In 1991 Alison Saar created a series of bronze relief sculptures for the Harlem-125th Street train station in New York. Titled Hear the Lone Whistle Moan, the series includes a woman traveling to the city, a man leaving the city, and a train conductor at the top of the station’s stairs. Together, the figures reference the Underground Railroad and the movement of people in and out of New York throughout history.
Saar expanded the project in 2018, creating a series of twenty-four laminated glass panels for shelters lining the platform. Each panel of this Copacetic series depicts aspects of cultural life during the Harlem Renaissance. When seen together, it offers a panoramic view of dancers, musicians, singers, and revelers.
A year later, Saar published her Copacetic portfolio, a suite of eight multi-block linocuts that reference the Harlem-125th Street project and the Harlem Renaissance. Inspired by “the many great African American artists of the Harlem Renaissance that had active printmaking practices, such as Elizabeth Catlett, Hale Woodruff, and Aaron Douglas,” Saar’s prints reinforce Harlem’s vibrant history and enduring legacy.
A paradiddle is
a quick series of drumbeats created by alternating hand strokes. Here, a drummer
is in the middle of rapid motion. On the back of the figure’s bright red shirt
is the outline of a human heart, which may point to the drums as being the
“heart beat” of the music or that music was the “heart beat” of the Harlem
Renaissance. Alison Saar often uses bright colors to signal action or a specific