barnebee.caitlin.arh3631

Is This Our History?

Is This Our History?An exhibition featuring

Betye Saar and Mildred Howard

curated by:

Caitlin BarnebeeUniversity of Central Florida

ARH 3631-15Dr. Keri Watson

An exhibition featuring Betye Saar and Mildred Howard

curated by:

Caitlin BarnebeeUniversity of Central Florida

ARH 3631-15Dr. Keri Watson

Curatorial Statement

“African American artists are energetic participants in a cultural revolution.” - Mary Jane Hewitt

To strengthen their role in society, artists like Betye Saar and Mildred Howard, have become dominating voices regarding the oppression and racism their culture has faced for centuries. Using their heritage as an element in their art, both artists have touched on slavery, violence, racism, war and the exploitation of African Americans throughout the 20th century. It is within these elements that their voice resonates with clarity and is able to speak beyond the color of their skin to the problems facing African Americans today. Their common goal is to point out how the perception of history is flawed, and in order to move forward in history, we must not try to forget the foundations in which the African American culture has been built. However, we must accept the past, as it is, to be able to move beyond it without it hurting our future.

This exhibition showcases Saar and Howard’s ability to bring their voices to the forefront of the African American culture struggle. It convey’s the inability to view themselves, as a whole culture, as better than their past due to the continued oppression they face in the 21st century, from society and amongst themselves, despite all the aggressions they have surmounted.

Betye Saarb. 1926

Curiosityabout the unknownhas no boundaries.Symbols, images, places and cultures merge.time slips away.The stars, the cards, the mystic vigilmay hold the answers.By shifting the point of viewan inner spirit is released.Free to create.

- Betye Saar, 1998

About The Artist:Betye Saar was born in Los Angeles, California, but, at the age of five, moved with her mother and family into her Great-Aunt’s home in Pasadena. She attended Pasadena City College and finished her degree in Design in 1949 at the University of California. After graduating, Saar worked in Social Work while also attending state fairs and community art competitions. In 1952, Saar met and married her husband, Richard, and had two children, Lezley in 1953 and Allison in 1958. In 1962, Betye completed Graduate Studies work at California State university; Long Beach, University of Southern California and California State University; Northridge.

Saar was heavily influenced by a 1967 Exhibition featuring Joseph Cornell and began working in Assemblage. She began creating work typically consisting of found objects arranged within boxes or windows, with items drawing on various cultures reflecting Saar's own mixed ancestry: African-American, Irish and Native American. After participating in the civil rights and black arts movements of the 1970s, Saar’s art began to challenge stereotypes and battle cultural myths.

Betye SaarAmerican, b. 1926 -

The Liberation of Aunt Jemima, 1972Mixed Media Assemblage

Betye SaarAmerican, b. 1926 -

The Liberation of Aunt Jemima, 1972Mixed Media Assemblage

As one of her most well-known pieces, Saar addresses the image of the Mammy and the propagandistic use of black history to sell pancake batter and syrup. Standing on a field of cotton while gripping a broom in one hand, a shotgun in the other in front of a black hand clutched into a fist, Saar expresses her view on the identity of African American women. A stereotyped image that must be taken back from the societal oppressions of the prior decades leading up to the civil rights movement.

As one of her most well-known pieces, Saar addresses the image of the Mammy and the propagandistic use of black history to sell pancake batter and syrup. Standing on a field of cotton while gripping a broom in one hand, a shotgun in the other in front of a black hand clutched into a fist, Saar expresses her view on the identity of African American women. A stereotyped image that must be taken back from the societal oppressions of the prior decades leading up to the civil rights movement.

Betye SaarAmerican, b.1926 -

The Phrenologer’s Window, 1966Assemblage of two-panel wood frame with print and collage

The head on the Right, decorated like a kitchen maid’s head wrap including the use of a tin-can lid, and decorated in bright yellow, gives the illusion of the “exotic”, whereas the head on the left is white, with a seemingly scientific sketching of the head in light browns. As America witnessed the rise of the civil rights movement in the 1960s, Saar’s assemblage and collage constructions merged personal and family history with broader themes of cultural and political segregation. This work alludes to the outdated pseudoscience of phrenology, which raised questions about an individual based on the measurements of the head. Saar separates the science (left) from the stereotype (right) as two entities part of a whole.


The Phrenologer’s Window, 1966Assemblage of two-panel wood frame with print and collage

The head on the Right, decorated like a kitchen maid’s head wrap including the use of a tin-can lid, and decorated in bright yellow, gives the illusion of the “exotic”, whereas the head on the left is white, with a seemingly scientific sketching of the head in light browns. As America witnessed the rise of the civil rights movement in the 1960s, Saar’s assemblage and collage constructions merged personal and family history with broader themes of cultural and political segregation. This work alludes to the outdated pseudoscience of phrenology, which raised questions about an individual based on the measurements of the head. Saar separates the science (left) from the stereotype (right) as two entities part of a whole.


Equality, 1972Mixed Media and Wood


Equality, 1972Mixed Media and Wood

In another commentary about African-American women and the Mammy figure, Saar has pinned nearly illegible grocery lists on a serving platter and spread the word “Equality” across all three lists. The ignorance in the phrasing “We wants today? We Needs Today? Oh! i needs” at the top of the lists is a poke of mockery at the lack of education of African Americans and yet their ability to be capable enough to care for whole families and cook large meals as evidence of their intelligence and the importance of equality for both men and women.

In another commentary about African-American women and the Mammy figure, Saar has pinned nearly illegible grocery lists on a serving platter and spread the word “Equality” across all three lists. The ignorance in the phrasing “We wants today? We Needs Today? Oh! i needs” at the top of the lists is a poke of mockery at the lack of education of African Americans and yet their ability to be capable enough to care for whole families and cook large meals as evidence of their intelligence and the importance of equality for both men and women.


The Destiny of Longitude & Latitude, 2010Mixed media Assemblage


The Destiny of Longitude & Latitude, 2010Mixed media Assemblage

Throughout her career, Saar has been collecting ordinary household items, including various types of cages, from flea markets, yard sales and antique shops. these cages became the basis for a “Cage” series in which Saar uses them to represent physical and metaphorical incarceration, as well as resilience and survival. Bringing attention to the death of slaves on long oversea voyages, Saar encapsulates the unknown and already silent voices of her ancestors.

Throughout her career, Saar has been collecting ordinary household items, including various types of cages, from flea markets, yard sales and antique shops. these cages became the basis for a “Cage” series in which Saar uses them to represent physical and metaphorical incarceration, as well as resilience and survival. Bringing attention to the death of slaves on long oversea voyages, Saar encapsulates the unknown and already silent voices of her ancestors.


The Weight of Color, 2008Mixed media Assemblage


The Weight of Color, 2008Mixed media Assemblage

Another piece in her “Cage” Series, Saar’s crow is nearly bursting out of the gilded cage in which he is jailed. Shackled and weighed, with an antique mammy on top as a subtle reminder, Saar reminds the African American of the 21st century about their roots. Her voice about the illusion of acceptance regarding the color of a person’s skin is blatant and without censor.

Another piece in her “Cage” Series, Saar’s crow is nearly bursting out of the gilded cage in which he is jailed. Shackled and weighed, with an antique mammy on top as a subtle reminder, Saar reminds the African American of the 21st century about their roots. Her voice about the illusion of acceptance regarding the color of a person’s skin is blatant and without censor.

Mildred Howardb.1945

About the Artist:Born in San Francisco, but raised in Berkley, California, Mildred Howard’s parents were politically active in their community regarding social issues, and encouraged their daughter to do the same. At a young age, Howard participated in youth protests about segregation in the Berkeley school system. She graduated fromShe received an Associate of Arts Degree and Certificate in Fashion Arts from the College of Alameda in 1977 and an MFA in 1985 from the Fiber-works Center from the Textile Arts at John F. Kennedy University.

Highly praised around San Francisco, Howard has been critically acclaimed and exhibited through the United States and across Europe.

One could go about their day, doing things as they normally would, one step after another, but sometimes something happens that forces you to look at things differently. What would happen if you didn't do that? You're forced to look at things differently, and everything is turned upside down. That happens in life. -Mildred Howard, 2012

Mildred HowardAmerican, b. 1945 -

U.S. Savings Bonds & Westside Court

3, n.d.Mixed Media Collage


U.S. Savings Bonds & Westside Court

3, n.d.Mixed Media Collage

Using old Bond records, family portraits and war Savings Bonds, Howard created a collage about the history of a simple African-American family. The Contributions of African Americans to the many wars throughout history without recognition are unmeasured and will never be appreciated. “I am a percenter” is stamped at the bottom and barely noticeable, but reminds the audience of the percenters during wartimes as true patriots. Howard brings attention to the liberty and property rights of every person without regard to race or creed.

Using old Bond records, family portraits and war Savings Bonds, Howard created a collage about the history of a simple African-American family. The Contributions of African Americans to the many wars throughout history without recognition are unmeasured and will never be appreciated. “I am a percenter” is stamped at the bottom and barely noticeable, but reminds the audience of the percenters during wartimes as true patriots. Howard brings attention to the liberty and property rights of every person without regard to race or creed.


In the Line of Fire, 1999Installation


In the Line of Fire, 1999Installation

This installation illustrates the face of a young African American WWII G.I. on more than a dozen stands of military dressed soldiers. Howard uses the image to, again, recall the contributions made by African Americans who went on to fight for American freedoms that they would never have themselves.

This installation illustrates the face of a young African American WWII G.I. on more than a dozen stands of military dressed soldiers. Howard uses the image to, again, recall the contributions made by African Americans who went on to fight for American freedoms that they would never have themselves.


Kiss the Cake, 2007Bronze, wood, Plaster, Paint


Kiss the Cake, 2007Bronze, wood, Plaster, Paint

is the materialization of its title, a baker’s phrase imagined as sculpture. Two baker’s gloves hold a rolling pin as if rolling out dough for a pie, but have a glossy pair of red lips flattened upon them. the lips are painted resin cast from the artist’s mouth, along with a cleft of brown skin between her upper lip and nose. This may be Howard’s most surreal image but brings to mind the housemaid, or Mammy, role most African American women upheld and responsible for cooking, cleaning and caring for their charges children; Aunt Jemima?

is the materialization of its title, a baker’s phrase imagined as sculpture. Two baker’s gloves hold a rolling pin as if rolling out dough for a pie, but have a glossy pair of red lips flattened upon them. the lips are painted resin cast from the artist’s mouth, along with a cleft of brown skin between her upper lip and nose. This may be Howard’s most surreal image but brings to mind the housemaid, or Mammy, role most African American women upheld and responsible for cooking, cleaning and caring for their charges children; Aunt Jemima?


Volume I & II: The History of the United States with a Few Missing

Parts, 2007modified books with folding cases


Volume I & II: The History of the United States with a Few Missing

Parts, 2007modified books with folding cases

This piece, two books gouged with holes clear through the spine, are exhibited as the incomplete volumes of the United States; Forgetting parts of history that are embarrassing, painful, shameful or too insignificant to print, Howard gives a voice to those events that make up the history of African Americans. Howard also references the gun culture stereotype of African American communities and the damage that they inflict upon themselves, as well as others during the 21st century.

This piece, two books gouged with holes clear through the spine, are exhibited as the incomplete volumes of the United States; Forgetting parts of history that are embarrassing, painful, shameful or too insignificant to print, Howard gives a voice to those events that make up the history of African Americans. Howard also references the gun culture stereotype of African American communities and the damage that they inflict upon themselves, as well as others during the 21st century.


Safe house, 2005-15vintage silver objects and shell knives, adhesive

This installation of objects is a ceiling-high outline of a small house whose steel lines are gilded with butter knives placed end-to-end, and whose floor is filled with polished and tarnished silver tableware. At the same time, a host of platters, goblets, and serving trays stream out one end of the house along the wooden gallery floor toward a wall punctured with dozens of cutting knives, As if Howard is making a nod to the gilded cages of houses. This rapid transition from domestic containment to the projection of rage references the safe houses that were integral parts of the Underground Railroad and the domestic violence riddling African American cultures of the 21st century.


Safe house, 2005-15vintage silver objects and shell knives, adhesive

This installation of objects is a ceiling-high outline of a small house whose steel lines are gilded with butter knives placed end-to-end, and whose floor is filled with polished and tarnished silver tableware. At the same time, a host of platters, goblets, and serving trays stream out one end of the house along the wooden gallery floor toward a wall punctured with dozens of cutting knives, As if Howard is making a nod to the gilded cages of houses. This rapid transition from domestic containment to the projection of rage references the safe houses that were integral parts of the Underground Railroad and the domestic violence riddling African American cultures of the 21st century.

References for Betye Saarwikipedia.org/wiki/Betye_Saar

betyesaar.net

blogs.artinfo.com

blogs.getty.edu

www.sharonarts.org

References for Mildred Howard

wikipedia.org/wiki/Mildred_howard

artiousblog.wordpress.com

conversations.org

richmondartcenter.org

gallerypauleanglim.com

squarecylinder.com

https://en.wikipedia.org/wiki/Betye_Saar




barnebee.caitlin.arh3631

Art & Photos

betye saar american

african american

university of california

mixed ancestry

saars art

state fairs

mildred howard

social work