprojects.com/silt-soot-smut/ Installation view of Silt, Soot and Smut at L. A. Louver, Venice, Calif., May 25 - 1 Jul 2016, a larger version of the exhibition Breach at Lafayette College. The mixed media sculpture, Breach can be seen in center. Installation view of Silt, Soot and Smut at L. A. Louver, Venice, Calif., May 25 - 1 Jul 2016, a larger version of the exhibition Breach at Lafayette College. The sculpture Silttown Shimmy can be seen on pedestal at left; a different version of Hades D.W.P. is to the right. Installation view of Silt, Soot and Smut at L. A. Louver, Venice, Calif., May 25 - 1 Jul 2016, a larger version of the exhibition Breach at Lafayette College.
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