Consequently, the Serious Moonlight Tour was Bowie's first tour in 5 years. However, the murder of John Lennon in December 1980 deeply affected Bowie and as a result, he cancelled his tour plans and withdrew to his home in Switzerland where he became a recluse and continued working. “Betye Saar: Serious Moonlight” is curated by Stephanie Seidel, Curator.In 1980, David Bowie had released his album Scary Monsters (and Super Creeps), at the time expecting to support the album with a tour. The exhibition is organized by ICA Miami in collaboration with 49 Nord 6 Est – Frac Lorraine, Metz, France, and Kunstmuseum Luzern, Switzerland, where it will be presented in 2022–23. Saar’s works are held in more than sixty museum collections, including the Detroit Institute of the Arts MoMA LACMA Smithsonian American Art Museum, Washington, DC Walker Art Center, Minneapolis and the Whitney Museum of American Art, New York, among many others. Current exhibitions include solo presentations at the Museum of Modern Art, New York (MoMA), dedicated to her prints, and at the Los Angeles County Museum of Art (LACMA) focused on her sketchbooks and related works. de Young Memorial Museum, Fine Arts Museums of San Francisco. Her revolutionary work has been exhibited in solo and group exhibitions throughout the United States and around the world, including, most recently, the retrospective “Betye Saar: Still Tickin’” at the Scottsdale Museum of Contemporary Art, Arizona, and Het Domein, Sittard, The Netherlands the group show “We Wanted a Revolution: Black Radical Women, 1965–85” at the Brooklyn Museum, New York and the monumental traveling group show “Soul of a Nation: Art in the Age of Black Power” at the Tate Modern, London Crystal Bridges Museum of American Art, Bentonville, Arkansas Brooklyn Museum The Broad, Los Angeles and the M. 1926, Los Angeles) has been a pioneer of readymade art on the West Coast and Black feminist art in the United States since the 1960s. In this selection of works, Saar draws from the history of the African diaspora and the African American experience to create tangible and powerful monuments that profoundly influenced artists such as David Hammons, Maren Hassinger, and Senga Nengudi.īoldly addressing questions of race and gender in her art and activism, Betye Saar (b. The Ritual Journey addresses traditions of death and mourning, as does the artist’s altarpiece, Wings of Morning (both 1992). The exhibition includes the significant installation House of Fortune (1988), an ominous scene featuring a card table, tarot cards, and Vodou flags as a meditation on spirituality. Saar’s installations combine charged objects to create rich, narrative worlds. Influenced by research trips to Haiti, Mexico, and Nigeria undertaken by the artist in the 1970s, these immersive works explore concepts of ritual and community through both cultural symbols and autobiographical references. In works like The Liberation of Aunt Jemima (1972), Saar altered and augmented found, commercially available objects-in this case adding a rifle and a raised fist to the familiar stereotypical commercial emblem-in order to highlight and dismantle racialized images that pervade everyday life.Īudiences have rarely had the opportunity to encounter the artist’s radical installations, many of which have been recently rediscovered and will be exhibited at ICA Miami for the first time in decades. Saar’s intimately scaled works of the 1960s and 1970s–poignant examinations of race and gender through assemblages of readymades and found objects–became icons of Black feminist art.
Rooted in the artist’s critical focus on Black identity and intersectional feminism as well as the racialized and gendered connotations of found objects, Saar’s installations expand on her celebrated repertoire and offer broadened insight into ritual, spirituality, and cosmologies in relation to the African American experience and the African diaspora. ICA Miami presents a survey of rarely exhibited immersive, site-specific installations from 1980 to 1998 by American artist Betye Saar.
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