Alan Saret

From Karma

Alan Saret’s (b.1944, New York) 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. Drawings 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.

Public collections include Museum of Modern Art, New York, New York; Metropolitan Museum of Art, New York, New York; MoMA PS1, New York, New York; Whitney Museum of American Art, New York, New York; Brooklyn Museum, New York, New York; Morgan Library & Museum, New York, New York; Hammer Museum, Los Angeles, California; Detroit Institute of Art, Detroit, Michigan; Dallas Art Museum, Dallas, Texas; Art Institute of Chicago, Chicago, Illinois; High Museum of Art, Atlanta, Georgia; Museum of Fine Arts, Houston, Texas; Museum of Contemporary Art, Los Angeles, California; National Gallery of Art, Washington, D.C.; Walker Art Center, Minneapolis, Minnesota; Fogg Museum, Cambridge, Massachusetts; Mildred Lane Kemper Art Museum, St. Louis, Missouri; Saint Louis Art Museum, St. Louis, Missouri;  Princeton University Art Museum, Princeton, New Jersey; Museum of Contemporary Art Chicago, Chicago, Illinois; and the Minneapolis Institute of Art, Minneapolis, Minnesota, among others.

Artist’s Website