Betye saar age
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Betye Saar
American artist (born 1926)
"Betye" redirects here. For a similar given name, see Bettye.
Betye Irene Saar (born July 30, 1926) is an American artist known for her work in the medium of assemblage. Saar is a visual storyteller and an accomplished printmaker. Saar was a part of the Black Arts Movement in the 1970s, which engaged myths and stereotypes about race and femininity.[1] Her work is considered highly political, as she challenged negative ideas about African Americans throughout her career; Saar is best known for her artwork that critiques anti-Black racism in the United States.[2]
Early life, education and family
Betye Saar was born Betye Irene Brown on July 30, 1926, to Jefferson Maze Brown and Beatrice Lillian Parson in Los Angeles, California.[3] Both parents attended the University of California, Los Angeles, where they met. Saar spent her early years in Los Angeles.[3] After her father's death in 1931, Saar and her mother, brother, and sister moved in with her paternal grandmother, Irene Hannah Maze,
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Summary of Betye Saar
A cherished exploration of objects and the way we use them to provide context, connection, validation, meaning, and documentation within our personal and universal realities, marks all of Betye Saar's work. As an African-American woman, she was ahead of her time when she became part of a largely man's club of new assemblage artists in the 1960s. Since then, her work, mostly consisting of sculpturally-combined collages of found items, has come to represent a bridge spanning the past, present, and future; an arc that paves a glimpse of what it has meant for the artist to be black, female, spiritual, and part of a world ever-evolving through its technologies to find itself heavily informed by global influences. This kaleidoscopic investigation into contemporary identity resonates throughout her entire career, one in which her work is now duly enveloped by the same realm of historical artifacts that sparked her original foray into art. Over time, Saar's work has come to represent, via a symbolically rich visual language, a decades' long expedition through the en
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Betye Saar
After taking postgraduate courses in printmaking, Saar began creating color etchings, ink drawings, and intaglio prints that shifted her practice away from design into fine art. From these early stand-alone pieces, she began combining her prints with other objects, such as found photographs, or placing them in window frames. Her experiments throughout the 1960s led to her embrace of assemblage, a medium that allowed her to make densely layered works with an equally complex variety of autobiographical and political undertones. Like many of her generation, Saar was deeply affected by the Watts rebellion in 1965 and the death of Martin Luther King Jr. in 1968. In Black Girl's Window (1969), a significant marker of this moment, Saar uses the window as a formal device to explore the effects of race both personally and conceptually. Cosmological elements (stars, the sun, a crescent moon) and pictorial emblems (a skeleton and a roaring lion, among others) in Black Girl's Window also reflect Saar's turn toward mystical iconography, which she describes as a pursuit of
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