<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/17">
    <dcterms:title><![CDATA[Untitled Drawing Study]]></dcterms:title>
    <dcterms:description><![CDATA[In paper and print media, such as drawings and intaglio prints, Saar developed both conceptual and formal qualities that she employs throughout her career; here, the incorporation of mixed media characterizes works across Saar’s expansive oeuvre. In this nonrepresentational image, Saar layers thick, black brushstrokes in a study of textures and transparencies. The final product incorporates ink, etching, and white pencil drawing in an experimentation of how the three media interact visually in a single composition.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1965]]></dcterms:date>
    <dcterms:format><![CDATA[Drawing, etching]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Cleophus Thomas]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/19">
    <dcterms:title><![CDATA[Acrobats]]></dcterms:title>
    <dcterms:description><![CDATA[Acrobats is one of the prints produced during the course of Saar’s graduate studies at California State Long Beach, where she specialized in printmaking. Here we see an acrobatic troupe of undistinguished figures posed in a daring act of physical skill. The characters balance across the vertical length of the paper, stacked on each other’s shoulders. From a distance, the highly-textured, dark gray washes of ink partially obscure the print’s representational elements. The top figure on the stack of dark, charcoal bodies proudly raises their arms to reveal a severed head in each hand: a subtle and unassuming, yet gruesome, detail.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1960]]></dcterms:date>
    <dcterms:format><![CDATA[Etching]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Lewis Tanner Moore]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/21">
    <dcterms:title><![CDATA[Now You Cookin’ with Gas from Bookmarks in the Pages of Life Series]]></dcterms:title>
    <dcterms:description><![CDATA[Much of Saar’s work explores the  experiences of African American womanhood, emphasizing their independence. Here, a photographic image of a woman is situated on the edges of a cityscape while two men in colorful zoot suits stand contained within a border of repeating brownstone apartment buildings. The men’s eyes are exaggerated and we follow their stare to the figure of the woman posed confidently on the outskirts; though she is observed by the two men, the woman appears unaffected, independent, and free to move beyond the boundaries of the streetscape in which the two men appear confined. This print is paired in Saar’s Bookmarks from the Pages of Life with Zora Neale Hurston’s “Story in Harlem Slang.” Hurston’s short story, originally published in 1942, follows a confident, prosperous African American woman who dismisses the catcalls of two men who are far less successful than they boast.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[2000]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection,<br />
Gift from the Sandra and Lloyd Baccus Collection]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/23">
    <dcterms:title><![CDATA[Jump on One Foot, One Foot]]></dcterms:title>
    <dcterms:description><![CDATA[Saar’s gestural print of a girl jumping rope escapes the charm typically associated with childhood play, instead infusing the scene with the vigor of the child’s rapid movement. The smudges of ink at the girl’s feet evoke dust kicked up by the rope hitting the ground as her undefined edges animate her brisk jumping. Saar takes full advantage of the painterly qualities of monotype printmaking, in which paper is pressed against a surface applied with ink, often with a brush. Because the plate is not incised like an etching, the design is typically printed only once. This monotype demonstrates the continuity and experimentation of Saar’s printmaking practice in her mature career, well after she began making her acclaimed assemblages in the late 1960s.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1984]]></dcterms:date>
    <dcterms:format><![CDATA[Oil monotype]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Cleophus Thomas]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/27">
    <dcterms:title><![CDATA[LA Sky with Spinning Hearts]]></dcterms:title>
    <dcterms:description><![CDATA[Betye Saar regards the sky as an important aspect of nature and expresses its mystical aspects through a careful manipulation of form. Her fantastical rendition of the sky in LA–Saar’s place of birth–cannot be confined to traditional rectangular and square frames. The print itself bends and contorts to capture all its expansiveness. Saar stitched pieces of heavy paper together to create its irregular shape. A shooting star tugs at the edges, and the leaves of a palm tree move beyond the frame. A border dotted with white, green, red, and blue, features white moons at its top edge, recalling mysticism and ritual associated with lunar cycles. The otherworldliness, magic, and dizzying love in the sky, washed in multiple shades of blue, promotes a sense of home and longing.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1989]]></dcterms:date>
    <dcterms:format><![CDATA[Offset printing, silkscreen, stitching]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection,<br />
Gift from Jean and Robert E. Steele Collection<br />
]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/28">
    <dcterms:title><![CDATA[Mystic Sky with Self Portrait]]></dcterms:title>
    <dcterms:description><![CDATA[Betye Saar states: “The stars, the cards, the mystic vigil may hold the answers. By shifting the point of view an inner spirit is released. Free to create.” Saar places symbols in her mystic sky: the decorative mask represents “hidden identity and magic,” the Eye of Providence stands for “God’s all-seeing eye,” and the palmistry hand, and dice symbolize “fate/fortune.” The purple symbol on the hand is the symbol for Leo, Saar’s astrological sun sign. Whereas Saar’s point of view in LA Sky with Spinning Hearts is that of someone looking up into the expansive sky, Saar depicts herself in Mystic Sky with Self Portrait as a spiritual being among these celestial objects. She looks downward, placing herself not as the observed but the observer. <br />
<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1992]]></dcterms:date>
    <dcterms:format><![CDATA[Offset lithograph, collage, construction]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Lewis Tanner Moore]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/29">
    <dcterms:title><![CDATA[Bookmarks in the Pages of Life]]></dcterms:title>
    <dcterms:description><![CDATA[Bookmarks in the Pages of Life is a collection of illustrations Saar made to accompany short stories by Zora Neale Hurston (1891-1960), a prolific author whose profoundly impactful works, such as Their Eyes Were Watching God (published in 1937), centers African American struggle and liberation. Saar illustrates Hurston&#039;s short stories, which range from courtroom drama to comedic misadventure, set in Harlem and rural Florida from the antebellum to Harlem Renaissance. One of Saar’s prints for the book, The Conscience of the Court, depicts Hurtson&#039;s fictional character Laura Lee Kimble, innocent yet on trial in a corrupt legal system. In the back of a courtroom, a large clock looms over Kimble, reflecting an urgency for justice. Through six colorful serigraphs, Saar illustrates the racial struggles that Hurston observed across the United States in her lifetime and throughout the nation&#039;s history.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[2000]]></dcterms:date>
    <dcterms:format><![CDATA[Artist book]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection,<br />
Gift from the Sandra and Lloyd Baccus Collection<br />
]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/30">
    <dcterms:title><![CDATA[The Conscience of the Court from Bookmarks in the Pages of Life]]></dcterms:title>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[2000]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection,<br />
Gift from the Sandra and Lloyd Baccus Collection<br />
]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/31">
    <dcterms:title><![CDATA[The Bone of Contention from Bookmarks in the Pages of Life]]></dcterms:title>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[2000]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection,<br />
Gift from the Sandra and Lloyd Baccus Collection<br />
]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/32">
    <dcterms:title><![CDATA[Mother Catherine from Bookmarks in the Pages of Life]]></dcterms:title>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[2000]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Lewis Tanner Moore]]></dcterms:provenance>
</rdf:Description></rdf:RDF>
