Born, 1923 - 1929 (probably 1926) in Los Angeles, California
Betye Saar’s ‘The Liberation of Aunt Jemima’, 1972 was reproduced in Keith Piper’s ‘Relocating the Remains’ (1997) catalogue, the main text of which was written by Kobena Mercer. The chapter in which Saar’s work appears is ‘Art’s Histories and Culture’s Geographies: 1979 - 1985’. In the same year, a reproduction of the same work appeared in Kobena Mercer’s essay ‘Bodies of Diaspora, Vessels of Desire: The Erotic and the Aesthetic’ in the catalogue for ‘Transforming the Crown’. ‘The Liberation of Aunt Jemima’ was also reproduced in Mercer’s chapter in his book Pop Art and Vernacular Cultures (2007). The book was edited by Kobena Mercer and was one of four books (all edited by Mercer) in a series titled Annotating Art’s Histories, jointly published by The MIT Press, Massachusetts Institute of Technology, Cambridge, Massachusetts and Iniva the Institute of International Visual Arts, London. The chapter in question (in Pop Art and Vernacular Cultures) was Tropes of the Grotesque in the Black Avant-Garde.
The biographical entry on Betye Saar in Richard J. Powell’s Black Art and Culture in the 20th Century/Black Art: A Cultural History erroneously has her year of birth as 1929.
Review relating to an exhibition, 2005
Book relating to a publication, 1997
Book relating to a publication, 2007
Catalogue relating to an exhibition, 1997
Catalogue relating to an exhibition, 1997
Group show at Whitney Museum of American Art. 1971
Group show at New York Historical Society. 2006 - 2007
Walsall, United Kingdom
New York, New York, USA, United States of America
London, United Kingdom
New York, United States of America