Artist Betye Saar, a pioneering figure in the exploration of Black identity, culture, and spirituality, passed away on Sunday morning in Los Angeles at the remarkable age of 99. She was just a few days away from celebrating her 100th birthday.
Her family confirmed her death on Monday, marking the loss of one of the most influential artists of her time.
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Saar was a central figure in the 1960s Black Art Movement, known for her innovative use of assemblage—creating sculptures from found objects. She often reclaimed Jim Crow-era memorabilia, turning them into powerful symbols of Black liberation and empowerment.
According to Roberts Projects, the Los Angeles gallery that represented her, “Her symbolically rich body of work has evolved over time to demonstrate the environmental, cultural, political, racial, technological, economic, and historical context in which it exists.”
Saar began her artistic career later in life, transitioning from design to art at age 35. Her creative journey continued vibrantly into her 90s. Growing up in Pasadena, she was part of a community of Black artists in nearby Altadena, and she frequently cited Simon Rodia’s iconic Watts Towers as an early source of inspiration.
The gallery noted, “Her appropriation of Black collectibles, heirlooms, and utilitarian objects are transformed through subversion.” Among the older generation of Black American artists, she is celebrated as a figure of immense respect and influence.
Saar’s artistic practice included various mediums such as painting, printmaking, sculpture, and the use of found objects, including dolls and antiques. One of her groundbreaking works, “Black Girl’s Window,” created in 1969, gained more recognition decades later and was acquired by the Museum of Modern Art in New York in 2019. She once reflected on the challenges of her early career, saying, “There weren’t that many galleries in Los Angeles at the time and there certainly weren’t any for Black artists.”
Another significant piece, “The Liberation of Aunt Jemima,” made in 1972, features memorabilia that represented negative stereotypes of Black people, including the infamous “mammy” character. However, in Saar’s interpretation, the figure is transformed; she smiles while holding a rifle and a hand grenade, symbolizing strength and resistance.
Angela Robinson Witherspoon, who produced a recent documentary about Saar, stated, “That was done as an answer to the killing of Dr. King,” referring to the assassination of Martin Luther King Jr. in 1968. Saar, while raising her three daughters, aimed to contribute to the Civil Rights Movement through her art.
The Aunt Jemima brand, owned by Quaker Oats for over 130 years, was retired in 2020, acknowledging the logo’s roots in racial stereotypes.
Saar’s relentless energy for creating art and her determination to speak out against the dominance of white males in the art world were evident throughout her life. Robinson Witherspoon’s documentary, “Betye Saar: Ready to Be A Warrior,” features insights from notable figures like John Legend and Tina Knowles.
Although Saar had a solo exhibition at the Whitney Museum in 1975, her work has only been sporadically featured in major institutions over the years. However, in 2019, both the Los Angeles County Museum of Art and MoMA showcased concurrent solo exhibits of her work.
Saar has served as a mentor to numerous Black artists, including the acclaimed painter Kerry James Marshall, and she is regarded as a leading figure in the West Coast arts scene.
In spring 2026, she was set to be inducted into the American Academy of Arts and Letters, highlighting her lifelong contributions to art.
Currently, an exhibition titled “Let’s Get It On: The Wearable Art of Betye Saar,” focusing on her costume design work, is on view at Robert Projects.
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Associated Press Writer Anna Furman contributed reporting from Los Angeles.
