{"id":6594,"date":"2018-02-07T12:23:14","date_gmt":"2018-02-07T17:23:14","guid":{"rendered":"http:\/\/kolajmagazine.com\/content\/?p=6594"},"modified":"2018-02-07T22:53:12","modified_gmt":"2018-02-08T03:53:12","slug":"lezley-saar-salon-des-refuses","status":"publish","type":"post","link":"https:\/\/kolajmagazine.com\/content\/content\/collage-exhibitions\/lezley-saar-salon-des-refuses\/","title":{"rendered":"Lezley Saar: Salon des Refus\u00e9s"},"content":{"rendered":"

\"\"<\/p>\n

COLLAGE ON VIEW<\/p>\n

Lezley Saar: “Salon des Refus\u00e9s”
\nat the California African American Museum
\nin Los Angeles, California, USA
\n25 October 2017-18 February 2018<\/h2>\n

Curated by: Mar Hollingsworth, Visual Arts Curator and Program Manager, CAAM<\/p>\n

Since the 1990s, Lezley Saar has worked with paint, fabric, photographs, and found objects to investigate issues such as hybridity, identity, and acceptance. Her oeuvre, which employs a distinctive visual vocabulary, is multilayered in terms of materials, execution, meaning, and intellectual complexity. Saar\u2019s recurring depiction of persons outside the realm of what is commonly believed to be \u201cnormal\u201d–be it defined in physical, mental, neurological, sexual, or racial terms–is distilled from her lifelong personal experiences as an artist born and based in Los Angeles.<\/span><\/p>\n

\"\"<\/p>\n

“Salon des Refus\u00e9s” (Salon of the Rejected) includes three of Saar\u2019s most recent bodies of work: “Madwoman in the Attic\/Madness and the Gaze”, “Monad”, and “Gender Renaissance”, along with a selection of early altered books that show the origins of the artist\u2019s interest in literature, mixed media, and marginalized figures. It takes its name from an art exhibition held in Paris in 1863 organized by artists that had been excluded from the official Paris Salon–an important annual exhibition that could make or break an artist\u2019s career. These painters departed from the established aesthetic of the time because of their avant-garde styles and everyday subject matter, yet they still wanted their voices to be heard. By using this title, Saar alludes metaphorically to individuals excluded from mainstream society, whose depictions appear in the many portraits on view in this exhibition.<\/p>\n

(adapted from the museum’s press materials)<\/p>\n

\n

INFORMATION<\/h3>\n

California African American Museum<\/strong>
\nExposition Park
\n600 State Drive
\nLos Angeles, California 90037 USA
\n(213) 744-2084<\/p>\n

Hours:<\/strong>
\nTuesday-Saturday, 10AM-5PM
\nSunday, 11AM-5PM<\/p>\n

MAP<\/a> | WEBSITE<\/a>\u00a0| FACEBOOK<\/a><\/p>\n

Image:<\/strong>
\nReligious Melancholia<\/em> (detail)
\nfrom the “Madwoman in the Attic Series”
\nby Lezley Saar
\n63″x32″
\nacrylic and digital photographs on fabric
\n2012
\nCourtesy of the artist and Walter Maciel Gallery<\/p>\n","protected":false},"excerpt":{"rendered":"

COLLAGE ON VIEW Lezley Saar: “Salon des Refus\u00e9s” at the California African American Museum in Los Angeles, California, USA 25 October 2017-18 February 2018 Curated by: Mar Hollingsworth, Visual Arts Curator and Program Manager, CAAM Since the 1990s, Lezley Saar…<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":6,"featured_media":6595,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"gallery","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":""},"categories":[11],"tags":[],"jetpack_featured_media_url":"https:\/\/kolajmagazine.com\/content\/wp-content\/uploads\/lezley-saar-Religious-Melancholia.jpg","jetpack_shortlink":"https:\/\/wp.me\/p2QTD7-1Im","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":10519,"url":"https:\/\/kolajmagazine.com\/content\/content\/collage-exhibitions\/call-and-response\/","url_meta":{"origin":6594,"position":0},"title":"Call and Response","author":"Christopher Byrne","date":"7 January 2021","format":"gallery","excerpt":"Eyes of the Beholder by Betye Saarpaint on metal and wood serving tray, with painted metal baking pan and metal ornaments; 1994. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photography by \u00a9 Museum Associates\/LACMA, \u00a9 Betye Saar. 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