Betye Saar, ‘The Long Memory’, 1998, Alpha 137 Gallery

Even though this is an edition of 100, it is rarely seen on the market!
Published by the National Museum of Women in the Arts, USA
Printed by Graham Studio Ltd. in Cambridge, England
Pencil signed lower right recto and dated, titled lower center; numbered from the edition of 100
Unframed and in fine conditon

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Signature: Pencil signed lower right and dated, titled lower center; numbered from the edition of 100

Publisher: National Museum of Women in the Arts

About Betye Saar

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.

American, b. 1926, Los Angeles, California, based in Los Angeles, California

Solo Shows

Culver City,
The Road Ahead
Culver City,
Betye Saar: Red Time

Group Shows

the Landing, 
Los Angeles ,
Museum of Modern Art, 
New York, NY, United States,
Take an Object
Sonce Alexander Gallery, 
Los Angeles,
New York, NY, United States,
RISING UP/UPRISING: Twentieth Century African American Art
New York, NY, United States,
INsite/INchelsea: The Inaugural Exhibition
View Artist's CV