Alison Saar, ‘Man/Club’, 1993, Manneken Press
Alison Saar, ‘Man/Club’, 1993, Manneken Press
Alison Saar, ‘Man/Club’, 1993, Manneken Press
Alison Saar, ‘Man/Club’, 1993, Manneken Press

Two printed sheets of paper combine to form the complete work. The figure is printed in lithography and woodcut on abaca paper. A larger sheet of buff BFK paper is printed with a softground etching of "fetish objects". The abaca sheet is mounted over the BFK sheet so that the hole cut in the stomach of the figure reveals part of the etching printed on the BFK sheet. There is meant to be a small gap between the two sheets of paper so that the viewer has the experience of looking into the stomach of the figure. The artist has signed, dated and numbered the print on the front, lower margin of the BFK sheet, and the abaca sheet is signed verso, lower margin. "Man/Club" was printed in an edition of 20, and the available impression is one of four signed and numbered printer's proofs. The two sheets are unmounted, and mounting must be done by a framing professional.

Signature: Front, lower margin and verso lower margin

Image rights: Manneken Press

Publisher: Vinalhaven Press

About Alison Saar

Employing both found and traditional artistic materials, Alison Saar’s sculptures and assemblages meditate on a range of experiences related to the African diaspora and femininity. The daughter of the artist Betye Saar, she continues her mother’s attention to the marginalization of both women and minorities. Often working with female nudes, Saar is among a larger generation of artists who recognize the body as a site of identity formation, acknowledging historical injustices and presenting defiant figures that seem to transcend their pasts. Referencing African and Afro-Caribbean art in her work, she often alludes to mythological narratives or rituals that fuel notions of history and identity.

American, b. 1956, Los Angeles, California, based in Los Angeles, California