At the Museum of Modern Art, spending time with Saar’s early inner self revealed a great deal about her trajectory into genius.
Above 'Birds of a Feather' 2010, Here is a selection of collages by Betye Saar, Betye Saar was born in Los Angeles in 1926. "I never had the stroke for the mainstream. But the flotsam and jetsam of tides is what I make my art from; I recycle things that I find. It’s not only materials, images, and objects, but feelings and ideas." Betye Saar Above: 'Mother and Children in Blue',1998, Below: 'The Blue Madonna's 1996. "I grew up in a family with strong older women who led and inspired the rest of us to find our voices and embrace our creativity. These wise, wonderful women were the matriarchs of our family and I find myself naturally drawn toward women who fill that role in their own." Betye Saar Below: Woman with Bird in Her Hair, 2010
Betye Irene Saar is an African-American artist known for her work in the medium of assemblage.
grande dame. noun (plural: grandes dames)A woman who is socially prominent, respected, and experienced, especially one who is advanced in age. A woman who is accomplished, influential, and a senior figure in a particular field.Betye Saar has been a major pillar of creativity within the contemporary art world for over five decades.
A 1977 documentary explores how Betye Saar's mythic altars illustrate the personal and political implications of Black identity.
The artist talks to Jonathan Griffin about her stereotype-busting sculptures and explains why major shows in Los Angeles and New York are ‘just another gig’
Betye Saar , A Secretary to the Spirits (from the series A Secretary to the Spirits [for Ishmael Reed]), 2017.306:1
The sketchbooks reveal how Saar's practice has evolved over time, and how time itself is a major thread in her work.
Doreen St. Félix writes about the assemblage art of Betye Saar, which is featured in a new exhibit, “The Legends of ‘Black Girl’s Window,’ ” at the Museum of Modern Art.
One of the most significant assemblage artists working today, Betye Saar (b. 1926, Los Angeles) addresses spirituality, gender, and race in her art. Part of the strong Southern California tradition of artists using found objects, she combines items typically discovered at flea markets and secondhand stores—or given to her by friends—into conceptually and physically elaborate creations.
Betye Saar: Call and Response April 10‒July 11, 2021 Jackson, MS…The Mississippi Museum of Art (MMA) presents Betye Saar: Call and Response, the first exhibition examining the relationship between Saar’s found objects, sketches, and finished works, thereby shedding new light on her distinctive practice. One of the most significant artists working in assemblage and collage ... Read more
"The Liberation of Aunt Jemima" -- a broom-toting, gun-wielding African-American woman -- established the reputation of artist Betye Saar. That was in 1972. At age 80, she's still combining scraps and souvenirs of the past into provocative works of art.
Found-objects recycler made a splash in 1972 with "The Liberation of Aunt Jemima."
The artist talks to her friend, the actress CCH Pounder, about some of the trips they’ve taken and the places they’ve yet to go.
THE LOS ANGELES-BASED ARTIST Betye Saar is known for her assemblage works, mixed-media objects that explore race, history, death and rebirth through found objects. Indeed, Saar herself ...
The art of assemblage may have been initiated in other parts of the world, but the Southern Californian artists of the '60s and '70s made it political and made it their own. Modern art iconoclast, 89-year-old, Betye Saar approaches the medium with a so...
African American sculptor
The Museum Ludwig's 2020 Wolfgang Hahn Prize, which comes with $110,000, has gone to Betye Saar.
THE LOS ANGELES-BASED ARTIST Betye Saar is known for her assemblage works, mixed-media objects that explore race, history, death and rebirth through found objects. Indeed, Saar herself ...
A survey of the American artist's work at Milan's Fondazione Prada showcases her ability to manipulate not only racist iconography, but also personal symbols and autobiographic narratives.
The image above is an installation piece by Betye Saar (American, born 1926) titled “A Loss of Innocence” (1998). It’s a chair and dress, 50x12x12 inches. The image is included in a Hyperall…
With simultaneous shows in Los Angeles and New York, Betye Saar is celebrated for work that is equal parts political and spiritual.
Betye Saar talks about her retrospective in Arizona
Betye Saar, A Loss of Innocence, 1998, Dress with printed labels, wood hanger, chair, and framed photo on block
AD zeigt die Kunst von Betye Saar, die mit ihren Assemblagen aus Alltagsdingen Werke voll von Mut und Mystik, Politik und Persönlichem schafft.
Doreen St. Félix writes about the assemblage art of Betye Saar, which is featured in a new exhibit, “The Legends of ‘Black Girl’s Window,’ ” at the Museum of Modern Art.
