{"title":"Betye Saar","description":"\u003cp\u003eBetye Saar (b. 1926) is an American artist whose assemblage practice draws on found objects, domestic materials, occult imagery and African American cultural history. Her work dismantles racist iconography and reclaims it as a site of power, memory and resistance. Associated with the Black Arts Movement and the feminist art movement of the 1970s, she remains one of the most significant figures in American assemblage and installation art.\u003c\/p\u003e\u003cp\u003eThe objects gathered here are printed ephemera relating to Saar’s exhibition history: catalogues, invitation cards and printed matter issued for presentations of her work. Each piece records a specific institutional moment and the printed form through which her practice entered public circulation.\u003c\/p\u003e","products":[{"product_id":"spots-dots-pips-tiles-exhibition-about-dominoes-hunter-east-harlem-gallery-new-york-2016","title":"SPOTS, DOTS, PIPS, TILES — An Exhibition about Dominoes, Hunter East Harlem Gallery, New York, 2016","description":"\u003cp\u003eExhibition catalogue. 13 × 20.5 cm. 52 pages. Staple-bound softcover, offset printed in colour and black-and-white. Published for the exhibition held 13 October 2016–11 February 2017 at Hunter East Harlem Gallery, Hunter College, 2180 Third Avenue at 119th Street, New York. Curated by Arden Sherman and María Elena Ortiz.\u003c\/p\u003e\u003cp\u003eArtists include José Bento, Papo Colo, Donna Conlon \u0026amp; Jonathan Harker, Donald Evans, Radamés “Juni” Figueroa, Sarah Hotchkiss, Glendalys Medina, Hélio Oiticica, Rodolfo Peraza, Kenny Rivero, Betye Saar, Edra Soto \u0026amp; Dan Sullivan, Donald Sultan, Tafa, Ana Maria Tavares, Talwst, Erika Verzutti, Nari Ward and Lawrence Weiner.\u003c\/p\u003e\u003cp\u003eThe catalogue considers dominoes as both a visual system and a social structure: black and white, sequence and interruption, strategy and chance. Developed in direct relation to East Harlem and communities with strong Caribbean ties, the exhibition moved between formal abstraction, political history and the communal life surrounding the domino table. Individual works are reproduced alongside short contextual texts — among them José Bento’s modular floor sculpture \u003cem\u003eUntitled\u003c\/em\u003e (2014), designed to be walked on and rearranged like tiles in a game, and Lawrence Weiner’s word-based \u003cem\u003eDomino Set\u003c\/em\u003e (2003), a multiple in which each tile carries a word and its antonym. The exhibition later travelled to Pérez Art Museum Miami.\u003c\/p\u003e\u003cp\u003eNotable design features include the narrow vertical format, asymmetrical photographic covers — the front a cropped street photograph of scattered domino tiles, the back a close-up of the same pile — and restrained sans-serif typography throughout.\u003c\/p\u003e\u003cp\u003eCondition: good. Light rubbing, handling marks and minor edge and corner wear consistent with circulation and age. Interior pages remain clean and securely bound.\u003c\/p\u003e","brand":"Hunter East Harlem Gallery","offers":[{"title":"Default Title","offer_id":53848557846866,"sku":"BENTO-HUNTEREH-CAT-2016","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bento_Jose._Colo_Papo._Conlon_Donna_Harker_Jonathan._Spots_Dots_Pips_Tiles_An_Exhibition_about_Dominoes._2016.jpg?v=1782490450"}],"url":"https:\/\/thenewrare.com\/collections\/betye-saar.oembed","provider":"The New Rare","version":"1.0","type":"link"}