#betyesaar

[harvardfineartslib]

Congratulations to Betye Saar whose solo exhibition opens at the Isabella Stewart Gardner Museum in Boston today!

Saar is a celebrated contemporary American artist (b. 1926) and leading figure of the Black Arts Movement in the 1970s. Through visual storytelling, Saar’s assemblage work often confronts American racism, colonialism, and stereotypes of Black people in this country.

Saar’s exhibition entitled Betye Saar: Heart of a Wanderer “explores Saar’s trips to Africa, Asia, Europe, and the Americas, highlighting works influenced by her many trips and her engagement with global histories of travel. Through these profound works, the artist reflects on themes of race, colonialism, forced migration, and spiritual systems that blend religious traditions from around the world.”

If you’re in Boston, go check out Saar’s exhibition at the Gardner Museum, which will be up through May 21, 2023. While there, don’t forget to see Adam Pendleton’s “Untitled (Giant Not to Scale)” on the façade of the museum. As the Artist-in-Residence, Pendleton created a black and white image featuring “a photocopied image of a carved figure taken from a book, transferred onto a clear sheet and set against a painted surface of circle and squares.” Pendleton’s work explores the relationships between Blackness, abstraction, and the avant-garde. (from the Isabella Stewart Gardner Museum’s website)

[reimerstuff]

Afro-Atlantic Histories charts the transatlantic slave trade and its legacies in the African diaspora. Through a series of dialogues across time, the exhibition features artworks produced in Africa, Europe, and the Americas in the last four centuries to reexamine—from a global perspective—histories and stories of enslavement, resilience, and the struggle for liberation. The exhibition is organized around six groupings: Maps and Margins, Enslavements and Emancipations, Everyday Lives, Rites and Rhythms, Portraits, and Resistances and Activism. Each section considers the critical impact of the African diaspora reflected in historic and contemporary artworks. Histórias Afro-Atlânticas originated at the Museu de Arte de São Paulo Assis Chateaubriand (MASP) and the Instituto Tomie Ohtake in Brazil, in 2018. Touring venues in the U.S. include the Museum of Fine Arts, Houston, the National Gallery of Art, and the Dallas Museum of Art. This is the only presentation on the West Coast. #hankwillisthomas #betyesaar #faithringgold #glenligon #bennyandrews #jammieholmes #romairebearden (at LACMA Los Angeles County Museum of Art) https://www.instagram.com/p/Cp1PxNBrkFf2tWB-vsbrF9yd84jcirkCsEFcNM0/?igshid=NGJjMDIxMWI=

[abwwia]

Betye Saar (USA, b. 1926)

The Differences Between, 1989

mixed media (cotton velvet on pressboard with found objects: embossed laminated paper board, wood fan, photograph, partial glove, nylon netting, feather, watchface, hair ornaments).

#BetyeSaar places found objects into evocative assemblages, creating compositions that welcome interpretation. In 1975, the artist inherited her aunt's collection of photographs, gloves, fans, lace, and brooches, which then appeared in Saar's work as "fragments from the past ... a sort of sentimental journey back when time moved slower and people collected memories." Here Saar lays a sheer nylon veil over an antique photograph of an interracial pair whose identities we must imagine. source: Museum of Fine Arts Boston

#BetyeSaar #artherstory #artbywomen #womensart #palianshow #art #womenartists #femaleartist #artist #mixmdiaart

[softskyburial]

I fell back asleep after breakfast and had a dream about tumblr. In my dream the app had these tabs for individual tags you follow. Like right now the app has “for you” and “your tags” but in the dream i had tabs for #coffee #tokyo #betyesaar etc. would be fun to have that but I���m sure the actual design would be terrific.

[artbookdap]

We are loving the new @hyperallergic monthly guide to the best English-language art books, in partnership with @bookshop_org in support of small booksellers! Props to Lakshmi Amin for this first list, including three of our favorite recent releases:⁠ ⁠ 'I Am Sparkling: N.V. Parekh and His Portrait Studio Clients, Mombasa, Kenya, 1940–1980' by @isolde_brielmaie with text by @wangechimutu @wangechistudio and published by @damiani_books⁠ Mallory Cohen writes: "These images pose potent questions about the problematic conflation of whiteness and modernity, and the racist colonial ideals that persisted amidst the fanfare of the independence era."⁠ ⁠ Cyberfeminism Index, edited with introduction by @mindyseu Foreword by Julianne Pierce of @vns_matrix Afterword by @ellerustle published by @inventorypress⁠ An index in the true sense of the word, more than 1,000 excerpts from existing writing on feminist approaches to technology and media provide countless entry points into this complex body of thought, spanning 1991 to 2020.… interrogates the corporeal, racialized, queered possibilities of the digital and technological. ⁠ ⁠ @betyesaar Black Doll Blues with foreword by Julie Roberts. Text by Rachel Federman, Katherine Jentleson. Interview by @maddy_inez and published by @robertsprojects⁠ In the midst of the 2020 pandemic lockdown, assemblage artist Betye Saar took to the medium of watercolor. [These are gathered here, along with] earlier works, interviews, and reflections on the personal and political significance of … her collection of Black dolls.⁠ ⁠ Read the full reviews via linkinbio.⁠ ⁠ @laxmiamin17 @juliealisonroberts #hyperallergicbestbooks https://www.instagram.com/p/Cpc4TV3uOAY/?igshid=NGJjMDIxMWI=

[moma-prints]

Girl Children, Betye Saar, 1964, MoMA: Drawings and Prints

The Candace King Weir Endowment for Women Artists Size: plate: 17 11/16 × 13 9/16" (44.9 × 34.5 cm); sheet: 19 5/16 × 15 3/16" (49 × 38.5 cm) Medium: Etching

http://www.moma.org/collection/works/284134

[bm-feminist-art]

Sacred Symbols, Betye Saar, 1988, Brooklyn Museum: Elizabeth A. Sackler Center for Feminist Art

© Betye Saar, courtesy of Michael Rosenfel Gallery LLC, New York Size: framed: 12 1/8 x 13 5/8 in. (30.8 x 34.6 cm) Medium: Wood, pigment

https://www.brooklynmuseum.org/opencollection/objects/220641

[supportblackart]

@betyesaar 🙏🏾 “Liberation of Aunt Jemima,” 1972. She’s liberated! Finally at long last! And it’s about time! “Quaker Oats announced that it is retiring the Aunt Jemima brand and logo, saying that its origins are based on a racial stereotype.”-@cnn #supportblackart #betyesaar #auntjemima #liberation #blacklivesmatter #liberationofauntjemima #quakeroats #robertsprojectslawwg https://www.instagram.com/p/CBqpaMbB_gt/?igshid=e7me9he1ce4c

[bm-contemporary-art]

Blow Top Blues: The Fire Next Time, Betye Saar, 1998, Brooklyn Museum: Contemporary Art

© Betye Saar Size: Sheet: 27 1/8 x 22 1/4 in. (68.9 x 56.5 cm) Medium: Collage and color lithograph

https://www.brooklynmuseum.org/opencollection/objects/198915

[trascapades]

✨️#ArtIsAWeapon #Artist: Nina Satie @ninasatie #Artwork: um ducto de luz se abriu debaixo so seu pescoço (A duct of light opened up under your neck), 2022 Reposted from @dapaahgallery #sundayspotlight featuring our very own @ninasatie and her ethereal surrealist portraits. 🇧🇷 Nina’s heady work explores the convergence of #femininity, #mysticism and #spirituality, and the reclamation of the black female body, a practice inspired by iconic and politically empowered artists such as #BetyeSaar, whom Nina is a emphatic student and admirer of. Stay posted for more insights and exciting updates on the #SãoPaulo-based artist as we enter the new year! One to certainly keep on your radar!💜⭐️ #ninasatie #brazilianartist #dapaahgallery #BlackGirlArtGeeks https://www.instagram.com/p/CmVs22_u7JZ/?igshid=NGJjMDIxMWI=

[a-bamber]

Celebrating Betye Saar (1926 - she’s still alive & making art!) • African American assemblage and collage artist, painter, and printmaker • Part of the Black Arts Movement in the 1970s • Her work focuses on themes of race, gender and spirituality I enjoyed watching videos of her lectures/talks and learning about her life/art making. I made this portrait of #BetyeSaar for the last assignment of the @makeartthatsells class I took taught by Tamisha Anthony & Lilla Rogers. . #illustrator #illustration #abamberart #instaart #makeartthatsells #blackarthistory #portraitillustration #blackwomenhistory #matsrbh2022 https://www.instagram.com/p/CZsKT75PeUH/?utm_medium=tumblr

[harvardfineartslib]

For the start of Black History Month, we’ve got books on legendary Black artists, such as Bill Traylor, Romare Bearden, Jacob Lawrence, Charles White, Elizabeth Catlett, Alma Thomas, Betye Saar, Norman Lewis, and more! Titles are listed below.

Romare Bearden : idea to realization / essay by Sarah E. Lewis ; [descriptive texts, Ralph Sessions]. HOLLIS Number: 990129015530203941

Charles White : a retrospective / edited by Sarah Kelly Oehler and Esther Adler ; with essays by Esther Adler [and five others] ; and a preface by Kerry James Marshall. HOLLIS Number: 99153718620103941

Betye Saar : Black girl's window / Esther Adler and Christophe Cherix. HOLLIS Number: 99153808481003941

Bill Traylor: drawings from the collections of the High Museum of Art and the Montgomery Museum of Fine Arts / essays by Margaret Lynne Ausfeld, Susan Mitchell Crawley, Leslie H. Paisley, Fred Barron, Jeffrey Wolf. HOLLIS Number: 990133200900203941

Between worlds : the art of Bill Traylor / Leslie Umberger ; with an introduction by Kerry James Marshall. HOLLIS Number: 99153740609503941

Procession : the art of Norman Lewis / edited by Ruth Fine ; with contributions by David Acton [and five others]. HOLLIS Number: 990145245230203941

Alma Thomas / editors, Ian Berry and Lauren Haynes. HOLLIS Number: 990148627750203941

Jacob Lawrence : the complete prints (1963-2000) : a catalogue raisonné / Peter T. Nesbett ; with an essay by Patricia Hills. HOLLIS Number: 990088103850203941

The art of William Edmondson / with essays by Robert Farris Thompson ... [et al.]. HOLLIS Number: 990084316060203941

Elizabeth Catlett : an American artist in Mexico / Melanie Anne Herzog. HOLLIS Number: 990083796950203941

[abwwia]

Lezley Irene Saar is an African American artist whose artwork is responsive to race, gender, female identity, and her ancestral history. Her works are primarily mixed media, 3-dimensional, and oil & acrylic on paper and canvas.

Her mother Betye Saar (née Brown), is an African-American assemblage artist. Via Wikipedia

#bornonthisday Lezley Saar

Centrioles Later, 2014

Let's talk of space sadness, 2014

Detail “Not born under a rhyming planet”

Mitochondrial Muses, 2014

All from the Monad Series

Let's read it together again: Betye Saar, Her Daughters, and the House That Never Stopped Making Art

www.harpersbazaar.com/culture/features/a36182098/betye-saar-daughters-in-conversation/

The pioneering artist and her three daughters on family, creativity, and why being able to see beauty, even in difficult times, is the true mother of invention. (2021)

#TracyeSaarCavanaugh #AlisonSaar #BetyeSaar #LezleySaar #artherstory #artbywomen #womensart #palianshow #art #womenartists #femaleartist #artist #daughters

[lumonicsgallery]

“I am intrigued with combining the remnant of memories, fragments of relics and ordinary objects, with the components of technology. It’s a way of delving into the past and reaching into the future simultaneously.” “As an artist everything I do has this thing, assembling things. assembling plants and sculptures and lanterns rocks and so forth…” “I’m the kind of person who recycles materials but I also recycle emotions and feelings. And I had a great deal of anger about the segregation and the racism in this country.” - Betye Saar, born July 30, 1926 #betyesaar * some of the above quotes excerpted from “Life Is a Collage for Artist Betye Saar” on NPR _____ Betye Saar is an assemblage artist who calls herself a conjurer, a recycler. In a way, her own heritage is a collage: African, Irish, American Indian. _____ The Liberation of Aunt Jemima The “Black Contributions” invitational, curated by EJ Montgomery at Rainbow Sign in 1972, prompted the creation of an extremely powerful and now famous work. In her article “Influences,” Betye Saar wrote about being invited to create a piece for Rainbow Sign: “My work started to become politicized after the death of Martin Luther King in 1968. But The Liberation of Aunt Jemima, which I made in 1972, was the first piece that was politically explicit. There was a community centre in Berkeley, on the edge of Black Panther territory in Oakland, called the Rainbow Sign. They issued an open invitation to black artists to be in a show about black heroes, so I decided to make a black heroine. For many years, I had collected derogatory images: postcards, a cigar-box label, an ad for beans, Darkie toothpaste. I found a little Aunt Jemima mammy figure, a caricature of a black slave, like those later used to advertise pancakes. She had a broom in one hand and, on the other side, I gave her a rifle. In front of her, I placed a little postcard, of a mammy with a mulatto child, which is another way black women were exploited during slavery. I used the derogatory image to empower the black woman by making her a revolutionary, like she was rebelling against her past enslavement. (at Lumonics Light & Sound Gallery) https://www.instagram.com/p/CSBQB-JMo3P/?utm_medium=tumblr

[artbookdap]

Thrilled to #Repost @betyesaar My newest catalogue, Betye Saar: Black Doll Blues has just been released by @robertsprojects During the 2020 pandemic quarantine, I began creating watercolor paintings of the Black dolls from my collection. I’ve always used watercolors for my sketchbooks, especially when I travel. I love the freedom of watercolor as a medium, and the rich, saturated, bright colors lend themselves well to depicting the clothing of the dolls. In the past, much of my work has explored racial injustice by reframing derogatory images of black people. While some may view these dolls as derogatory representations of Black people, and I agree some of them are, I didn’t create these works in the same spirit of “empowering Aunt Jemima.” These paintings purely depict the Black dolls in their purpose of providing love and comfort. As I painted my dolls, I drew comfort from touching them, arranging them, tidying their skirts and jackets. It was fun. And perhaps on some level, it was a way to keep me feeling safe during the lockdown. Essentially, I was playing with my dolls. @betyesaar @robertsprojects @artbook #betyesaar #blackdollblues #artbook #robertsprojects #betyesaarart #robertsprojectsla #blackdolls https://www.instagram.com/p/ClohndBuImT/?igshid=NGJjMDIxMWI=

[moma-prints]

Palm of Love, Betye Saar, 1966, MoMA: Drawings and Prints

Committee on Drawings and Prints Fund Size: plate: 17 15/16 × 23 3/4" (45.6 × 60.3 cm); sheet: 19 1/16 × 26 1/16" (48.4 × 66.2 cm) Medium: Etching with relief printing

http://www.moma.org/collection/works/284132