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Betye Saar

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Betye Saar
mmádu
ụdịekerenwanyị Dezie
mba o sịNjikota Obodo Amerika Dezie
Aha ọmụmụBetye Irene Brown Dezie
aha enyereBetye, Irene Dezie
aha ezinụlọ yaSaar, Brown Dezie
ụbọchị ọmụmụ ya30 Julaị 1926 Dezie
Ebe ọmụmụLos Angeles Dezie
ŃnàJefferson Maze Brown Dezie
ŃnéBeatrice Lillian Parson Dezie
Dị/nwunyeRichard Saar Dezie
nwaLezley Saar, Alison Saar, Tracye Saar-Cavanaugh Dezie
onye dị ịrịba amaJoseph Cornell Dezie
Asụsụ obodoBekee Dezie
asụsụ ọ na-asụ, na-ede ma ọ bụ were na-ebinye akaBekee Dezie
ụdị ọrụ yaassemblage, vitreous enamel, jewelry design Dezie
onye were ọrụUniversity of California, Los Angeles Dezie
ebe agụmakwụkwọUniversity of California, Los Angeles, Pasadena City College, California State University, Long Beach Dezie
Ebe obibiLos Angeles Dezie
Ebe ọrụLos Angeles, Long Beach Dezie
Flọruit1970 Dezie
agbụrụNdi Afrika nke Amerika Dezie
Onye òtùCurtis Tann Dezie
IjeBlack Arts Movement Dezie
onye nweBrown and Tann Dezie
ụdịfigurative art Dezie
Ihe nriteGuggenheim Fellowship, Anonymous Was A Woman Award, Women's Caucus for Art Lifetime Achievement Award Dezie
akụkọ ihe ngosiMythos, Psyche, Eros: Jess and California Dezie
webụsaịtịhttp://www.betyesaar.net/ Dezie
ikike nwebiisinka dị ka onye okikeỌrụ nwebiisinka chekwara Dezie
omenkà faịlụ naSmithsonian American Art and Portrait Gallery Library, Schomburg Center for Research in Black Culture, College for Creative Studies Library Dezie
onu akụkọ ihe mere eme naUCLA Center for Oral History Research Dezie
nnọchiaha nkeonweL484 Dezie

Betye Irene Saar (amuru July 30, 1926) bu onye omenka America ama ama maka oru ya na nzuko . Saar bụ onye na-akọ akụkọ a na-ahụ anya na onye na-ebipụta akwụkwọ nke ọma. Saar bụ akụkụ nke Black Arts Movement na 1970s, bụ ndị tinyere akụkọ ifo na echiche efu gbasara agbụrụ na nwanyị. [1] A na-ewere ọrụ ya dị ka ndọrọ ndọrọ ọchịchị, ebe ọ na-agbagha echiche na-adịghị mma banyere ndị America America n'oge ọrụ ya; A maara Saar nke ọma maka ihe osise ya nke na-akatọ ịkpa ókè agbụrụ America n'ebe ndị isi ojii nọ. [2]

Ndụ onwe onye

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A mụrụ Betye Saar Betye Irene Brown na July 30, 1926, nye Jefferson Maze Brown na Beatrice Lillian Parson na Los Angeles, California. [3] Ndị nne na nna abụọ gara Mahadum California, Los Angeles, ebe ha zutere. Saar nọrọ n'oge ọ bụ nwata na Los Angeles. [3] Mgbe nna ya nwụsịrị na 1931, Saar na nne ya, nwanne ya nwoke, na nwanne nne ya na nne nne nna ya, Irene Hannah Maze, batara na mpaghara Watts na Los Angeles. Ezinụlọ ahụ kwagara Pasadena, California, ka ha na nne nne Saar Hatte Parson Keys na di ya Robert E. Keys biri. [4]

N'ịbụ onye tolitere, Saar na-anakọta ephemera dị iche iche na-emepụta ma na-edozi ihe mgbe niile. [5] Agụmakwụkwọ kọleji ya malitere site na klaasị nka na Pasadena City College [6] wee gaa n'ihu na Mahadum California, Los Angeles ka ọ nwetasịrị ihe nrite nkuzi n'aka otu nzukọ welitere ego iziga ụmụ akwụkwọ pere mpe na mahadum. [4] Saar nwetara BA na imewe na 1947. [5] Ọ gara n'ihu na-agụsị akwụkwọ na California State University, Long Beach, University of Southern California, California State University, Northridge, na American Film Institute . [7] N'oge ọ nọ n'ụlọ akwụkwọ gụsịrị akwụkwọ, ọ lụrụ Richard Saar wee mụọ ụmụ nwanyị atọ: Tracye, Alison na Lezley Saar . [8]

Ọrụ nka

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Ọrụ mbụ

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Saar malitere ndụ okenye ya dị ka onye na-elekọta mmadụ ma mesịa gbasoo agụụ ya na nka. [9] Ọ malitere agụmakwụkwọ gụsịrị akwụkwọ na 1958, na-arụ ọrụ na mbụ maka ọrụ na nhazi nkuzi. Agbanyeghị, otu klas nke na-ebi akwụkwọ ọ were dị ka onye nhọpụta gbanwere ụzọ nke mmasị nka nka. Ọ kọwara ibipụta akwụkwọ dịka ya "segue si imewe ghọọ ọmarịcha nka." [10]

N'ọrụ mbụ nke Saar ọ chịkọtara onyonyo ịkpa ókè agbụrụ wee gaa n'ihu n'oge ọrụ ya niile. [11] A kpaliri ya ịmepụta mgbakọ site na ihe ngosi 1967 site n'aka onye na-ese ihe, Joseph Cornell . [12] Ụlọ elu Simon Rodia 's Watts, bụ nke ọ hụrụ ka a na-ewu n'oge ọ bụ nwata metụtakwara ya nke ukwuu. Saar kwuru na "ihe ndị Simon Rodia ji mee ihe masịrị ya, efere ndị gbajiri agbaji, mkpọ oké osimiri, ngwá ọrụ ndị mere nchara, ọbụna ntụ ọka-ha nile bụ́ ndị a na-etinye n'ime simenti iji mepụta spiel. N'anya m, ha bụ anwansi." [13]

N'ajụjụ ọnụ akụkọ ihe mere eme, Saar mechara cheta ịhụ ọtụtụ nka ndị Africa, Oceanic na Egypt na nleta na Museum Field na Chicago dị ka "nzọụkwụ dị mkpa na mmepe m dị ka onye na-ese ihe ... Ha nwere ọnụ ụlọ na ọnụ ụlọ ya. Ahụtụbeghị m ụdị ihe ahụ. ” Ọ chọpụtara na uwe mwụda onye isi Africa bara uru karịsịa. [14]

Ọ malitere ịmepụta ọrụ nke gụnyere ihe ndị a chọtara ahaziri n'ime igbe ma ọ bụ windo, nke nwere ihe ndị sitere na omenala dị iche iche na-egosipụta usoro ọmụmụ nke ya: African American, Irish, na American American . [15]

Ọjụjụ nke nwanyị na-acha ọcha na ị nwetaghachi ahụ nwanyị ojii

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Nwanne nne ya Hattie zụlitere Saar, onye metụtakwara njirimara ya dị ka nwanyị ojii. Saar kọwara nwanne nne ya dị ka nwanyị nwere ugwu na ịdị mma, nke metụrụ ya na ngosipụta nke ahụ nwanyị ojii. [16] Mmetụta a pụtara ìhè na ọrụ Saar raara onwe ya nye nne nne ya nke akpọrọ Record For Hattie, [17] 1972. Ọjụjụ Saar jụrụ ịlụ nwanyị ọcha mere ka ọ lekwasị anya na nka na nwoke ojii mana na 1970s ọ tụgharịrị uche ya na ahụ nwanyị ojii. Record For Hattie bụ ngwakọta mgbasa ozi agwakọta nke emere site na igbe ọla ochie. N'ime n'elu igbe ọla ahụ, e nwere eserese eserese gbajiri agbaji nwere foto nke nwanyị na-ada ada, na-anọchite anya nwanne nne ya Hattie. Gburugburu foto etiti rose ihe na-sewn tinyere a uhie uhie na-acha ọcha kpakpando na crescent ọnwa pendent. N'okpuru igbe ihe ịchọ mma e nwere cross metal n'akụkụ aka nri, obere akpa akpụkpọ anụ na-acha uhie uhie n'etiti, n'elu bụ ihe oyiyi nke nwatakịrị, na n'aka ekpe e nwere ihe ịkwa akwa. N'ime 1970s Saar zara ajụjụ banyere ịkpa ókè agbụrụ, fetishization, na mkparị nke ahụ nwanyị ojii site n'ịweghachi ahụ nwanyị ojii. Ọrụ Saar megidere ụdị nka nke primitivism, yana otu òtù nwanyị ọcha nke jụrụ ikwu okwu banyere agbụrụ. Ọrụ Saar sitere na njikọta nke ike ojii, ọnọdụ ime mmụọ na ihe omimi, na nwanyị, dị ka a hụrụ na Window Nwanyị Nwanyị, 1969. [18] [19] Window Nwanyị Nwanyị bụ mpempe mkpọkọta nke emere site na windo ochie, nke silhouette a na-ese nke nwa agbọghọ na-agbanye ihu na aka ya na pane. N'elu isi ya, e nwere windo itoolu ndị a haziri atọ na atọ, bụ ndị na-egosipụta akara na ihe oyiyi dị iche iche, gụnyere ọnwa na kpakpando, anụ ọhịa wolf na-eti mkpu, ọkpụkpụ ọkpụkpụ, ugo nke okwu ahụ bụ "ịhụnanya" n'ime obi ya, na nwanyị nwere ụdị agba.

N'afọ ndị 1960, Saar malitere ịnakọta ihe oyiyi nke nwanne nne Jemima, Uncle Tom, Little Black Sambo, na ndị ọzọ stereotyped African American Figures site na omenala ndị mmadụ na mgbasa ozi nke oge Jim Crow . O webatara ha na mkpokọta na mgbakọ, na-eme ka ha bụrụ nkwupụta ndọrọ ndọrọ ọchịchị na nke ọha mmadụ. [3] Ntọhapụ nke nwanne mama Jemima bụ otu n'ime ọrụ ya kachasị ama n'oge a. N'ime ọgbakọ mgbasa ozi agwakọtara agwakọta, Saar jiri ihe onyonyo nne Jemima na-ahụ anya were mebie echiche ọdịnala gbasara agbụrụ na okike. [20] "Ọ dị ka ha kagburu ịgba ohu mana ha debere ndị isi ojii na kichin dị ka ite Mammy," Saar na-ekwu maka ihe kpaliri ya ime iberibe ahụ. "Enwere m nwanne mama Jemima a, achọrọ m itinye égbè na bọmbụ n'okpuru uwe mwụda ya. Achọrọ m inye ya ike. Achọrọ m ime ya ka ọ bụrụ dike. Achọrọ m ka ndị mmadụ mara na ndị ojii agaghị abụ ohu site na nke ahụ. ." [6]

Edobere mgbakọ Saar n'ime freeị nwere igbe akpụkpọ ụkwụ, nke ejiri mgbasa ozi nwanne mama Jemima machie. Ihe akpụrụ akpụ nke nwanne mama mama Jemima na-enye akwụkwọ ndetu nke nwere foto Mammy nwere nwa ọhụrụ na-acha ọcha. Ihe akpụrụ akpụ nwanne mama Jemima na-ejide azi na égbè, na-atụgharị uche n'echiche ohu ya nwere obi ụtọ na onye na-elekọta ya site n'ụzọ nke onye na-eme ihe ike na-achọ ikike na ikike nke ya. A na-ejikọta nnukwu aka, nke gbachiri emechi, na-ekwupụta akara ike ojii, wee kpuchie foto Mammy nke ọma, na-aghọta ụzọ ike ike na nke dị egwu nke ndị na-akwado Africa America na 1970s na-alụ ọgụ maka ikike ha. A tọhapụrụ nwanne mama Jemima site na ngbanwe site na caricature ụlọ nke ịkpa ókè agbụrụ ka ọ bụrụ ihe onyonyo nke ike ojii. [21]

Ọ bụ ezie na Saar na-ewere onwe ya dị ka onye na-ahụ maka nwanyị, ọ na-ezere izo aka n'ihe osise ya dị ka nke a. Kama, Saar na-ahọrọ imesi ihe ndị dị na cross-culturalism na ime mmụọ dị na ibe ya ike. N'ime mmalite 1970s, Saar diri ịkpa ókè agbụrụ n'ime ihe gbasara mmegharị nka nke nwanyị ọcha. Ahụmahụ ndị a mere ka ọ nwee mmasị n'ịkwalite ọgụgụ isi ojii nke dị iche na ndọrọ ndọrọ ọchịchị ike ojii nke oge ahụ. Ihe nlere anya nke Saar nke nwanyị ojii abụghị nke agụụ mmekọahụ na anaghị anọchi anya ahụ n'ụzọ doro anya; ya mere, ha na-egosipụta nguzogide iṅomi ahụ Black. Nguzogide a na-egosi ọjụjụ ọjụjụ nke nwanyị na-acha ọcha na ọjụjụ ya nke "ihe ịma mma nwanyị" nke ndị nwanyị ọcha kpebisiri ike ma dabere na mmekọahụ nwanyị. [18]

A kwadoro Saar dị ka onye na-ese ihe na-ebi na Adelaide, South Australia, site n'aka Women's Art Movement ebe ahụ na 1970s ma ọ bụ 1980. [22]

Mgbakọ na ntinye

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Àgwà nke Saar nke ịgagharị n'ahịa flea na ịre ụlọ mere ka ọ kpughee ọtụtụ echiche agbụrụ na ihe nleda anya nke ndị ojii bụ́ ndị a na-ahụ n'ime ihe ndị e ji eme azụmahịa na omenala America, dị ka mgbasa ozi, ihe ndị e ji ere ahịa, knickknacks, egwú mpempe akwụkwọ, na ihe ụmụaka ji egwuri egwu. . Afọ atọ ka e mesịrị, o wepụtara usoro ihe karịrị iri abụọ nke, n'okwu nke ya, "gbawara akụkọ ifo" nke ihe oyiyi dị otú ahụ, malite na ihe osise seminal ya nke nwanne mama Jemima. N'afọ ndị 1970, Saar gara n'ihu inyocha ememe na ihe agbụrụ sitere na Africa yana ihe sitere na omenala ndị America America. [23] Na mgbakọ igbe, ọ jikọtara fetishes ebo shamanistic na ihe oyiyi na ihe ndị e bu n'obi kpalite anwansi na ihe omimi. Mgbe nwanne nwanne nne ya nwụrụ na 1974, Saar nwetara ihe ncheta ezinụlọ wee mepụta usoro nke onwe ya na nke chiri anya nke gụnyere ihe ncheta na-enweghị atụ nke ndụ nwanne nne ya. Ọ haziri foto ochie, akwụkwọ ozi, ihe mkpuchi, okooko osisi a mịrị amị, na ákwà aka n'igbe ndị yiri ebe arụsị iji gosi na a na-echeta ihe, ọnwụ, na oge gafeworonụ. Nke a ghọrọ otu ọrụ ọ kpọrọ ya "usoro nostalgic."

Ọrụ ndị a ma ama na mkpokọta ọha

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  • Aries Nymph (1966), University Museum of Contemporary Art, Amherst, Massachusetts[24]
  • A Siege of Sirens (1966), Museum of Fine Arts, Boston and Museum of Modern Art, New York[25][26]
  • Vision of El Cremo (1967), Palmer Museum of Art, State College, Pennsylvania[27]
  • Black Girl's Window (1969), Museum of Modern Art, New York[28]
  • Gris-Gris Box (1972), Museum of Contemporary Art, Los Angeles[29]
  • The Liberation of Aunt Jemima (1972), Berkeley Art Museum and Pacific Film Archive, California[30]
  • It's Only A Matter of Time (1974), Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC[31]
  • The Time Inbetween (1974), San Francisco Museum of Modern Art[32]
  • Indigo Mercy (1975), Studio Museum in Harlem, New York[33]
  • The Birds and The Beasts Were There (1976), Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC[34]
  • Dark Erotic Dream (1976), Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC[35]
  • Keep for Old Memoirs (1976), Museum of Modern Art, New York[36]
  • Samadhi (1977), High Museum of Art, Atlanta[37]
  • Twilight Awakening (1978), National Gallery of Art, Washington, DC[38]
  • Window of Ancient Sirens (1979), Studio Museum in Harlem, New York[39]
  • Dat Ol' Black Magic (1981), National Gallery of Art, Washington, DC[40]
  • Ball of Fire (1985), Philadelphia Museum of Art[41]
  • Cryptic Confessions, The Question (1988), Boca Raton Museum of Art, Florida[42]
  • The Differences Between (1989), Museum of Fine Arts, Boston[43]
  • House of Ancient Memory (1989), Walker Art Center, Minneapolis[44]
  • La Luz (1989), Munson-Williams-Proctor Arts Institute, Utica, New York[45]
  • Wishing for Winter (1989), Smithsonian Museum of American Art, Smithsonian Institution, Washington, DC[46]
  • Ancestral Spirit Chair (1992), Smith College Museum of Art, Northampton, Massachusetts[47]
  • Gris Gris Guardian (1990-1993), Los Angeles County Museum of Art[48]
  • The Trickster (1994), National Gallery of Art, Washington, DC[49]
  • Whitey's Way (1970-1996), Metropolitan Museum of Art, New York[50]
  • Blow Top Blues: The Fire Next Time (1998), Minneapolis Institute of Art and National Gallery of Art, Washington, DC[51][52]
  • I'll Bend But I Will Not Break (1998), Los Angeles County Museum of Art[53]
  • The Long Memory (1998), Pennsylvania Academy of the Fine Arts, Philadelphia and Smith College Museum of Art, Northampton, Massachusetts[54][55]
  • Maid-Rite (Mask Eyes) (1998), Pennsylvania Academy of the Fine Arts, Philadelphia[56]
  • Mother and Children in Blue (1998), Whitney Museum of American Art, New York[57]
  • Wot's Dat (1998) from the series Workers + Warriors: The Return of Aunt Jemima, Herbert F. Johnson Museum of Art, Ithaca, New York[58]

Ọgụgụ ọzọ

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  • Payour, Fleur. "Ihe ebube nke Ụlọ Saar." Nlebanya mba ụwa nke Art African American vol. 20, mba. 3 (2005), p. 51–3
  • Willette, Jeanne SM "Stitching Lives: Fabric in the Art of Betye Saar." Fiberarts vol. 23 (March/April 1997), p. 44–81
  • Van Proyen, M. "Mkparịta ụka ya na Betye na Alison Saar" [ajụjụ ọnụ]. Artweek v. 22 (Ọgọst 15, 1991) p. 3+
  • Ebe, John. " Mmekọrịta ezinụlọ." ARTnews vol. 90 (Mee 1991), p. 128–33.
  • Saar, Betye, et al. 2005. Betye Saar: Na-agbatị oge oyi oyi . Ann Arbor; Berkeley: Mahadum nke Michigan Museum of Art; Mahadum California Press [59]
  • Saar, Betye [ntinye na] Women Artists of Color: A Biocritical Sourcebook to 20th Century Artists in the Americas . Phoebe Farris, ed. Westport, Connecticut: 1999. Peeji nke 333–339. Ntinye gụnyere akụkọ ndụ, ihe ngosi ahọpụtara, akwụkwọ akụkọ ihe-41, na edemede akụkọ ndụ. [60] Jones, Kelly et al. Ugbu a gwuo ihe a! : nka & Black Los Angeles, 1960–1980. 2011 Los Angeles: Ụlọ ihe ngosi nka Hammer, 2011. [61]
  • Jones, Kelly . Ndịda Pico: Ndị omenkà America America na Los Angeles na 1960 na 1970 . Durham: Mahadum Duke, 2017.

Ntụaka

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  1. ↑ Miranda, Carolina A. "For Betye Saar, there's no dwelling on the past", Los Angeles Times, Retrieved July 28, 2018.
  2. ↑ Betye Saar (en-us). Biography. Archived from the original on 2018-05-24. Retrieved on 2018-05-23.
  3. ↑ 3.0 3.1 3.2 "Betye Saar | American artist and educator", Encyclopedia Britannica. Retrieved on 2018-02-17. (in en) Kpọpụta njehie: Invalid <ref> tag; name "Britannica" defined multiple times with different content
  4. ↑ 4.0 4.1 Betye (2016). Betye Saar : uneasy dancer, Mainetti, Mario,, Fondazione Prada (Milan, Italy). ISBN 9788887029673. OCLC 959419696.  Kpọpụta njehie: Invalid <ref> tag; name ":2" defined multiple times with different content
  5. ↑ 5.0 5.1 Tani (2016-12-13). "Keeping Time in the Hands of Betye Saar: Betye Saar" (in en). American Quarterly 68 (4): 1081–1109. DOI:10.1353/aq.2016.0082. ISSN 1080-6490. 
  6. ↑ 6.0 6.1 Miranda (2016-04-29). For Betye Saar, there's no dwelling on the past; the almost-90-year-old artist has too much future to think about. Los Angeles Times. Retrieved on 2018-02-17. Kpọpụta njehie: Invalid <ref> tag; name ":1" defined multiple times with different content
  7. ↑ Carpenter (2004). Betye Saar. Pomegranate Communications. ISBN 978-0764923494. 
  8. ↑ Art Now and Then: Betye Saar (September 2015).
  9. ↑ Tani (2016-12-13). "Keeping Time in the Hands of Betye Saar: Betye Saar" (in en). American Quarterly 68 (4): 1081–1109. DOI:10.1353/aq.2016.0082. ISSN 1080-6490. 
  10. ↑ "The Ordinary Becomes Mystical: A Conversation with Betye Saar", The Getty Iris, 2012-01-04. Retrieved on 2018-02-17. (in en-US)
  11. ↑ Gotthardt (2017-10-26). How Betye Saar Transformed Aunt Jemima into a Symbol of Black Power (en). Artsy. Retrieved on 2020-03-05.
  12. ↑ Betye Saar | Now Dig This! digital archive | Hammer Museum (en). Hammer Museum. Retrieved on 2018-02-17.
  13. ↑ Betye (2006). Betye Saar : migrations, transformations : September 8-October 28, 2006.. Michael Rosenfeld Gallery. ISBN 978-1930416376. OCLC 75525110. 
  14. ↑ Brooks. How a visit to the Field inspired Betye Saar's art. Field Museum of Natural History.
  15. ↑ Bernier (2009-01-01). African American visual arts : from slavery to the present. University of North Carolina Press. ISBN 9780807832561. OCLC 646771766. 
  16. ↑ Prabhu (1990). "Instructional Resources: Contemporary Art: Familiar Objects in New Contexts". Art Education 43 (4): 25–32. DOI:10.2307/3193213. 
  17. ↑ Betye Saar - Record for Hattie (1975) - Artsy. www.artsy.net.
  18. ↑ 18.0 18.1 Dallow (2004). "Reclaiming Histories: Betye and Alison Saar, Feminism, and the Representation of Black Womanhood". Feminist Studies 30 (1): 75–113.  Kpọpụta njehie: Invalid <ref> tag; name ":5" defined multiple times with different content
  19. ↑ Black Girl's Window - Betye Saar - Now Dig This! digital archive. Hammer Museum.
  20. ↑ "Life Is a Collage for Artist Betye Saar", NPR.org. Retrieved on 2018-02-17. (in en)
  21. ↑ Farrington (2005). Creating their own image : the history of African-American women artists. Oxford: Oxford University Press, 162–167. ISBN 978-0195167214. OCLC 53144618. 
  22. ↑ Women's Art Movement: Summary record 1974-1986. State Library of South Australia (24 January 2017). Retrieved on 26 January 2022.
  23. ↑ "Betye Saar: African-American artist, known for her work in the field of assemblage", MyArtistsList, 2015-04-14. Retrieved on 2018-02-17. (in en-US)
  24. ↑ Aries Nymph. Five Colleges Museums. University of Massachusetts, Amherst. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  25. ↑ A Siege of Sirens. MFA. Museum of Fine Arts, Boston. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  26. ↑ A Siege of Sirens. MoMA. Museum of Modern Art. Archived from the original on 15 April 2021. Retrieved on 12 June 2022.
  27. ↑ Vision of El Cremo. Penn State Libraries. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  28. ↑ Black Girl's Window. MoMA. Museum of Modern Art. Archived from the original on 28 April 2022. Retrieved on 12 June 2022.
  29. ↑ Gris-Gris Box. MOCA. Museum of Contemporary Art, Los Angeles. Archived from the original on 7 May 2021. Retrieved on 12 June 2022.
  30. ↑ The Liberation of Aunt Jemima. BAMPFA. University of California, Berkeley. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  31. ↑ It's Only A Matter of Time. Hirshhorn. Smithsonian Institution. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  32. ↑ The Time Inbetween. SFMoMA. San Francisco Museum of Modern Art. Archived from the original on 2 June 2021. Retrieved on 12 June 2022.
  33. ↑ Indigo Mercy. Studio Museum. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  34. ↑ The Birds and The Beasts Were There. Hirshhorn. Smithsonian Institution. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  35. ↑ Dark Erotic Dream. Hirshhorn. Smithsonian Institution. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  36. ↑ Keep for Old Memoirs. MoMA. Museum of Modern Art. Archived from the original on 26 December 2021. Retrieved on 12 June 2022.
  37. ↑ Samadhi. High. High Museum of Art. Archived from the original on 17 June 2021. Retrieved on 12 June 2022.
  38. ↑ Twilight Awakening. NGA. National Gallery of Art. Archived from the original on 11 April 2021. Retrieved on 12 June 2022.
  39. ↑ Window of Ancient Sirents. Studio Museum. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  40. ↑ Dat Ol' Black Magic. NGA. National Gallery of Art. Archived from the original on 17 June 2021. Retrieved on 12 June 2022.
  41. ↑ Ball of Fire. PhilaMuseum. Philadelphia Museum of Art. Archived from the original on 26 December 2021. Retrieved on 12 June 2022.
  42. ↑ Cryptic Confessions, The Question. Boca Museum. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  43. ↑ The Differences Between. MFA. Museum of Fine Arts, Boston. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  44. ↑ House of Ancient Memory. Walker Art. Archived from the original on 7 September 2016. Retrieved on 12 June 2022.
  45. ↑ La Luz. MWPAI. Munson-Williams-Proctor Arts Institute. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  46. ↑ Wishing for Winter. SAAM. Smithsonian Institution. Archived from the original on 26 December 2021. Retrieved on 12 June 2022.
  47. ↑ Ancestral Spirit Chair. Five Colleges Museums. Smith College. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  48. ↑ I'll Bend But I Will Not Break. LACMA. Los Angeles County Museum of Art. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  49. ↑ The Trickster. NGA. National Gallery of Art. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  50. ↑ Whitey's Way. Met Museum. Metropolitan Museum of Art. Archived from the original on 24 June 2020. Retrieved on 12 June 2022.
  51. ↑ Blow Top Blues: The Fire Next Time. MIA. Minneapolis Institute of Art. Archived from the original on 16 March 2022. Retrieved on 12 June 2022.
  52. ↑ Blow Top Blues: The Fire Next Time. NGA. National Gallery of Art. Archived from the original on 14 September 2021. Retrieved on 12 June 2022.
  53. ↑ I'll Bend But I Will Not Break. LACMA. Los Angeles County Museum of Art. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  54. ↑ The Long Memory. PAFA. Pennsylvania Academy of the Fine Arts. Archived from the original on 21 September 2020. Retrieved on 12 June 2022.
  55. ↑ The Long Memory. Five Colleges Museums. Smith College. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  56. ↑ The Long Memory. PAFA. Pennsylvania Academy of the Fine Arts. Archived from the original on 21 September 2020. Retrieved on 12 June 2022.
  57. ↑ Mother and Children in Blue. Whitney. Whitney Museum of American Art. Archived from the original on 2 July 2021. Retrieved on 12 June 2022.
  58. ↑ Wot's Dat. Johnson Museum. Cornell University. Archived from the original on 12 June 2022. Retrieved on 12 June 2022.
  59. ↑ Betye (2005-01-01). Betye Saar : extending the frozen moment. University of Michigan Museum of Art. ISBN 978-0520246621. OCLC 475795090. 
  60. ↑ Phoebe (1999-01-01). Women artists of color : a bio-critical sourcebook of 20th century artists in the Americas. Greenwood Press. ISBN 978-0313303746. OCLC 501018300. 
  61. ↑ Carby (2011-01-01). Now dig this! : art & Black Los Angeles, 1960-1980. Hammer Museum. ISBN 9783791351360. OCLC 729342146. 
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