Liberation of Aunt Jemima: Cocktail
Elizabeth A. Sackler Center for Feminist Art
On View: Elizabeth A. Sackler Center for Feminist Art, Northeast (Herstory gallery), 4th floor
Betye Saar was a prominent member of the Black Arts Movement. Drawing from diverse cultural associations, and influenced both by self-taught artist Simon Rodia’s massive sculptural installation Watts Towers, constructed in the 1960s in her hometown, and by the intimate found-object constructions of American modernist Joseph Cornell, Saar developed a politically potent and personally meaningful practice rooted in assemblage. In Liberation of Aunt Jemima: Cocktail Saar transforms a Gallo wine jug, a 1970s marker of middle-class sophistication, into a tool for Black liberation. For Sacred Symbols fifteen years later she transfigures the detritus one might find in the junk drawer of any home into a composition with spiritual overtones.
Glass, paper, textile, metal
Overall: 12 1/2 × 5 3/4 in. (31.8 × 14.6 cm) (show scale)
Purchased with funds given by Elizabeth A. Sackler, gift of the Contemporary Art Committee, and William K. Jacobs, Jr. Fund
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Betye Saar (American, born 1926). Liberation of Aunt Jemima: Cocktail, 1973. Glass, paper, textile, metal, Overall: 12 1/2 × 5 3/4 in. (31.8 × 14.6 cm). Brooklyn Museum, Purchased with funds given by Elizabeth A. Sackler, gift of the Contemporary Art Committee, and William K. Jacobs, Jr. Fund, 2017.17. © artist or artist's estate (Photo: , 2017.17_front_PS11.jpg)
front, 2017.17_front_PS11.jpg., 2017
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