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Renowned artist Betye Saar, whose groundbreaking work explored Black identity, culture, and spirituality, passed away Sunday morning in Los Angeles at the age of 99. Her family confirmed her death on Monday; Saar was on the cusp of celebrating her 100th birthday this week.
A pivotal figure in the 1960s Black Art Movement, Saar was a trailblazer in the art of assemblage-creating sculptures from found objects-and transformed Jim Crow-era memorabilia into potent symbols of Black empowerment and liberation. Roberts Projects, the Los Angeles gallery that represented her, described her oeuvre as “symbolically rich,” evolving to reflect a broad spectrum of environmental, cultural, political, racial, technological, economic, and historical contexts.
Saar began her artistic journey later in life, transitioning from a career in design to art at age 35, and remained creatively active well into her 90s. Raised in Pasadena, she was part of a vibrant community of Black artists in nearby Altadena, often citing the Watts Towers by Simon Rodia as a formative source of inspiration.
Her signature approach involved repurposing Black collectibles, heirlooms, and everyday objects through subversion, earning her an untarnished reputation among older generations of Black American artists, according to the gallery.
Saar’s multidisciplinary practice spanned painting, printmaking, sculpture, and assemblage using objects like dolls, washboards, and antiques. One of her most influential works, “Black Girl’s Window” (1969), was initially underappreciated but gained recognition decades later, culminating in its acquisition by New York’s Museum of Modern Art in 2019. Saar once reflected on the challenges she faced, noting the scarcity of galleries in Los Angeles during that era, especially those open to Black artists.
Another landmark piece, “The Liberation of Aunt Jemima” (1972), showcased Saar’s radical reclamation of racially charged memorabilia. The work featured the controversial “mammy” figure-a 19th-century stereotype-reimagined as a defiant character wielding a rifle and hand grenade.
Angela Robinson Witherspoon, who produced a 2023 documentary on Saar, highlighted the piece’s significance as a response to the 1968 assassination of Dr. Martin Luther King Jr.
Saar, a mother of three, sought to contribute to the Civil Rights Movement through her art.
The Aunt Jemima brand, long criticized for its racist origins, was retired by Quaker Oats in 2020 after more than 130 years.
Robinson Witherspoon praised Saar’s relentless creative energy and her determination to challenge an art world historically dominated by white males. The documentary “Betye Saar: Ready to Be A Warrior” features insights from prominent figures including John Legend and Tina Knowles.
Although Saar had a solo exhibition at New York’s Whitney Museum in 1975, large institutions have only intermittently showcased her work over the years. However, 2019 marked a significant moment with concurrent solo exhibitions at both the Los Angeles County Museum of Art and MoMA.
Beyond her own practice, Saar was an influential mentor to a new generation of Black artists, notably painter Kerry James Marshall, and she is regarded as a leading figure in the West Coast art scene.
In spring 2026, Saar was posthumously inducted into the American Academy of Arts and Letters.
Currently, Roberts Projects is hosting “Let’s Get It On: The Wearable Art of Betye Saar,” an exhibition focusing on her costume design.
Betye Saar’s enduring legacy is one of artistic innovation, cultural reclamation, and profound influence on American art.