Originally exhibited in 1984 by the Museum of Contemporary Art in a small brick building across from the Temporary Contemporary, “Oasis” was the second half of a two-part solo exhibition staged by the museum that fall. The first half included 48 assemblages from 1967 to the present, and the second half was “Oasis,” a large-scale, site-specific work that took up the whole room. It featured a futuristic barren desert-like landscape filled with sand punctuated by large colored glass bulbs that resemble marbles. A small pink wicker chair sits at the center of the creation, unoccupied and windswept. At the time, Saar told The Times that the installation was “about dualities and how they dovetail,” but it was more than that. It represents a leap in the evolution of Saar’s work — her smaller scale imaginings now writ large.
“I’ll Bend But I Will Not Break,” 1998. This tableau of an ironing board in front of a sheet monogrammed with the letters “KKK,” made a profound statement about racism in America.
(Museum Associates / LACMA / Betye Saar / Roberts Projects)
“I’ll Bend But I Will Not Break,” 1998
One of Saar’s most powerful works is held in the permanent collection of Los Angeles County Museum of Art and was featured in the inaugural exhibition of its new David Geffen Galleries when it opened last Spring. The deceptively simple work is part sculpture, part assemblage, part collage and features a vintage wooden ironing board set beside a white sheet hung on a line with six wooden clothespins. A closer look reveals that the sheet is appliquéd with the letters KKK, and the iron is chained to the board. The board also bears an imprint featuring the British slave ship Brookes with a Black mammy superimposed over it. Taken together, the collection of images makes a profound statement about slavery, forced labor and continuing racism in America.
Originally exhibited in 1984 by the Museum of Contemporary Art in a small brick building across from the Temporary Contemporary, “Oasis” was the second half of a two-part solo exhibition staged by the museum that fall. The first half included 48 assemblages from 1967 to the present, and the second half was “Oasis,” a large-scale, site-specific work that took up the whole room. It featured a futuristic barren desert-like landscape filled with sand punctuated by large colored glass bulbs that resemble marbles. A small pink wicker chair sits at the center of the creation, unoccupied and windswept. At the time, Saar told The Times that the installation was “about dualities and how they dovetail,” but it was more than that. It represents a leap in the evolution of Saar’s work — her smaller scale imaginings now writ large.
“I’ll Bend But I Will Not Break,” 1998. This tableau of an ironing board in front of a sheet monogrammed with the letters “KKK,” made a profound statement about racism in America.
(Museum Associates / LACMA / Betye Saar / Roberts Projects)
“I’ll Bend But I Will Not Break,” 1998
One of Saar’s most powerful works is held in the permanent collection of Los Angeles County Museum of Art and was featured in the inaugural exhibition of its new David Geffen Galleries when it opened last Spring. The deceptively simple work is part sculpture, part assemblage, part collage and features a vintage wooden ironing board set beside a white sheet hung on a line with six wooden clothespins. A closer look reveals that the sheet is appliquéd with the letters KKK, and the iron is chained to the board. The board also bears an imprint featuring the British slave ship Brookes with a Black mammy superimposed over it. Taken together, the collection of images makes a profound statement about slavery, forced labor and continuing racism in America.
Originally exhibited in 1984 by the Museum of Contemporary Art in a small brick building across from the Temporary Contemporary, “Oasis” was the second half of a two-part solo exhibition staged by the museum that fall. The first half included 48 assemblages from 1967 to the present, and the second half was “Oasis,” a large-scale, site-specific work that took up the whole room. It featured a futuristic barren desert-like landscape filled with sand punctuated by large colored glass bulbs that resemble marbles. A small pink wicker chair sits at the center of the creation, unoccupied and windswept. At the time, Saar told The Times that the installation was “about dualities and how they dovetail,” but it was more than that. It represents a leap in the evolution of Saar’s work — her smaller scale imaginings now writ large.
“I’ll Bend But I Will Not Break,” 1998. This tableau of an ironing board in front of a sheet monogrammed with the letters “KKK,” made a profound statement about racism in America.
(Museum Associates / LACMA / Betye Saar / Roberts Projects)
“I’ll Bend But I Will Not Break,” 1998
One of Saar’s most powerful works is held in the permanent collection of Los Angeles County Museum of Art and was featured in the inaugural exhibition of its new David Geffen Galleries when it opened last Spring. The deceptively simple work is part sculpture, part assemblage, part collage and features a vintage wooden ironing board set beside a white sheet hung on a line with six wooden clothespins. A closer look reveals that the sheet is appliquéd with the letters KKK, and the iron is chained to the board. The board also bears an imprint featuring the British slave ship Brookes with a Black mammy superimposed over it. Taken together, the collection of images makes a profound statement about slavery, forced labor and continuing racism in America.
Originally exhibited in 1984 by the Museum of Contemporary Art in a small brick building across from the Temporary Contemporary, “Oasis” was the second half of a two-part solo exhibition staged by the museum that fall. The first half included 48 assemblages from 1967 to the present, and the second half was “Oasis,” a large-scale, site-specific work that took up the whole room. It featured a futuristic barren desert-like landscape filled with sand punctuated by large colored glass bulbs that resemble marbles. A small pink wicker chair sits at the center of the creation, unoccupied and windswept. At the time, Saar told The Times that the installation was “about dualities and how they dovetail,” but it was more than that. It represents a leap in the evolution of Saar’s work — her smaller scale imaginings now writ large.
“I’ll Bend But I Will Not Break,” 1998. This tableau of an ironing board in front of a sheet monogrammed with the letters “KKK,” made a profound statement about racism in America.
(Museum Associates / LACMA / Betye Saar / Roberts Projects)
“I’ll Bend But I Will Not Break,” 1998
One of Saar’s most powerful works is held in the permanent collection of Los Angeles County Museum of Art and was featured in the inaugural exhibition of its new David Geffen Galleries when it opened last Spring. The deceptively simple work is part sculpture, part assemblage, part collage and features a vintage wooden ironing board set beside a white sheet hung on a line with six wooden clothespins. A closer look reveals that the sheet is appliquéd with the letters KKK, and the iron is chained to the board. The board also bears an imprint featuring the British slave ship Brookes with a Black mammy superimposed over it. Taken together, the collection of images makes a profound statement about slavery, forced labor and continuing racism in America.
Originally exhibited in 1984 by the Museum of Contemporary Art in a small brick building across from the Temporary Contemporary, “Oasis” was the second half of a two-part solo exhibition staged by the museum that fall. The first half included 48 assemblages from 1967 to the present, and the second half was “Oasis,” a large-scale, site-specific work that took up the whole room. It featured a futuristic barren desert-like landscape filled with sand punctuated by large colored glass bulbs that resemble marbles. A small pink wicker chair sits at the center of the creation, unoccupied and windswept. At the time, Saar told The Times that the installation was “about dualities and how they dovetail,” but it was more than that. It represents a leap in the evolution of Saar’s work — her smaller scale imaginings now writ large.
“I’ll Bend But I Will Not Break,” 1998. This tableau of an ironing board in front of a sheet monogrammed with the letters “KKK,” made a profound statement about racism in America.
(Museum Associates / LACMA / Betye Saar / Roberts Projects)
“I’ll Bend But I Will Not Break,” 1998
One of Saar’s most powerful works is held in the permanent collection of Los Angeles County Museum of Art and was featured in the inaugural exhibition of its new David Geffen Galleries when it opened last Spring. The deceptively simple work is part sculpture, part assemblage, part collage and features a vintage wooden ironing board set beside a white sheet hung on a line with six wooden clothespins. A closer look reveals that the sheet is appliquéd with the letters KKK, and the iron is chained to the board. The board also bears an imprint featuring the British slave ship Brookes with a Black mammy superimposed over it. Taken together, the collection of images makes a profound statement about slavery, forced labor and continuing racism in America.
Originally exhibited in 1984 by the Museum of Contemporary Art in a small brick building across from the Temporary Contemporary, “Oasis” was the second half of a two-part solo exhibition staged by the museum that fall. The first half included 48 assemblages from 1967 to the present, and the second half was “Oasis,” a large-scale, site-specific work that took up the whole room. It featured a futuristic barren desert-like landscape filled with sand punctuated by large colored glass bulbs that resemble marbles. A small pink wicker chair sits at the center of the creation, unoccupied and windswept. At the time, Saar told The Times that the installation was “about dualities and how they dovetail,” but it was more than that. It represents a leap in the evolution of Saar’s work — her smaller scale imaginings now writ large.
“I’ll Bend But I Will Not Break,” 1998. This tableau of an ironing board in front of a sheet monogrammed with the letters “KKK,” made a profound statement about racism in America.
(Museum Associates / LACMA / Betye Saar / Roberts Projects)
“I’ll Bend But I Will Not Break,” 1998
One of Saar’s most powerful works is held in the permanent collection of Los Angeles County Museum of Art and was featured in the inaugural exhibition of its new David Geffen Galleries when it opened last Spring. The deceptively simple work is part sculpture, part assemblage, part collage and features a vintage wooden ironing board set beside a white sheet hung on a line with six wooden clothespins. A closer look reveals that the sheet is appliquéd with the letters KKK, and the iron is chained to the board. The board also bears an imprint featuring the British slave ship Brookes with a Black mammy superimposed over it. Taken together, the collection of images makes a profound statement about slavery, forced labor and continuing racism in America.
Originally exhibited in 1984 by the Museum of Contemporary Art in a small brick building across from the Temporary Contemporary, “Oasis” was the second half of a two-part solo exhibition staged by the museum that fall. The first half included 48 assemblages from 1967 to the present, and the second half was “Oasis,” a large-scale, site-specific work that took up the whole room. It featured a futuristic barren desert-like landscape filled with sand punctuated by large colored glass bulbs that resemble marbles. A small pink wicker chair sits at the center of the creation, unoccupied and windswept. At the time, Saar told The Times that the installation was “about dualities and how they dovetail,” but it was more than that. It represents a leap in the evolution of Saar’s work — her smaller scale imaginings now writ large.
“I’ll Bend But I Will Not Break,” 1998. This tableau of an ironing board in front of a sheet monogrammed with the letters “KKK,” made a profound statement about racism in America.
(Museum Associates / LACMA / Betye Saar / Roberts Projects)
“I’ll Bend But I Will Not Break,” 1998
One of Saar’s most powerful works is held in the permanent collection of Los Angeles County Museum of Art and was featured in the inaugural exhibition of its new David Geffen Galleries when it opened last Spring. The deceptively simple work is part sculpture, part assemblage, part collage and features a vintage wooden ironing board set beside a white sheet hung on a line with six wooden clothespins. A closer look reveals that the sheet is appliquéd with the letters KKK, and the iron is chained to the board. The board also bears an imprint featuring the British slave ship Brookes with a Black mammy superimposed over it. Taken together, the collection of images makes a profound statement about slavery, forced labor and continuing racism in America.
Originally exhibited in 1984 by the Museum of Contemporary Art in a small brick building across from the Temporary Contemporary, “Oasis” was the second half of a two-part solo exhibition staged by the museum that fall. The first half included 48 assemblages from 1967 to the present, and the second half was “Oasis,” a large-scale, site-specific work that took up the whole room. It featured a futuristic barren desert-like landscape filled with sand punctuated by large colored glass bulbs that resemble marbles. A small pink wicker chair sits at the center of the creation, unoccupied and windswept. At the time, Saar told The Times that the installation was “about dualities and how they dovetail,” but it was more than that. It represents a leap in the evolution of Saar’s work — her smaller scale imaginings now writ large.
“I’ll Bend But I Will Not Break,” 1998. This tableau of an ironing board in front of a sheet monogrammed with the letters “KKK,” made a profound statement about racism in America.
(Museum Associates / LACMA / Betye Saar / Roberts Projects)
“I’ll Bend But I Will Not Break,” 1998
One of Saar’s most powerful works is held in the permanent collection of Los Angeles County Museum of Art and was featured in the inaugural exhibition of its new David Geffen Galleries when it opened last Spring. The deceptively simple work is part sculpture, part assemblage, part collage and features a vintage wooden ironing board set beside a white sheet hung on a line with six wooden clothespins. A closer look reveals that the sheet is appliquéd with the letters KKK, and the iron is chained to the board. The board also bears an imprint featuring the British slave ship Brookes with a Black mammy superimposed over it. Taken together, the collection of images makes a profound statement about slavery, forced labor and continuing racism in America.
