From the wall description of the work-
Made shortly before Saar’s seventy-eighth birthday, the assemblage includes years and astrological glyphs on the inner left side that correlate to various important dates in her life. The work’s title wittily refers both to the timepieces in the sculpture- which, of course, are not ticking; indeed they are either frozen in time or missing their hands- and to the artist herself, who is alive and well, still ticking, now at age ninety-three.
One of the pieces from Drew Heitzler’s 2015 exhibition Pacific Palisades at Blum and Poe Los Angeles.
Ryan Brown’s Praia do Sancho (2015), from the 2015 group exhibition Extraction at Steve Turner in Los Angeles. For this work he used the structural components of stretched canvas to create this large work that resembles a beach chair.
A section of Yayoi Kusama’s installation at the now permanently closed Marciano Art Foundation in Los Angeles.
Two works from Museum of Latin American Art’s outdoor sculpture garden, just one of the great things about this Long Beach museum.
Currently they are showing Arte, Mujer, y Memoria: Arpilleras from Chile; Dreamland: A Frank Romero Retrospective; En Vision: Picturing the Self -selected pieces from MOLAA’s Permanent Collection in conversation with self-portraits by students of Las Fotos Project, a community-based nonprofit organization that inspires teenage girls through photography, mentorship and self-expression; and the work of Afro Cuban artists José Bedia and Belkis Ayón; in addition to work from the museum’s permanent collection, as part of their Museum en Casa online programming.
Swiss artist Cuno Amiet’s Mutter und Kind im Garten (Mother and Child in Garden), circa 1903, part of LACMA’s 2014 exhibition Expressionism in Germany and France: From Van Gogh to Kandinsky.