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Betye Saar’s Birthday Present

Betye Saar, the iconic assemblage artist, is donating her collection of Black dolls to the New York Historical on the occasion of her 100th birthday. The article also covers strong performance art at the Venice Biennale, including works by Florentina Holzinger and Miet Warlop at the Austrian and Belgian pavilions, amidst a fraught edition marked by the death of artistic director Koyo Kouoh, canceled pavilions, and protests. Additional features include a review of Ceija Stojka's exhibition at the Drawing Center and a profile of sculptor Edmonia Lewis.

How Betye Saar Set Black Dolls Free

An exhibition at the New York Historical celebrates Betye Saar’s promised gift of her collection of over 100 Black dolls to the institution, coinciding with her upcoming 100th birthday. The show, on view through October 4, features dolls alongside Saar’s paintings, prints, and sculptures, including works like “The Liberation of Aunt Jemima” (1972) and “Indigo Mercy” (1975). Saar began collecting Black dolls in 1949 and has incorporated them into her art since the 1970s, using watercolors during the COVID-19 pandemic to reimagine them in mystical scenes.

The Invincible Spirit of Edmonia Lewis

The Peabody Essex Museum in Salem, Massachusetts, has opened "Edmonia Lewis: Said in Stone," the first major retrospective of the 19th-century sculptor Edmonia Lewis, who was of Black and Indigenous (Mississauga-Tuscarora) descent. The exhibition displays 30 of her Neoclassical white marble sculptures alongside archival materials and works by other artists, organized into four thematic rooms that explore antislavery, Indigenous artistic worlds, her studios in Rome, and religion and mythology. Co-organized with the Georgia Museum of Art, the show emphasizes Lewis's dual heritage without conflating the two identities, featuring extensive text and quotes from the artist herself.