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Betye Saar

The Conscience of Court, 1999

Color screenprint on Rosaspina Paper
11 3/4 × 7 3/4 in
29.8 × 19.7 cm
Edition of 75
This is part of a limited edition set.
Sold
location
Glenview
About the work
Medium
Print
Signature
Hand-signed by artist, Signed on right and numbered left in pencil
Betye Saar
American, b. 1926
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Inspired by Joseph Cornell’s assemblages and Simon Rodia’s Los Angeles monuments, the Watts Towers (made from found scrap materials), Betye Saar’s work mixes surreal, symbolic imagery with a folk art aesthetic. As a participant in the robust African-American Los Angeles art scene of the 1970s, Saar appropriated characters such as Aunt Jemima, Uncle Tom, and other stereotypes from folk culture and advertising in her works—usually collages and assemblages. African tribal mysticism, history, memory, and nostalgia are also important for Saar. She was invited to participate in “Pacific Standard Time,” a 2011 survey of influential LA artists, for which she created Red Time, an installation of her assemblages from both past and present that explored the relationship between personal and collective history. “I'm the kind of person who recycles materials but I also recycle emotions and feelings,” she explains.

Save
Save
view
View in room
share
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Save
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view
View in room
share
Share
About the work
Medium
Print
Signature
Hand-signed by artist, Signed on right and numbered left in pencil
Betye Saar
American, b. 1926
Follow

Inspired by Joseph Cornell’s assemblages and Simon Rodia’s Los Angeles monuments, the Watts Towers (made from found scrap materials), Betye Saar’s work mixes surreal, symbolic imagery with a folk art aesthetic. As a participant in the robust African-American Los Angeles art scene of the 1970s, Saar appropriated characters such as Aunt Jemima, Uncle Tom, and other stereotypes from folk culture and advertising in her works—usually collages and assemblages. African tribal mysticism, history, memory, and nostalgia are also important for Saar. She was invited to participate in “Pacific Standard Time,” a 2011 survey of influential LA artists, for which she created Red Time, an installation of her assemblages from both past and present that explored the relationship between personal and collective history. “I'm the kind of person who recycles materials but I also recycle emotions and feelings,” she explains.

Betye Saar

The Conscience of Court, 1999

Color screenprint on Rosaspina Paper
11 3/4 × 7 3/4 in
29.8 × 19.7 cm
Edition of 75
This is part of a limited edition set.
Sold
location
Glenview
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