Alan Saret's practice includes sculpture, drawing, painting, architecture, geometry study, writing, language study, and music. He is best known for creating sculptures with flexible materials, composed of wire and other 'non-art' mediums. After a three-year sojourn in India in early 1970s where he focused on the spiritual and metaphysical, Saret's approach to spatiality shifted to three-dimensional wire networks that explore the domain between order and disorder—leading to penetrated constructions that seem to come alive.
Read MoreDrawings with clusters of pencils, called 'Gang Drawings,' were first used to represent sheet wire and later developed into an independent art form. While this work was labeled 'anti-form' to distinguish it from hard-edged minimalism, Saret stresses its organic qualities, describing it as natural form because of nature's flexible use of geometry. Although seen by some as process art, these works use process to reveal spirit and to ensoul.
Alan Saret's work can be found in collections including the Art Institute of Chicago; Brooklyn Museum, New York; Dallas Art Museum; Detroit Institute of Art; Fogg Museum, Cambridge, Massachusetts; Hammer Museum, Los Angeles; High Museum of Art, Atlanta; Metropolitan Museum of Art, New York; Mildred Lane Kemper Art Museum, St. Louis; Minneapolis Institute of Art; MoMA PS1, New York; Morgan Library & Museum, New York; Museum of Contemporary Art Chicago; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Houston; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; Princeton University Art Museum, Princeton, New Jersey; Saint Louis Art Museum; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York.
Saret's sculptures are currently on view at the Museum of Modern Art; Museum of Contemporary Art, Los Angeles, in the exhibition Long Story Short; and Museo Jumex as part of the exhibition Colección Jumex: Everything Gets Lighter.
Text courtesy Karma.
