Tag Archives: Betye Saar

BETYE SAAR — TAKING CARE OF BUSINESS

I’m a person who walks looking down, because you can find a lot of things on the ground. I’m basically a recycler. I find other people’s stuff and junk and recycle it into my stuff and junk. — Betye Saar

Check out the documentary short BETYE SAAR—TAKING CARE OF BUSINESS, directed by Christine Turner.

See the exhibition and catalog Betye Saar: Uneasy Dancer.

From top: Betye SaarLo, The Mystique City, 1965, etching with embossing, image courtesy and © 2019 the artist and Roberts Projects, Los Angeles, digital Image © 2018 the Museum of Modern Art, New York, photograph by Rob Gerhardt; Christine Turner, Betye Saar: Taking Care of Business (2020), film images (5) courtesy and © the artist, the filmmaker, and LACMA.

LA BLACKSMITH

LA BLACKSMITH—a historical survey of work in bronze, copper, tin, aluminum, gold, and iron and steel alloys by modern and contemporary black Los Angeles artists—is on view for one more week at CAAM.

Curated by Jill Moniz, participating artists include Joseph Beckles, Kendell Carter, Adrienne DeVine, Charles Dickson, Melvin Edwards, Charla Elizabeth, Maren Hassinger, Artis Lane, Ed Love, Kori Newkirk, John Outterbridge, Duane Paul, Noah Purifoy, John Riddle, Alison Saar, Betye Saar, Gerard Basil Stripling, Kehinde Wiley, Glen Wilson, Beulah Woodard, and Suné Woods.

LA BLACKSMITH

Through February 16.

California African American Museum

600 State Drive, Exposition Park, Los Angeles.

LA Blacksmith, CAAM, September 10, 2019–February 16, 2020, from top: Alison Saar, Smokin’ Papa Chaud, 2001, wood, ceiling tin, found objects; Suné Woods, Traveling Like The Light, 2015, mixed media collage; Beulah Woodard, Mask, circa 1935, metal over wood; Betye Saar, Red Signs of Transformation, 2015, metal and found objects. Images courtesy and © the artists, their galleries and estates, the photographers, and CAAM.

CHARLES WHITE AND HIS CIRCLE

This is the closing weekend for TRUTH & BEAUTY—CHARLES WHITE AND HIS CIRCLE, an exhibition of works by the great draftsman and his friends and colleagues, reflecting White’s working life in Chicago, New York, and Los Angeles—the host cities of his concurrent retrospective.

Among White’s circle and included in the show are Romare Bearden, Betye SaarRoy DeCarava, Philip Evergood, Robert Gwathmey, David Hammons, Jacob Lawrence, Gordon Parks, Norman Lewis, Ben ShahnJohn Biggers, Eldzier Cortor, Kerry James Marshall, and Hale Woodruff.

TRUTH & BEAUTY—CHARLES WHITE AND HIS CIRCLE

Through Saturday, November 10.

Michael Rosenfeld Gallery, 100 Eleventh Avenue (at 19th Street), New York City.

 

CHARLES WHITE—A RETROSPECTIVE

Through January 13.

Museum of Modern Art, 11 West 53rd Street, New York City.

The retrospective will be on view in Los Angeles in early 2019, along with two coincident exhibitions: LIFE MODEL—CHARLES WHITE AND HIS STUDENTS at LACMA’s satellite gallery at Charles White Elementary School—formerly Otis Art Institute, where the artist taught for many years—and a show at CAAM.

CHARLES WHITE—A RETROSPECTIVE

February 17 through June 9.

LACMA, 5905 Wilshire Boulevard, Los Angeles.

From top:

Charles WhiteJ’Accuse! No.5, 1966, Wolff crayon and charcoal on paper.

Betye SaarThe Mystic Window #1, 1965, assemblage with etchings, graphite, ink, and watercolor on paper in antique window frame.

Romare BeardenFlights and Fantasy, 1970, mixed media collage of various papers and synthetic polymer paint on Masonite.

Charles WhiteUntitled, 1945, tempera and graphite on illustration board.

Charles WhiteJuba #2, 1965, Wolff crayon and oil wash on illustration board.

Image credit: Michael Rosenfeld Gallery.

 

FOR JACK WHITTEN

In a tribute to Jack Whitten, a group of his friends and colleagues, artists and curators—including Candida Alvarez, Jose Luis Blondet, Joshua Chambers Letson, Erin Christovale, Harry Dodge, Naima Keith, Diana Nawi, Betye Saar, Gary Simmons, Lily Blue Simmons, Bennett Simpson, and Alphaeus Taylor—will read from NOTES FROM THE WOODSHED, the just-published collection of Whitten’s writing.

 

JACK WHITTEN—NOTES FROM THE WOODSHED Reading and Launch

Saturday, August 25, at 3 pm.

hauserwirth.com/jack-whitten-notes-woodshed

hauserwirth.com/publications/jack-whitten

JACK WHITTEN—SELF PORTRAIT WITH SATELLITES, through September 23.

HAUSER & WIRTH, 901 East 3rd Street, downtown Los Angeles.

hauserwirth.com/jack-whitten-self-portrait-satellites

Above image courtesy of Hauser & Wirth.

Below: Jack Whitten in the early 1970s on the corner of Broadway and Broome Street, New York City. Courtesy the Estate of Jack Whitten.

WE WANTED A REVOLUTION

WE WANTED A REVOLUTION—BLACK RADICAL WOMEN, 1965–1985 “examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism.”

The exhibition includes work by Emma Amos, Camille Billops, Kay Brown, Vivian E. Browne, Linda Goode Bryant, Beverly Buchanan, Carole Byard, Elizabeth Catlett, Barbara Chase-Riboud, Ayoka Chenzira, Christine Choy and Susan Robeson, Blondell Cummings, Julie Dash, Pat Davis, Jeff Donaldson, Maren Hassinger, Janet Henry, Virginia Jaramillo, Jae Jarrell, Wadsworth Jarrell, Lisa Jones, Loïs Mailou Jones, Barbara Jones-Hogu, Carolyn Lawrence, Samella Lewis, Dindga McCannon, Barbara McCullough, Ana Mendieta, Senga Nengudi, Lorraine O’Grady, Howardena Pindell, Faith Ringgold, Alva Rogers, Alison Saar, Betye Saar, Coreen Simpson, Lorna Simpson, Ming Smith, and Carrie Mae Weems.

 

WE WANTED A REVOLUTION—BLACK RADICAL WOMEN, 1965–1985, through January 14.

CALIFORNIA AFRICAN AMERICAN MUSEUM, 600 State Drive, Exposition Park, Los Angeles.

https://caamuseum.org/exhibitions/2017/we-wanted-a-revolution

Closing symposium, Saturday, January 14, from 1 pm to 7 pm.

caamuseum.org/we-wanted-a-revolution-closing-symposium

Faith Ringgold, The People’s Flag Show.

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