Works Cited
- Bernadac, Marie (2008), Louise Bourgeois, New York: Rizzoli.
- Carpenter, Jane H. (2003), Betye Saar, Portland: Pomegranate.
- Cohen, Gene D (2006), 'Research on Creativity and Aging: The Positive Impact of the Arts on Health and Illness', Generations 3:1, pp. 7–15.
- Cotter, Holland (2019, September 4), ‘It’s About Time!” Betye Saar’s Long Climb to the Summit’, available on the New York Times website at www.nytimes.com/2019/09/04/arts/design/betye-saar.html.
- Dolan, Alice and Sally Holloway (2016), 'Emotional Textiles: An Introduction', Textile 14:2, pp. 152–29.
- Gullette, Margaret M (1997), Declining to Decline: Cultural Combat and the Politics of Midlife, Charlottesville: University Press of Virginia.
- Gullette, Margaret M. (1999), ‘The Other End of the Fashion Cycle: Practising Loss, Learning Decline’ in Kathleen Woodward (ed), Figuring Age: Women, Bodies, Generations, Bloomingdale: Indiana University Press, pp. 24–58.
- Himid, Lubaina (2016), ‘Lost and Found at the Swap Meet: Betye Saar and the Everyday Object’ in Visualising Slavery: Art Across the African Diaspora, Liverpool: Liverpool University Press.
- Jones, Kellie (2017), South of Pico: African American Artists in Los Angeles in the 1960s and 1970s, Durham, N.C.: Duke University Press.
- Kim, Hye Eun (2019), ‘The Wearing Process as a Rite of Passage’, Textile, 17:1, pp. 100–9.
- King-Hammond, Leslie (2002), Betye Saar: Colored – Consider the Rainbow, New York: Michael Rosenfeld Gallery.
- LeFalle-Collins, Lizzetta (1994), The Art of Betye Saar & John Outterbridge: The Poetics of Politics, Iconography and Spirituality, Washington, DC: United States Information Agency.
- Lehman, Harvey C (2017), Age and Achievement, New Jersey: Princeton University Press.
- Lippard, Lucy (1976), From the Center: Feminist Essays on Women‘s Art, New York: E. P. Dutton.
- Montagne, Renee (2006, December 28), Interview: Life Is a Collage for Artist Betye Saar, available on the National Public Radio website at www.npr.org/templates/story/story.php?storyId=6688207&t=1566123693475.
- Ollman, Leah (2019, June 1), ‘In the Studio: Betye Saar’, available on the Art in America website at www.artinamericamagazine.com/news-features/magazines/betye-saar-in-the-studio/.
- Pollock, Griselda (1999), 'Old Bones and Cocktail Dresses: Louise Bourgeois and the Question of Age', Oxford Art Journal 22:2, pp. 73–100.
- Seitz, William (1961), The Art of Assemblage, New York: Museum of Modern Art.
- Saar, Betye (1988), 'Artist Statement', in James Christen Steward (ed.), Betye Saar: Extending the Frozen Moment, California: University of California Press. p. 9.
- Saar, Betye (2015), Betye Saar: Still Tickin’ [Touring Exhibition], Museum Het Domein Sittard, Netherlands, 28 June–15 November 2015; Scottsdale Museum of Contemporary Art, Arizona. 30 January - 1 May 2016.
- Saar, Betye (2016a, September 15), ‘Artist Statement’, available on the Fondazione Prada website at www.fondazioneprada.org/project/betye-saar-uneasy-dancer.
- Saar, Betye (2016b, September 27), ‘Betye Saar: Influences’, available on the Frieze website at www.frieze.com/article/influences-betye-saar.
- Saar, Betye (2016/2017), Betye Saar: Uneasy Dancer [Exhibition], Fondazione Prada, Milan, 15 September 2016-8 January 2017.
- Saar, Betye (2017a), Soul of a Nation: Art in the Age of Black Power [Exhibition], Tate Modern, London, 12 July-22 October 2017.
- Saar, Betye (2017b), Still Tickin’, Scottsdale: Scottsdale Museum of Contemporary Art.
- Saar, Betye (2018/2019), Betye Saar: Keepin' It Clean [Exhibition], New York Historical Society, New York, 2 November 2018-27 May 2019.
- Saar, Betye (2019/2020), Betye Saar: The Legends of Black Girl’s Window [Exhibition], Museum of Modern Art, New York, 21 October 2019–4 January 2020.
- Smith, Richard Candida (2012), The Modern Moves West California Artists and Democratic Culture in the Twentieth Century, Philadelphia: University of Pennsylvania Press.
- Steward, James Christen (1988), “Lest We Forget’: The Liberating of Betye Saar”, in James Christen Steward (ed.), Betye Saar: Extending the Frozen Moment, California: University of California Press, p. 13.
- Tani, Ellen Y (2016), '‘Keeping Time in the Hands of Betye Saar: Betye Saar, Still Tickin’’', American Quarterly 68:4, pp. 1081–109.
- Twigg, Julia (2013), Fashion and Age Dress, the Body and Later Life, London: Bloomsbury Academic.
Artworks Cited
- Rodia, Simon. (1921–1954), Watt’s Towers [mixed-media site specific installation], The Los Angeles County Museum of Art, Los Angeles.
- Saar, Betye. (1972), The Liberation of Aunt Jemima [mixed media assemblage], Berkeley Art Museum and Pacific Film Archive, Los Angeles.
- Saar, Betye. (1972), Grandma’s House [mixed media assemblage in artist's frame], private collection.
- Saar, Betye. (1975), Record for Hattie [mixed media assemblage], Scottsdale Museum of Art, Arizona.
- Saar, Betye. (1975), Last Dance [mixed media assemblage]. Mixed media assemblage, Monique Knowlton Gallery, New York.
- Saar, Betye. (1976), Keep for Old Memoirs [mixed media assemblage], Museum of Modern Art, New York.
- Saar, Betye. (1977), Aunt Hattie [mixed-media on handkerchief], artist’s collection.
- Saar, Betye. (2002), Coffee [mixed media collage and assemblage], Ackland Art Museum, North Carolina.
- Saar, Betye. (2005), Still Ticking [mixed media assemblage], Roberts & Tilton, Los Angeles.
- Saar, Betye. (2013), Cradle of Dreams [site specific installation], Roberts Projects, Culver City.
- Saar, Betye. (2013), The Game of Time [site specific installation], Roberts Projects, Culver City.
- Saar, Betye. (2015), Liberate (25 mammies) [mixed media assemblage], Roberts Projects, Culver City.
- Saar, Betye. (2016), A Handful of Stars [bronze sculpture], The Lapis Press, Culver City.
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