Betye Saar (born July 30, 1926, Los Angeles, California, U.S.) is an American artist and educator, renowned for her assemblages that lampoon racist attitudes about Blacks and for installations featuring mystical themes.
Saar studied design at the University of California at Los Angeles (B.A., 1949) and education and printmaking (1958–62) at California State University at Long Beach. In the early 1960s she created etchings and intaglio, but, after seeing a Joseph Cornell show in 1968, she developed an interest in three-dimensional objects and began working in assemblage. Her works incorporate her prints and paintings as well as found objects of all sorts—from those suggesting ritual folk cult to those alluding to traditional Christianity. In Black Girl’s Window (1969) Saar used a salvaged window frame to organize a series of vignettes, including a daguerreotype and a number of her own etchings, around a silhouette in the largest pane. The figure’s eyes are her only visible features, and her hands, which seemingly press against the glass, are covered in cosmological symbols. Many of Saar’s works also challenge racist myths and stereotypes. Her The Liberation of Aunt Jemima (1972), for example, is a “mammy” doll—the caricature of a desexualized complacent enslaved woman—placed in front of the eponymous pancake syrup labels; she carries a broom in one hand and a shotgun in the other. Saar also made works that evocatively employ such materials as old photographs, gloves, and dried flower petals.
Saar’s works expanded in size and scope from the late 1970s. Her room-size installations sometimes included shrines, and she invited viewer interaction by encouraging viewers to contribute objects to the work, a practice common in African cultures. She also reiterated spiritual themes with explorations of mysticism in the digital age. In the 1990s she returned to the racist depictions of African Americans, a theme she continued to consider in the 21st century.
Saar exhibited throughout the country, occasionally with her daughters Alison and Lezley, both artists, and taught at the University of California and at the Parsons-Otis Institute, both in Los Angeles. Her work is in the collections of such institutions as the Museum of Modern Art, New York; the Walker Art Center, Minneapolis, Minnesota; and the Los Angeles County Museum of Art.
