Betye Saar, ‘Untitled’, 1976, Heritage Auctions
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Betye Saar

Untitled, 1976

Lithograph on wove paper
13 7/8 × 18 1/8 in
35.2 × 46 cm
Edition 145/250
.
Bidding closed
About the work
HA
Heritage Auctions

Condition Report: Light discoloration. Tabbed along upper edge. Matted and framed under glass. …

Medium
Signature
Signed, numbered, and dated in pencil along lower edge
Image rights
Courtesy of Heritage Auctions
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.

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Betye Saar, ‘Untitled’, 1976, Heritage Auctions
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View
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About the work
HA
Heritage Auctions

Condition Report: Light discoloration. Tabbed along upper edge. Matted and framed under glass. Framed Dimensions 20.25 X 24.25 Inches

Medium
Signature
Signed, numbered, and dated in pencil along lower edge
Image rights
Courtesy of Heritage Auctions
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

Untitled, 1976

Lithograph on wove paper
13 7/8 × 18 1/8 in
35.2 × 46 cm
Edition 145/250
.
Bidding closed
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