{"id":152315,"date":"2021-05-03T16:04:36","date_gmt":"2021-05-03T20:04:36","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=152315"},"modified":"2021-05-03T16:04:36","modified_gmt":"2021-05-03T20:04:36","slug":"the-talents-of-the-saar-family","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/05\/03\/the-talents-of-the-saar-family\/","title":{"rendered":"The Talents of the Saar Family"},"content":{"rendered":"

In recent years, the work of the ninety-four-year-old artist Betye Saar has experienced something of a critical reappraisal, with major retrospectives appearing concurrently at the Museum of Modern Art and the Los Angeles County Museum of Art in 2019. When asked<\/a> why this sudden resurgence in attention might be occurring, she replied: \u201cBecause it\u2019s about time! I\u2019ve had to wait till I\u2019m practically 100.\u201d It\u2019s baffling that she had to wait at all: Saar\u2019s work, especially her Joseph Cornell\u2013inspired assemblages, is without peer. Thankfully, a new show at the Crocker Art Museum, in Sacramento, California, suggests that talent travels matrilineally in the Saar family. \u201cLegends from Los Angeles<\/a>,\u201d which will be on view through August 15, f<\/em>eatures twenty-three works by Betye and her daughters Alison and Lezley. A\u00a0selection of images from the exhibition appears below.<\/em><\/i><\/p>\n

\"\"<\/a>

Betye Saar, Woman with Two Parrots<\/em>, 2010, mixed-media collage on paperboard, 12 x 24 5\/8″. Crocker Art Museum, gift of Emily Leff and James Davis III. \u00a9 Betye Saar \/ Roberts Projects, Los Angeles, California.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Alison Saar, Jitterbug<\/em>, from the Copacetic<\/em> portfolio, 2019, linocut on handmade Japanese Hamada kozo paper, 19 1\/2 x 18″. Crocker Art Museum purchase with funds provided by the Marcy and Mort Friedman Acquisition Fund; and Janet Mohle-Boetani, M.D., and Mark Manasse. \u00a9 Alison Saar. Photo courtesy of Catharine Clark Gallery and Mullowney Printing.<\/p><\/div>\n

<\/p>\n

 <\/p>\n

\"\"<\/a>

Lezley Saar, I turned my back on the ocean<\/em>, 2019, paper collage on photograph, 10 1\/2 x 8 1\/4″. Crocker Art Museum purchase with funds from the Forrest and Shirley Plant Fund. \u00a9 Lezley Saar. Photo: Agust Agustsson, courtesy of Walter Maciel Gallery.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Alison Saar, Hades D.W.P. II<\/em>, 2016, etched glass jars, water, dye, wood, cloth and ink transfer, electronics, and found ladles and cups, 30 x 50 x 16″. Crocker Art Museum, gift of Loren G. Lipson, M.D. \u00a9 Alison Saar. Photo: John Wynn \/ Lafayette Art Galleries.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Betye Saar, Now You Cookin\u2019 with Gas<\/em>, from the series \u201cSix Serigraphs: Bookmarks in the Pages of Life,\u201d 2000, serigraph, 14 1\/2 x 11″. Crocker Art Museum, gift of Loren G. Lipson, M.D. \u00a9 Betye Saar \/ Roberts Projects, Los Angeles, California.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Alison Saar, Man in Blue Suit<\/em>, 1981, mixed media, 10 1\/2 x 5 1\/2 x 3 1\/2″. Crocker Art Museum, gift of Emily Leff and James Davis III. \u00a9 Alison Saar.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Lezley Saar, Zerpenta Dambullah: Born under the shade of a black willow tree in New Orleans in 1826 sat on a rock turning rain into tobacco smoke<\/em>, 2019, acrylic on fabric with fringing, braided tassels, and curtain rod, 68 x 40″. Crocker Art Museum purchase with funds provided by Emily Leff and James Davis III. \u00a9 Lezley Saar. Photo: Agust Agustsson, courtesy of Walter Maciel Gallery.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Betye Saar, Remember Friendship<\/em>, 1975, mixed media, 10 3\/4 x 17 1\/8 x 1 1\/4″. Crocker Art Museum, gift of the Sacramento Chapter of Links, Inc. \u00a9 Betye Saar \/ Roberts Projects, Los Angeles, California.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Alison Saar, Torch Song<\/em>, from the Copacetic<\/em> portfolio, 2019, linocut on handmade Japanese Hamada kozo paper, 19 1\/2 x 18″. Crocker Art Museum purchase with funds provided by the Marcy and Mort Friedman Acquisition Fund; and Janet Mohle-Boetani, M.D., and Mark Manasse. \u00a9 Alison Saar. Photo courtesy of Catharine Clark Gallery and Mullowney Printing.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Betye Saar, We Was Mostly \u2019Bout Survival<\/em>, 1998, serigraph, 25 5\/8 x 19 7\/8″. Crocker Art Museum, gift of Shirley and Guy Moore. \u00a9 Betye Saar \/ Roberts Projects, Los Angeles, California.<\/p><\/div>\n

 <\/p>\n

\u201cLegends from Los Angeles<\/a>\u201d will be on view at the Crocker Art Museum, in Sacramento, California, through August 15.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Featuring work by Betye Saar and her daughters Alison and Lezley, \u201cLegends from Los Angeles\u201d suggests that talent travels matrilineally in the Saar family.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[67827],"class_list":["post-152315","post","type-post","status-publish","format-standard","hentry","category-look","tag-featured"],"acf":[],"yoast_head":"\nThe Talents of the Saar Family by The Paris Review<\/title>\n<meta name=\"description\" content=\"Featuring work by Betye Saar and her daughters Alison and Lezley, \u201cLegends from Los Angeles\u201d suggests that talent travels matrilineally in the Saar family.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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