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Betye Saar practically levitates into the room wearing a Max Mara jacket that resembles a bird’s plumage, with a butter-yellow silk Dior dress grazing the ground behind her and a cane in her hand. This is look No. 1 at the photo shoot for this story, and everyone in the room — producers, photo assistants, editors — stop to stare, little gasps mutating into big ones. Saar’s magnetism either comes from being one of the most important living artists of the last century, the fact that her 100th birthday is approaching or being a Leo. In any case, every so often, she lets out a laugh that is so mischievous and exalting, or makes a joke that is completely disarming in its self-deprecation, and we all feel like we’ve won.

Saar is, of course, among the most iconic artists to come out of L.A., ever. The Getty Research Institute called her “one of the most innovative and visionary artists of our era” when it acquired her archive in 2018. Her new show at Roberts Projects, opening May 30, lets us in on a different but equally foundational branch of Saar’s story: her costume design work.

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 4: Photo by Paul Salveson
Slide 6: Photo by Alan Shaffer

Betye Saar practically levitates into the room wearing a Max Mara jacket that resembles a bird’s plumage, with a butter-yellow silk Dior dress grazing the ground behind her and a cane in her hand. This is look No. 1 at the photo shoot for this story, and everyone in the room — producers, photo assistants, editors — stop to stare, little gasps mutating into big ones. Saar’s magnetism either comes from being one of the most important living artists of the last century, the fact that her 100th birthday is approaching or being a Leo. In any case, every so often, she lets out a laugh that is so mischievous and exalting, or makes a joke that is completely disarming in its self-deprecation, and we all feel like we’ve won.

Saar is, of course, among the most iconic artists to come out of L.A., ever. The Getty Research Institute called her “one of the most innovative and visionary artists of our era” when it acquired her archive in 2018. Her new show at Roberts Projects, opening May 30, lets us in on a different but equally foundational branch of Saar’s story: her costume design work.

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 4: Photo by Paul Salveson
Slide 6: Photo by Alan Shaffer

Betye Saar practically levitates into the room wearing a Max Mara jacket that resembles a bird’s plumage, with a butter-yellow silk Dior dress grazing the ground behind her and a cane in her hand. This is look No. 1 at the photo shoot for this story, and everyone in the room — producers, photo assistants, editors — stop to stare, little gasps mutating into big ones. Saar’s magnetism either comes from being one of the most important living artists of the last century, the fact that her 100th birthday is approaching or being a Leo. In any case, every so often, she lets out a laugh that is so mischievous and exalting, or makes a joke that is completely disarming in its self-deprecation, and we all feel like we’ve won.

Saar is, of course, among the most iconic artists to come out of L.A., ever. The Getty Research Institute called her “one of the most innovative and visionary artists of our era” when it acquired her archive in 2018. Her new show at Roberts Projects, opening May 30, lets us in on a different but equally foundational branch of Saar’s story: her costume design work.

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 4: Photo by Paul Salveson
Slide 6: Photo by Alan Shaffer

Betye Saar practically levitates into the room wearing a Max Mara jacket that resembles a bird’s plumage, with a butter-yellow silk Dior dress grazing the ground behind her and a cane in her hand. This is look No. 1 at the photo shoot for this story, and everyone in the room — producers, photo assistants, editors — stop to stare, little gasps mutating into big ones. Saar’s magnetism either comes from being one of the most important living artists of the last century, the fact that her 100th birthday is approaching or being a Leo. In any case, every so often, she lets out a laugh that is so mischievous and exalting, or makes a joke that is completely disarming in its self-deprecation, and we all feel like we’ve won.

Saar is, of course, among the most iconic artists to come out of L.A., ever. The Getty Research Institute called her “one of the most innovative and visionary artists of our era” when it acquired her archive in 2018. Her new show at Roberts Projects, opening May 30, lets us in on a different but equally foundational branch of Saar’s story: her costume design work.

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 4: Photo by Paul Salveson
Slide 6: Photo by Alan Shaffer

Betye Saar practically levitates into the room wearing a Max Mara jacket that resembles a bird’s plumage, with a butter-yellow silk Dior dress grazing the ground behind her and a cane in her hand. This is look No. 1 at the photo shoot for this story, and everyone in the room — producers, photo assistants, editors — stop to stare, little gasps mutating into big ones. Saar’s magnetism either comes from being one of the most important living artists of the last century, the fact that her 100th birthday is approaching or being a Leo. In any case, every so often, she lets out a laugh that is so mischievous and exalting, or makes a joke that is completely disarming in its self-deprecation, and we all feel like we’ve won.

Saar is, of course, among the most iconic artists to come out of L.A., ever. The Getty Research Institute called her “one of the most innovative and visionary artists of our era” when it acquired her archive in 2018. Her new show at Roberts Projects, opening May 30, lets us in on a different but equally foundational branch of Saar’s story: her costume design work.

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 4: Photo by Paul Salveson
Slide 6: Photo by Alan Shaffer

Betye Saar practically levitates into the room wearing a Max Mara jacket that resembles a bird’s plumage, with a butter-yellow silk Dior dress grazing the ground behind her and a cane in her hand. This is look No. 1 at the photo shoot for this story, and everyone in the room — producers, photo assistants, editors — stop to stare, little gasps mutating into big ones. Saar’s magnetism either comes from being one of the most important living artists of the last century, the fact that her 100th birthday is approaching or being a Leo. In any case, every so often, she lets out a laugh that is so mischievous and exalting, or makes a joke that is completely disarming in its self-deprecation, and we all feel like we’ve won.

Saar is, of course, among the most iconic artists to come out of L.A., ever. The Getty Research Institute called her “one of the most innovative and visionary artists of our era” when it acquired her archive in 2018. Her new show at Roberts Projects, opening May 30, lets us in on a different but equally foundational branch of Saar’s story: her costume design work.

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 4: Photo by Paul Salveson
Slide 6: Photo by Alan Shaffer

Betye Saar practically levitates into the room wearing a Max Mara jacket that resembles a bird’s plumage, with a butter-yellow silk Dior dress grazing the ground behind her and a cane in her hand. This is look No. 1 at the photo shoot for this story, and everyone in the room — producers, photo assistants, editors — stop to stare, little gasps mutating into big ones. Saar’s magnetism either comes from being one of the most important living artists of the last century, the fact that her 100th birthday is approaching or being a Leo. In any case, every so often, she lets out a laugh that is so mischievous and exalting, or makes a joke that is completely disarming in its self-deprecation, and we all feel like we’ve won.

Saar is, of course, among the most iconic artists to come out of L.A., ever. The Getty Research Institute called her “one of the most innovative and visionary artists of our era” when it acquired her archive in 2018. Her new show at Roberts Projects, opening May 30, lets us in on a different but equally foundational branch of Saar’s story: her costume design work.

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 4: Photo by Paul Salveson
Slide 6: Photo by Alan Shaffer

Betye Saar practically levitates into the room wearing a Max Mara jacket that resembles a bird’s plumage, with a butter-yellow silk Dior dress grazing the ground behind her and a cane in her hand. This is look No. 1 at the photo shoot for this story, and everyone in the room — producers, photo assistants, editors — stop to stare, little gasps mutating into big ones. Saar’s magnetism either comes from being one of the most important living artists of the last century, the fact that her 100th birthday is approaching or being a Leo. In any case, every so often, she lets out a laugh that is so mischievous and exalting, or makes a joke that is completely disarming in its self-deprecation, and we all feel like we’ve won.

Saar is, of course, among the most iconic artists to come out of L.A., ever. The Getty Research Institute called her “one of the most innovative and visionary artists of our era” when it acquired her archive in 2018. Her new show at Roberts Projects, opening May 30, lets us in on a different but equally foundational branch of Saar’s story: her costume design work.

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 4: Photo by Paul Salveson
Slide 6: Photo by Alan Shaffer

Betye Saar practically levitates into the room wearing a Max Mara jacket that resembles a bird’s plumage, with a butter-yellow silk Dior dress grazing the ground behind her and a cane in her hand. This is look No. 1 at the photo shoot for this story, and everyone in the room — producers, photo assistants, editors — stop to stare, little gasps mutating into big ones. Saar’s magnetism either comes from being one of the most important living artists of the last century, the fact that her 100th birthday is approaching or being a Leo. In any case, every so often, she lets out a laugh that is so mischievous and exalting, or makes a joke that is completely disarming in its self-deprecation, and we all feel like we’ve won.

Saar is, of course, among the most iconic artists to come out of L.A., ever. The Getty Research Institute called her “one of the most innovative and visionary artists of our era” when it acquired her archive in 2018. Her new show at Roberts Projects, opening May 30, lets us in on a different but equally foundational branch of Saar’s story: her costume design work.

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 4: Photo by Paul Salveson
Slide 6: Photo by Alan Shaffer

Betye Saar practically levitates into the room wearing a Max Mara jacket that resembles a bird’s plumage, with a butter-yellow silk Dior dress grazing the ground behind her and a cane in her hand. This is look No. 1 at the photo shoot for this story, and everyone in the room — producers, photo assistants, editors — stop to stare, little gasps mutating into big ones. Saar’s magnetism either comes from being one of the most important living artists of the last century, the fact that her 100th birthday is approaching or being a Leo. In any case, every so often, she lets out a laugh that is so mischievous and exalting, or makes a joke that is completely disarming in its self-deprecation, and we all feel like we’ve won.

Saar is, of course, among the most iconic artists to come out of L.A., ever. The Getty Research Institute called her “one of the most innovative and visionary artists of our era” when it acquired her archive in 2018. Her new show at Roberts Projects, opening May 30, lets us in on a different but equally foundational branch of Saar’s story: her costume design work.

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 4: Photo by Paul Salveson
Slide 6: Photo by Alan Shaffer

Now on view at @nyhistory, “Betye Saar’s Black Dolls” honors the renowned artist’s 100th birthday and celebrates a landmark promised gift to The New York Historical of her collection of more than 100 Black dolls.

@betyesaar began collecting Black dolls during the late 1960s in Los Angeles, a pursuit shaped in part by absence, having grown up in the 1920s and 1930s without owning a Black doll.

Curated in close collaboration with the artist and her studio, Betye Saar’s Black Dolls, a selection of 27 dolls from the promised gift alongside 15 watercolors and examples of her signature assemblages underscore the imaginative possibilities of play, as Saar reanimates historical objects to endow them with agency, personality, and story.

On view through October 4, 2026.

Images: Betye Saar, Hoo Doo Woman, 1974, mixed fabrics, metal jewelry, leather and beads, 14.5 x 10 x 2 in. Photo: Robert Wedemeyer. Betye Saar with Black doll collection, 1976. Photo: Lezley Saar. Betye Saar, Black Floating Doll in Mystic Sky, 2022, watercolor on paper, 24 x 18 in. Photo: Paul Salveson. Unknown artist, Female Doll in Red Dress, ca. 1880-1890, mixed fabrics, 21.25 x 19 x 2.25 in. Photo: Robert Wedemeyer. All images courtesy of the artist and Roberts Projects, Los Angeles, California.

#betyesaar #robertsprojects

Now on view at @nyhistory, “Betye Saar’s Black Dolls” honors the renowned artist’s 100th birthday and celebrates a landmark promised gift to The New York Historical of her collection of more than 100 Black dolls.

@betyesaar began collecting Black dolls during the late 1960s in Los Angeles, a pursuit shaped in part by absence, having grown up in the 1920s and 1930s without owning a Black doll.

Curated in close collaboration with the artist and her studio, Betye Saar’s Black Dolls, a selection of 27 dolls from the promised gift alongside 15 watercolors and examples of her signature assemblages underscore the imaginative possibilities of play, as Saar reanimates historical objects to endow them with agency, personality, and story.

On view through October 4, 2026.

Images: Betye Saar, Hoo Doo Woman, 1974, mixed fabrics, metal jewelry, leather and beads, 14.5 x 10 x 2 in. Photo: Robert Wedemeyer. Betye Saar with Black doll collection, 1976. Photo: Lezley Saar. Betye Saar, Black Floating Doll in Mystic Sky, 2022, watercolor on paper, 24 x 18 in. Photo: Paul Salveson. Unknown artist, Female Doll in Red Dress, ca. 1880-1890, mixed fabrics, 21.25 x 19 x 2.25 in. Photo: Robert Wedemeyer. All images courtesy of the artist and Roberts Projects, Los Angeles, California.

#betyesaar #robertsprojects

Now on view at @nyhistory, “Betye Saar’s Black Dolls” honors the renowned artist’s 100th birthday and celebrates a landmark promised gift to The New York Historical of her collection of more than 100 Black dolls.

@betyesaar began collecting Black dolls during the late 1960s in Los Angeles, a pursuit shaped in part by absence, having grown up in the 1920s and 1930s without owning a Black doll.

Curated in close collaboration with the artist and her studio, Betye Saar’s Black Dolls, a selection of 27 dolls from the promised gift alongside 15 watercolors and examples of her signature assemblages underscore the imaginative possibilities of play, as Saar reanimates historical objects to endow them with agency, personality, and story.

On view through October 4, 2026.

Images: Betye Saar, Hoo Doo Woman, 1974, mixed fabrics, metal jewelry, leather and beads, 14.5 x 10 x 2 in. Photo: Robert Wedemeyer. Betye Saar with Black doll collection, 1976. Photo: Lezley Saar. Betye Saar, Black Floating Doll in Mystic Sky, 2022, watercolor on paper, 24 x 18 in. Photo: Paul Salveson. Unknown artist, Female Doll in Red Dress, ca. 1880-1890, mixed fabrics, 21.25 x 19 x 2.25 in. Photo: Robert Wedemeyer. All images courtesy of the artist and Roberts Projects, Los Angeles, California.

#betyesaar #robertsprojects

Now on view at @nyhistory, “Betye Saar’s Black Dolls” honors the renowned artist’s 100th birthday and celebrates a landmark promised gift to The New York Historical of her collection of more than 100 Black dolls.

@betyesaar began collecting Black dolls during the late 1960s in Los Angeles, a pursuit shaped in part by absence, having grown up in the 1920s and 1930s without owning a Black doll.

Curated in close collaboration with the artist and her studio, Betye Saar’s Black Dolls, a selection of 27 dolls from the promised gift alongside 15 watercolors and examples of her signature assemblages underscore the imaginative possibilities of play, as Saar reanimates historical objects to endow them with agency, personality, and story.

On view through October 4, 2026.

Images: Betye Saar, Hoo Doo Woman, 1974, mixed fabrics, metal jewelry, leather and beads, 14.5 x 10 x 2 in. Photo: Robert Wedemeyer. Betye Saar with Black doll collection, 1976. Photo: Lezley Saar. Betye Saar, Black Floating Doll in Mystic Sky, 2022, watercolor on paper, 24 x 18 in. Photo: Paul Salveson. Unknown artist, Female Doll in Red Dress, ca. 1880-1890, mixed fabrics, 21.25 x 19 x 2.25 in. Photo: Robert Wedemeyer. All images courtesy of the artist and Roberts Projects, Los Angeles, California.

#betyesaar #robertsprojects

“My grandma is such a quintessential Leo,” says Maddy Inez, an artist and Betye Saar’s granddaughter. “She has always been someone you don’t f— with while also being very loving and giving. There’s a certain strength that comes with, not only choosing to live as an artist — that is your income — but also as a Black woman who has three children.”

“Let’s Get It On” delves into the years Saar spent in the costume department for the Inner City Cultural Center’s theatrical productions, which allowed her to support her family and also pursue her larger calling of making art, aligning with some of her most seminal works. Saar’s costume design sketches are essentially mixed media works, integrating materials like aluminum foil and cabinet liner paper. Saar hand-painted each figure, uncanny expressions hinting at some kind of inner world. She approached the costumes themselves as part of her assemblage practice, too, picking fabrics, jackets and dresses from thrift stores and repurposing them completely into something new for these productions that didn’t have much budget. Her understanding of color, composition and space all comes through here. “To me it was, ‘Oh, this is like art, but it’s a woman in a costume, and I can do that,’” Saar says. “That’s why I took a lot of time.”

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction: @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 3: Photo by Paul Salveson

“My grandma is such a quintessential Leo,” says Maddy Inez, an artist and Betye Saar’s granddaughter. “She has always been someone you don’t f— with while also being very loving and giving. There’s a certain strength that comes with, not only choosing to live as an artist — that is your income — but also as a Black woman who has three children.”

“Let’s Get It On” delves into the years Saar spent in the costume department for the Inner City Cultural Center’s theatrical productions, which allowed her to support her family and also pursue her larger calling of making art, aligning with some of her most seminal works. Saar’s costume design sketches are essentially mixed media works, integrating materials like aluminum foil and cabinet liner paper. Saar hand-painted each figure, uncanny expressions hinting at some kind of inner world. She approached the costumes themselves as part of her assemblage practice, too, picking fabrics, jackets and dresses from thrift stores and repurposing them completely into something new for these productions that didn’t have much budget. Her understanding of color, composition and space all comes through here. “To me it was, ‘Oh, this is like art, but it’s a woman in a costume, and I can do that,’” Saar says. “That’s why I took a lot of time.”

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction: @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 3: Photo by Paul Salveson

“My grandma is such a quintessential Leo,” says Maddy Inez, an artist and Betye Saar’s granddaughter. “She has always been someone you don’t f— with while also being very loving and giving. There’s a certain strength that comes with, not only choosing to live as an artist — that is your income — but also as a Black woman who has three children.”

“Let’s Get It On” delves into the years Saar spent in the costume department for the Inner City Cultural Center’s theatrical productions, which allowed her to support her family and also pursue her larger calling of making art, aligning with some of her most seminal works. Saar’s costume design sketches are essentially mixed media works, integrating materials like aluminum foil and cabinet liner paper. Saar hand-painted each figure, uncanny expressions hinting at some kind of inner world. She approached the costumes themselves as part of her assemblage practice, too, picking fabrics, jackets and dresses from thrift stores and repurposing them completely into something new for these productions that didn’t have much budget. Her understanding of color, composition and space all comes through here. “To me it was, ‘Oh, this is like art, but it’s a woman in a costume, and I can do that,’” Saar says. “That’s why I took a lot of time.”

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction: @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 3: Photo by Paul Salveson

“My grandma is such a quintessential Leo,” says Maddy Inez, an artist and Betye Saar’s granddaughter. “She has always been someone you don’t f— with while also being very loving and giving. There’s a certain strength that comes with, not only choosing to live as an artist — that is your income — but also as a Black woman who has three children.”

“Let’s Get It On” delves into the years Saar spent in the costume department for the Inner City Cultural Center’s theatrical productions, which allowed her to support her family and also pursue her larger calling of making art, aligning with some of her most seminal works. Saar’s costume design sketches are essentially mixed media works, integrating materials like aluminum foil and cabinet liner paper. Saar hand-painted each figure, uncanny expressions hinting at some kind of inner world. She approached the costumes themselves as part of her assemblage practice, too, picking fabrics, jackets and dresses from thrift stores and repurposing them completely into something new for these productions that didn’t have much budget. Her understanding of color, composition and space all comes through here. “To me it was, ‘Oh, this is like art, but it’s a woman in a costume, and I can do that,’” Saar says. “That’s why I took a lot of time.”

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction: @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 3: Photo by Paul Salveson

“My grandma is such a quintessential Leo,” says Maddy Inez, an artist and Betye Saar’s granddaughter. “She has always been someone you don’t f— with while also being very loving and giving. There’s a certain strength that comes with, not only choosing to live as an artist — that is your income — but also as a Black woman who has three children.”

“Let’s Get It On” delves into the years Saar spent in the costume department for the Inner City Cultural Center’s theatrical productions, which allowed her to support her family and also pursue her larger calling of making art, aligning with some of her most seminal works. Saar’s costume design sketches are essentially mixed media works, integrating materials like aluminum foil and cabinet liner paper. Saar hand-painted each figure, uncanny expressions hinting at some kind of inner world. She approached the costumes themselves as part of her assemblage practice, too, picking fabrics, jackets and dresses from thrift stores and repurposing them completely into something new for these productions that didn’t have much budget. Her understanding of color, composition and space all comes through here. “To me it was, ‘Oh, this is like art, but it’s a woman in a costume, and I can do that,’” Saar says. “That’s why I took a lot of time.”

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction: @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 3: Photo by Paul Salveson

“My grandma is such a quintessential Leo,” says Maddy Inez, an artist and Betye Saar’s granddaughter. “She has always been someone you don’t f— with while also being very loving and giving. There’s a certain strength that comes with, not only choosing to live as an artist — that is your income — but also as a Black woman who has three children.”

“Let’s Get It On” delves into the years Saar spent in the costume department for the Inner City Cultural Center’s theatrical productions, which allowed her to support her family and also pursue her larger calling of making art, aligning with some of her most seminal works. Saar’s costume design sketches are essentially mixed media works, integrating materials like aluminum foil and cabinet liner paper. Saar hand-painted each figure, uncanny expressions hinting at some kind of inner world. She approached the costumes themselves as part of her assemblage practice, too, picking fabrics, jackets and dresses from thrift stores and repurposing them completely into something new for these productions that didn’t have much budget. Her understanding of color, composition and space all comes through here. “To me it was, ‘Oh, this is like art, but it’s a woman in a costume, and I can do that,’” Saar says. “That’s why I took a lot of time.”

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction: @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 3: Photo by Paul Salveson

“My grandma is such a quintessential Leo,” says Maddy Inez, an artist and Betye Saar’s granddaughter. “She has always been someone you don’t f— with while also being very loving and giving. There’s a certain strength that comes with, not only choosing to live as an artist — that is your income — but also as a Black woman who has three children.”

“Let’s Get It On” delves into the years Saar spent in the costume department for the Inner City Cultural Center’s theatrical productions, which allowed her to support her family and also pursue her larger calling of making art, aligning with some of her most seminal works. Saar’s costume design sketches are essentially mixed media works, integrating materials like aluminum foil and cabinet liner paper. Saar hand-painted each figure, uncanny expressions hinting at some kind of inner world. She approached the costumes themselves as part of her assemblage practice, too, picking fabrics, jackets and dresses from thrift stores and repurposing them completely into something new for these productions that didn’t have much budget. Her understanding of color, composition and space all comes through here. “To me it was, ‘Oh, this is like art, but it’s a woman in a costume, and I can do that,’” Saar says. “That’s why I took a lot of time.”

Subject @betyesaar
Words @goodjuju8
Photography @gioncarlovalentine
Styling @erikziemba
Hair @hairbytemichelle
Makeup @zaheersyn
Creative Direction: @neonhoney
Production @merestudios
Photo Assistant @sponsoredbydart
Styling Assistants @miriandum @xixi.themermaid
Location @robertsprojects
Special Thanks Julie Roberts, Tracye Saar
All archival images from the artist and Roberts Projects, Los Angeles.
Slide 3: Photo by Paul Salveson

A little-known series of work reveals a psychospiritual depth that is testament to both @betyesaar’s mastery of her craft and the enduring power of her practice.

👀 Full story by @alexandriaryahl now live at The-Unibrow.com (Link in bio)

”Let’s Get It On: The Wearable Art of Betye Saar” will be on view at @robertsprojects from May 30–August 22, 2026.

1. Detail of “4 Doors in a Window (Bellagio, Italy - 1994),” 2004. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
3. “Visionary,” 1994. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
4. Portrait of Betye Saar. Courtesy of the artist and Roberts Projects
6. “Blue Vision at the Villa,” 1994. Courtesy of the artist and Robe
7. Detail of “Time and Terrain,” 1995. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer

#betyesaar #theunibrow #polaroid #tantricart @betyesaar

A little-known series of work reveals a psychospiritual depth that is testament to both @betyesaar’s mastery of her craft and the enduring power of her practice.

👀 Full story by @alexandriaryahl now live at The-Unibrow.com (Link in bio)

”Let’s Get It On: The Wearable Art of Betye Saar” will be on view at @robertsprojects from May 30–August 22, 2026.

1. Detail of “4 Doors in a Window (Bellagio, Italy - 1994),” 2004. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
3. “Visionary,” 1994. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
4. Portrait of Betye Saar. Courtesy of the artist and Roberts Projects
6. “Blue Vision at the Villa,” 1994. Courtesy of the artist and Robe
7. Detail of “Time and Terrain,” 1995. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer

#betyesaar #theunibrow #polaroid #tantricart @betyesaar

A little-known series of work reveals a psychospiritual depth that is testament to both @betyesaar’s mastery of her craft and the enduring power of her practice.

👀 Full story by @alexandriaryahl now live at The-Unibrow.com (Link in bio)

”Let’s Get It On: The Wearable Art of Betye Saar” will be on view at @robertsprojects from May 30–August 22, 2026.

1. Detail of “4 Doors in a Window (Bellagio, Italy - 1994),” 2004. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
3. “Visionary,” 1994. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
4. Portrait of Betye Saar. Courtesy of the artist and Roberts Projects
6. “Blue Vision at the Villa,” 1994. Courtesy of the artist and Robe
7. Detail of “Time and Terrain,” 1995. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer

#betyesaar #theunibrow #polaroid #tantricart @betyesaar

A little-known series of work reveals a psychospiritual depth that is testament to both @betyesaar’s mastery of her craft and the enduring power of her practice.

👀 Full story by @alexandriaryahl now live at The-Unibrow.com (Link in bio)

”Let’s Get It On: The Wearable Art of Betye Saar” will be on view at @robertsprojects from May 30–August 22, 2026.

1. Detail of “4 Doors in a Window (Bellagio, Italy - 1994),” 2004. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
3. “Visionary,” 1994. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
4. Portrait of Betye Saar. Courtesy of the artist and Roberts Projects
6. “Blue Vision at the Villa,” 1994. Courtesy of the artist and Robe
7. Detail of “Time and Terrain,” 1995. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer

#betyesaar #theunibrow #polaroid #tantricart @betyesaar

A little-known series of work reveals a psychospiritual depth that is testament to both @betyesaar’s mastery of her craft and the enduring power of her practice.

👀 Full story by @alexandriaryahl now live at The-Unibrow.com (Link in bio)

”Let’s Get It On: The Wearable Art of Betye Saar” will be on view at @robertsprojects from May 30–August 22, 2026.

1. Detail of “4 Doors in a Window (Bellagio, Italy - 1994),” 2004. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
3. “Visionary,” 1994. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
4. Portrait of Betye Saar. Courtesy of the artist and Roberts Projects
6. “Blue Vision at the Villa,” 1994. Courtesy of the artist and Robe
7. Detail of “Time and Terrain,” 1995. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer

#betyesaar #theunibrow #polaroid #tantricart @betyesaar

A little-known series of work reveals a psychospiritual depth that is testament to both @betyesaar’s mastery of her craft and the enduring power of her practice.

👀 Full story by @alexandriaryahl now live at The-Unibrow.com (Link in bio)

”Let’s Get It On: The Wearable Art of Betye Saar” will be on view at @robertsprojects from May 30–August 22, 2026.

1. Detail of “4 Doors in a Window (Bellagio, Italy - 1994),” 2004. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
3. “Visionary,” 1994. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
4. Portrait of Betye Saar. Courtesy of the artist and Roberts Projects
6. “Blue Vision at the Villa,” 1994. Courtesy of the artist and Robe
7. Detail of “Time and Terrain,” 1995. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer

#betyesaar #theunibrow #polaroid #tantricart @betyesaar

A little-known series of work reveals a psychospiritual depth that is testament to both @betyesaar’s mastery of her craft and the enduring power of her practice.

👀 Full story by @alexandriaryahl now live at The-Unibrow.com (Link in bio)

”Let’s Get It On: The Wearable Art of Betye Saar” will be on view at @robertsprojects from May 30–August 22, 2026.

1. Detail of “4 Doors in a Window (Bellagio, Italy - 1994),” 2004. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
3. “Visionary,” 1994. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
4. Portrait of Betye Saar. Courtesy of the artist and Roberts Projects
6. “Blue Vision at the Villa,” 1994. Courtesy of the artist and Robe
7. Detail of “Time and Terrain,” 1995. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer

#betyesaar #theunibrow #polaroid #tantricart @betyesaar

A little-known series of work reveals a psychospiritual depth that is testament to both @betyesaar’s mastery of her craft and the enduring power of her practice.

👀 Full story by @alexandriaryahl now live at The-Unibrow.com (Link in bio)

”Let’s Get It On: The Wearable Art of Betye Saar” will be on view at @robertsprojects from May 30–August 22, 2026.

1. Detail of “4 Doors in a Window (Bellagio, Italy - 1994),” 2004. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
3. “Visionary,” 1994. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer
4. Portrait of Betye Saar. Courtesy of the artist and Roberts Projects
6. “Blue Vision at the Villa,” 1994. Courtesy of the artist and Robe
7. Detail of “Time and Terrain,” 1995. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Robert Wedemeyer

#betyesaar #theunibrow #polaroid #tantricart @betyesaar

In Issue 02 of The Unibrow, Lenz Geerk speaks with @sashabogojev about timelessness, ambiguity, melancholy, and why paintings can still hold space for feeling in an age of constant noise.

👀 Read the full story on The-Unibrow.com (link in bio).

”Geerk developed a reverse, excavation-like process that offers an infinite range of possibilities and decisions, from which he selects a single one each step of the way. Not sure himself how he got there or where it’s coming from, the resulting “in-between” vibe feels like a holy grail of his practice.” —@sashabogojev

1. A Lover’s Hair, 2025. Courtesy of the artist and Massimo de Carlo, Milan. Photo: Lenz Geerk
2. Rest II, 2025. Courtesy of the artist and Roberts Projects
5. Moonpainting IX, 2022. Courtesy of the artist and Massimo de Carlo, London. Photo: Roberto Marossi
6. Man with trombone, 2025. Courtesy of the artist and Massimo de Carlo, Milan, Photo: Ivo Faber
8. Breath, 2024. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Robert Wedemeyer

#lenzgeerk #theunibrow
@robertsprojects
@massimodecarlogallery
@fondazionesandretto

In Issue 02 of The Unibrow, Lenz Geerk speaks with @sashabogojev about timelessness, ambiguity, melancholy, and why paintings can still hold space for feeling in an age of constant noise.

👀 Read the full story on The-Unibrow.com (link in bio).

”Geerk developed a reverse, excavation-like process that offers an infinite range of possibilities and decisions, from which he selects a single one each step of the way. Not sure himself how he got there or where it’s coming from, the resulting “in-between” vibe feels like a holy grail of his practice.” —@sashabogojev

1. A Lover’s Hair, 2025. Courtesy of the artist and Massimo de Carlo, Milan. Photo: Lenz Geerk
2. Rest II, 2025. Courtesy of the artist and Roberts Projects
5. Moonpainting IX, 2022. Courtesy of the artist and Massimo de Carlo, London. Photo: Roberto Marossi
6. Man with trombone, 2025. Courtesy of the artist and Massimo de Carlo, Milan, Photo: Ivo Faber
8. Breath, 2024. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Robert Wedemeyer

#lenzgeerk #theunibrow
@robertsprojects
@massimodecarlogallery
@fondazionesandretto

In Issue 02 of The Unibrow, Lenz Geerk speaks with @sashabogojev about timelessness, ambiguity, melancholy, and why paintings can still hold space for feeling in an age of constant noise.

👀 Read the full story on The-Unibrow.com (link in bio).

”Geerk developed a reverse, excavation-like process that offers an infinite range of possibilities and decisions, from which he selects a single one each step of the way. Not sure himself how he got there or where it’s coming from, the resulting “in-between” vibe feels like a holy grail of his practice.” —@sashabogojev

1. A Lover’s Hair, 2025. Courtesy of the artist and Massimo de Carlo, Milan. Photo: Lenz Geerk
2. Rest II, 2025. Courtesy of the artist and Roberts Projects
5. Moonpainting IX, 2022. Courtesy of the artist and Massimo de Carlo, London. Photo: Roberto Marossi
6. Man with trombone, 2025. Courtesy of the artist and Massimo de Carlo, Milan, Photo: Ivo Faber
8. Breath, 2024. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Robert Wedemeyer

#lenzgeerk #theunibrow
@robertsprojects
@massimodecarlogallery
@fondazionesandretto

In Issue 02 of The Unibrow, Lenz Geerk speaks with @sashabogojev about timelessness, ambiguity, melancholy, and why paintings can still hold space for feeling in an age of constant noise.

👀 Read the full story on The-Unibrow.com (link in bio).

”Geerk developed a reverse, excavation-like process that offers an infinite range of possibilities and decisions, from which he selects a single one each step of the way. Not sure himself how he got there or where it’s coming from, the resulting “in-between” vibe feels like a holy grail of his practice.” —@sashabogojev

1. A Lover’s Hair, 2025. Courtesy of the artist and Massimo de Carlo, Milan. Photo: Lenz Geerk
2. Rest II, 2025. Courtesy of the artist and Roberts Projects
5. Moonpainting IX, 2022. Courtesy of the artist and Massimo de Carlo, London. Photo: Roberto Marossi
6. Man with trombone, 2025. Courtesy of the artist and Massimo de Carlo, Milan, Photo: Ivo Faber
8. Breath, 2024. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Robert Wedemeyer

#lenzgeerk #theunibrow
@robertsprojects
@massimodecarlogallery
@fondazionesandretto

In Issue 02 of The Unibrow, Lenz Geerk speaks with @sashabogojev about timelessness, ambiguity, melancholy, and why paintings can still hold space for feeling in an age of constant noise.

👀 Read the full story on The-Unibrow.com (link in bio).

”Geerk developed a reverse, excavation-like process that offers an infinite range of possibilities and decisions, from which he selects a single one each step of the way. Not sure himself how he got there or where it’s coming from, the resulting “in-between” vibe feels like a holy grail of his practice.” —@sashabogojev

1. A Lover’s Hair, 2025. Courtesy of the artist and Massimo de Carlo, Milan. Photo: Lenz Geerk
2. Rest II, 2025. Courtesy of the artist and Roberts Projects
5. Moonpainting IX, 2022. Courtesy of the artist and Massimo de Carlo, London. Photo: Roberto Marossi
6. Man with trombone, 2025. Courtesy of the artist and Massimo de Carlo, Milan, Photo: Ivo Faber
8. Breath, 2024. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Robert Wedemeyer

#lenzgeerk #theunibrow
@robertsprojects
@massimodecarlogallery
@fondazionesandretto

In Issue 02 of The Unibrow, Lenz Geerk speaks with @sashabogojev about timelessness, ambiguity, melancholy, and why paintings can still hold space for feeling in an age of constant noise.

👀 Read the full story on The-Unibrow.com (link in bio).

”Geerk developed a reverse, excavation-like process that offers an infinite range of possibilities and decisions, from which he selects a single one each step of the way. Not sure himself how he got there or where it’s coming from, the resulting “in-between” vibe feels like a holy grail of his practice.” —@sashabogojev

1. A Lover’s Hair, 2025. Courtesy of the artist and Massimo de Carlo, Milan. Photo: Lenz Geerk
2. Rest II, 2025. Courtesy of the artist and Roberts Projects
5. Moonpainting IX, 2022. Courtesy of the artist and Massimo de Carlo, London. Photo: Roberto Marossi
6. Man with trombone, 2025. Courtesy of the artist and Massimo de Carlo, Milan, Photo: Ivo Faber
8. Breath, 2024. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Robert Wedemeyer

#lenzgeerk #theunibrow
@robertsprojects
@massimodecarlogallery
@fondazionesandretto

In Issue 02 of The Unibrow, Lenz Geerk speaks with @sashabogojev about timelessness, ambiguity, melancholy, and why paintings can still hold space for feeling in an age of constant noise.

👀 Read the full story on The-Unibrow.com (link in bio).

”Geerk developed a reverse, excavation-like process that offers an infinite range of possibilities and decisions, from which he selects a single one each step of the way. Not sure himself how he got there or where it’s coming from, the resulting “in-between” vibe feels like a holy grail of his practice.” —@sashabogojev

1. A Lover’s Hair, 2025. Courtesy of the artist and Massimo de Carlo, Milan. Photo: Lenz Geerk
2. Rest II, 2025. Courtesy of the artist and Roberts Projects
5. Moonpainting IX, 2022. Courtesy of the artist and Massimo de Carlo, London. Photo: Roberto Marossi
6. Man with trombone, 2025. Courtesy of the artist and Massimo de Carlo, Milan, Photo: Ivo Faber
8. Breath, 2024. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Robert Wedemeyer

#lenzgeerk #theunibrow
@robertsprojects
@massimodecarlogallery
@fondazionesandretto

In Issue 02 of The Unibrow, Lenz Geerk speaks with @sashabogojev about timelessness, ambiguity, melancholy, and why paintings can still hold space for feeling in an age of constant noise.

👀 Read the full story on The-Unibrow.com (link in bio).

”Geerk developed a reverse, excavation-like process that offers an infinite range of possibilities and decisions, from which he selects a single one each step of the way. Not sure himself how he got there or where it’s coming from, the resulting “in-between” vibe feels like a holy grail of his practice.” —@sashabogojev

1. A Lover’s Hair, 2025. Courtesy of the artist and Massimo de Carlo, Milan. Photo: Lenz Geerk
2. Rest II, 2025. Courtesy of the artist and Roberts Projects
5. Moonpainting IX, 2022. Courtesy of the artist and Massimo de Carlo, London. Photo: Roberto Marossi
6. Man with trombone, 2025. Courtesy of the artist and Massimo de Carlo, Milan, Photo: Ivo Faber
8. Breath, 2024. Courtesy of the artist and Roberts Projects, Los Angeles. Photo: Robert Wedemeyer

#lenzgeerk #theunibrow
@robertsprojects
@massimodecarlogallery
@fondazionesandretto

It is with deep sadness that we acknowledge the passing of James Hayward, an artist whose dedication to his craft spanned over five decades. We were grateful to work with James for over a decade and were even more privileged to call him a dear friend—a man of immense intellect, sharp wit, and profound generosity.

James was a pillar of the Los Angeles art community and a foundational figure in the evolution of California abstraction. Moving beyond the clinical minimalism of his predecessors, he developed a language of “material uncertainties” that prioritized the physical act of marking as a record of time and existence. His work bridged the gap between the historical monochrome and a contemporary, tactile sensibility, earning him a permanent place in the lineage of American masters.

His legacy endures through his works in the permanent collections of MOCA, LACMA, SFMOMA, and the Cleveland Museum of Art among others and through the countless artists he influenced throughout his storied career.
To honor his voice, we share a reflection James wrote in 2016 regarding his life’s work:

“I am a monochrome abstract painter, emphasizing and acknowledging ‘marking’ as the heart and soul of painting. This is my practice. So much blank canvas; so little time.”

Our thoughts are with his family and the global artistic community he so deeply impacted.

Images: Red/Yellow/Blue Ratio Triptych #4, 2010, oil on canvas on board, triptych: 14 x 10.5 in (35.56 x 26.67 cm) each, Abstract #224, 2015, Oil on canvas over panel, 17 x 15 in (43.2 x 38.1 cm), Abstract #224, 2015, oil on canvas over panel, 17 x 15 in (43.2 x 38.1 cm)

#jameshayward #robertsprojects

It is with deep sadness that we acknowledge the passing of James Hayward, an artist whose dedication to his craft spanned over five decades. We were grateful to work with James for over a decade and were even more privileged to call him a dear friend—a man of immense intellect, sharp wit, and profound generosity.

James was a pillar of the Los Angeles art community and a foundational figure in the evolution of California abstraction. Moving beyond the clinical minimalism of his predecessors, he developed a language of “material uncertainties” that prioritized the physical act of marking as a record of time and existence. His work bridged the gap between the historical monochrome and a contemporary, tactile sensibility, earning him a permanent place in the lineage of American masters.

His legacy endures through his works in the permanent collections of MOCA, LACMA, SFMOMA, and the Cleveland Museum of Art among others and through the countless artists he influenced throughout his storied career.
To honor his voice, we share a reflection James wrote in 2016 regarding his life’s work:

“I am a monochrome abstract painter, emphasizing and acknowledging ‘marking’ as the heart and soul of painting. This is my practice. So much blank canvas; so little time.”

Our thoughts are with his family and the global artistic community he so deeply impacted.

Images: Red/Yellow/Blue Ratio Triptych #4, 2010, oil on canvas on board, triptych: 14 x 10.5 in (35.56 x 26.67 cm) each, Abstract #224, 2015, Oil on canvas over panel, 17 x 15 in (43.2 x 38.1 cm), Abstract #224, 2015, oil on canvas over panel, 17 x 15 in (43.2 x 38.1 cm)

#jameshayward #robertsprojects

It is with deep sadness that we acknowledge the passing of James Hayward, an artist whose dedication to his craft spanned over five decades. We were grateful to work with James for over a decade and were even more privileged to call him a dear friend—a man of immense intellect, sharp wit, and profound generosity.

James was a pillar of the Los Angeles art community and a foundational figure in the evolution of California abstraction. Moving beyond the clinical minimalism of his predecessors, he developed a language of “material uncertainties” that prioritized the physical act of marking as a record of time and existence. His work bridged the gap between the historical monochrome and a contemporary, tactile sensibility, earning him a permanent place in the lineage of American masters.

His legacy endures through his works in the permanent collections of MOCA, LACMA, SFMOMA, and the Cleveland Museum of Art among others and through the countless artists he influenced throughout his storied career.
To honor his voice, we share a reflection James wrote in 2016 regarding his life’s work:

“I am a monochrome abstract painter, emphasizing and acknowledging ‘marking’ as the heart and soul of painting. This is my practice. So much blank canvas; so little time.”

Our thoughts are with his family and the global artistic community he so deeply impacted.

Images: Red/Yellow/Blue Ratio Triptych #4, 2010, oil on canvas on board, triptych: 14 x 10.5 in (35.56 x 26.67 cm) each, Abstract #224, 2015, Oil on canvas over panel, 17 x 15 in (43.2 x 38.1 cm), Abstract #224, 2015, oil on canvas over panel, 17 x 15 in (43.2 x 38.1 cm)

#jameshayward #robertsprojects

It is with deep sadness that we acknowledge the passing of James Hayward, an artist whose dedication to his craft spanned over five decades. We were grateful to work with James for over a decade and were even more privileged to call him a dear friend—a man of immense intellect, sharp wit, and profound generosity.

James was a pillar of the Los Angeles art community and a foundational figure in the evolution of California abstraction. Moving beyond the clinical minimalism of his predecessors, he developed a language of “material uncertainties” that prioritized the physical act of marking as a record of time and existence. His work bridged the gap between the historical monochrome and a contemporary, tactile sensibility, earning him a permanent place in the lineage of American masters.

His legacy endures through his works in the permanent collections of MOCA, LACMA, SFMOMA, and the Cleveland Museum of Art among others and through the countless artists he influenced throughout his storied career.
To honor his voice, we share a reflection James wrote in 2016 regarding his life’s work:

“I am a monochrome abstract painter, emphasizing and acknowledging ‘marking’ as the heart and soul of painting. This is my practice. So much blank canvas; so little time.”

Our thoughts are with his family and the global artistic community he so deeply impacted.

Images: Red/Yellow/Blue Ratio Triptych #4, 2010, oil on canvas on board, triptych: 14 x 10.5 in (35.56 x 26.67 cm) each, Abstract #224, 2015, Oil on canvas over panel, 17 x 15 in (43.2 x 38.1 cm), Abstract #224, 2015, oil on canvas over panel, 17 x 15 in (43.2 x 38.1 cm)

#jameshayward #robertsprojects

Instant Theatre | Rachel Rosenthal and King Moody
April 4 – May 23, 2026
Opening Reception Saturday, April 4, 4-6pm

Roberts Projects is pleased to present Instant Theatre: Rachel Rosenthal and King Moody, an exhibition exploring the experimental theatre movement founded by Rachel Rosenthal in 1955 and continued with her husband, King Moody, from 1956–1966. Featuring archival material and design elements that invoke the setting and atmosphere of these ephemeral events, the exhibition reconstitutes Instant Theatre for the present while situating it historically as a precursor to the performance art of the 1960s and 1970s.

Image: Instant Theatre postcard, 1963. Designed by Rachel Rosenthal. Courtesy of the artist and Roberts Projects, Los Angeles.Rachel Rosenthal and King Moody, 1960. Photo by Charles Britten. Courtesy of the artist and Roberts Projects, Los Angeles.

#robertsprojects #rachelrosenthal #kingmoody

Instant Theatre | Rachel Rosenthal and King Moody
April 4 – May 23, 2026
Opening Reception Saturday, April 4, 4-6pm

Roberts Projects is pleased to present Instant Theatre: Rachel Rosenthal and King Moody, an exhibition exploring the experimental theatre movement founded by Rachel Rosenthal in 1955 and continued with her husband, King Moody, from 1956–1966. Featuring archival material and design elements that invoke the setting and atmosphere of these ephemeral events, the exhibition reconstitutes Instant Theatre for the present while situating it historically as a precursor to the performance art of the 1960s and 1970s.

Image: Instant Theatre postcard, 1963. Designed by Rachel Rosenthal. Courtesy of the artist and Roberts Projects, Los Angeles.Rachel Rosenthal and King Moody, 1960. Photo by Charles Britten. Courtesy of the artist and Roberts Projects, Los Angeles.

#robertsprojects #rachelrosenthal #kingmoody

This is the final week to view Amoako Boafo |I Bring Home with Me at Roberts Projects.

Expanding on Amoako Boafo’s exploration and celebration of Blackness and its diverse subjectivities I Bring Home with Me, features a group of new paintings that are integrated within an architectural re-creation of the artist’s studio in Accra, Ghana, built to scale inside the gallery.

Also available are the playing cards featured in the installation. The two-deck box set available in three unique designs includes rules for “Conkin”–the studio’s favorite card game–introduced to the artist by Nour Shantout. Designed by Naïla Opiangah for Amoako Boafo Studio, proceeds will benefit dot.ateliers, the artist residency founded by Amoako Boafo in 2022. Visit our website to order.

Amoako Boafo, I Bring Home with Me is on view through Saturday, March 21st.

Images: Installation Views, Amoako Boafo. I Bring Home with Me, January 17–March 21, 2026, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Paul Salveson. Amoako Boafo Studio playing cards, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Philippe Baron.

@amoakoboafo #amoakoboafo #robertsprojects

This is the final week to view Amoako Boafo |I Bring Home with Me at Roberts Projects.

Expanding on Amoako Boafo’s exploration and celebration of Blackness and its diverse subjectivities I Bring Home with Me, features a group of new paintings that are integrated within an architectural re-creation of the artist’s studio in Accra, Ghana, built to scale inside the gallery.

Also available are the playing cards featured in the installation. The two-deck box set available in three unique designs includes rules for “Conkin”–the studio’s favorite card game–introduced to the artist by Nour Shantout. Designed by Naïla Opiangah for Amoako Boafo Studio, proceeds will benefit dot.ateliers, the artist residency founded by Amoako Boafo in 2022. Visit our website to order.

Amoako Boafo, I Bring Home with Me is on view through Saturday, March 21st.

Images: Installation Views, Amoako Boafo. I Bring Home with Me, January 17–March 21, 2026, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Paul Salveson. Amoako Boafo Studio playing cards, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Philippe Baron.

@amoakoboafo #amoakoboafo #robertsprojects

This is the final week to view Amoako Boafo |I Bring Home with Me at Roberts Projects.

Expanding on Amoako Boafo’s exploration and celebration of Blackness and its diverse subjectivities I Bring Home with Me, features a group of new paintings that are integrated within an architectural re-creation of the artist’s studio in Accra, Ghana, built to scale inside the gallery.

Also available are the playing cards featured in the installation. The two-deck box set available in three unique designs includes rules for “Conkin”–the studio’s favorite card game–introduced to the artist by Nour Shantout. Designed by Naïla Opiangah for Amoako Boafo Studio, proceeds will benefit dot.ateliers, the artist residency founded by Amoako Boafo in 2022. Visit our website to order.

Amoako Boafo, I Bring Home with Me is on view through Saturday, March 21st.

Images: Installation Views, Amoako Boafo. I Bring Home with Me, January 17–March 21, 2026, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Paul Salveson. Amoako Boafo Studio playing cards, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Philippe Baron.

@amoakoboafo #amoakoboafo #robertsprojects

This is the final week to view Amoako Boafo |I Bring Home with Me at Roberts Projects.

Expanding on Amoako Boafo’s exploration and celebration of Blackness and its diverse subjectivities I Bring Home with Me, features a group of new paintings that are integrated within an architectural re-creation of the artist’s studio in Accra, Ghana, built to scale inside the gallery.

Also available are the playing cards featured in the installation. The two-deck box set available in three unique designs includes rules for “Conkin”–the studio’s favorite card game–introduced to the artist by Nour Shantout. Designed by Naïla Opiangah for Amoako Boafo Studio, proceeds will benefit dot.ateliers, the artist residency founded by Amoako Boafo in 2022. Visit our website to order.

Amoako Boafo, I Bring Home with Me is on view through Saturday, March 21st.

Images: Installation Views, Amoako Boafo. I Bring Home with Me, January 17–March 21, 2026, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Paul Salveson. Amoako Boafo Studio playing cards, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Philippe Baron.

@amoakoboafo #amoakoboafo #robertsprojects

This is the final week to view Amoako Boafo |I Bring Home with Me at Roberts Projects.

Expanding on Amoako Boafo’s exploration and celebration of Blackness and its diverse subjectivities I Bring Home with Me, features a group of new paintings that are integrated within an architectural re-creation of the artist’s studio in Accra, Ghana, built to scale inside the gallery.

Also available are the playing cards featured in the installation. The two-deck box set available in three unique designs includes rules for “Conkin”–the studio’s favorite card game–introduced to the artist by Nour Shantout. Designed by Naïla Opiangah for Amoako Boafo Studio, proceeds will benefit dot.ateliers, the artist residency founded by Amoako Boafo in 2022. Visit our website to order.

Amoako Boafo, I Bring Home with Me is on view through Saturday, March 21st.

Images: Installation Views, Amoako Boafo. I Bring Home with Me, January 17–March 21, 2026, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Paul Salveson. Amoako Boafo Studio playing cards, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Philippe Baron.

@amoakoboafo #amoakoboafo #robertsprojects

This is the final week to view Amoako Boafo |I Bring Home with Me at Roberts Projects.

Expanding on Amoako Boafo’s exploration and celebration of Blackness and its diverse subjectivities I Bring Home with Me, features a group of new paintings that are integrated within an architectural re-creation of the artist’s studio in Accra, Ghana, built to scale inside the gallery.

Also available are the playing cards featured in the installation. The two-deck box set available in three unique designs includes rules for “Conkin”–the studio’s favorite card game–introduced to the artist by Nour Shantout. Designed by Naïla Opiangah for Amoako Boafo Studio, proceeds will benefit dot.ateliers, the artist residency founded by Amoako Boafo in 2022. Visit our website to order.

Amoako Boafo, I Bring Home with Me is on view through Saturday, March 21st.

Images: Installation Views, Amoako Boafo. I Bring Home with Me, January 17–March 21, 2026, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Paul Salveson. Amoako Boafo Studio playing cards, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Philippe Baron.

@amoakoboafo #amoakoboafo #robertsprojects

Roberts Projects is pleased to announce its representation of Esmaa Mohamoud.

This announcement follows the gallery’s first solo exhibition with the artist in 2025, What Does Webster’s Say About Soul?

Known for her conceptual practice that incorporates familiar objects and symbols from Black visual culture—including football equipment, peacock chairs, lowriders, butterflies and shea butter—Mohamoud reimagines her source materials by transforming their scale and layering cultural references to recontextualize their conventional meaning. Grounded in extensive research and painstaking production, her work displays not only a mastery of a given material, but also a nuanced understanding of its symbolic power. By investigating Black history through its material culture, Mohamoud bypasses monolithic racial stereotypes to envision a world rich with complexity and diverse experiences.

Through her critique of Black body politics, Mohamoud considers how subjects are made to navigate spaces where they have already been objectified and racialized.In creating work that demystifies these unspoken social codes, Mohamoud simultaneously celebrates and reconfigures a visual language rooted in time-honored traditions of resistance and resilience.

Images: Portrait of Esmaa Mohamoud 2025, photo: Jeremy Clemente. Installation view, Esmaa Mohamoud, What Does Webster’s Say About Soul?, September 27 – November 15, 2025, Roberts Projects, Los Angeles, CA, photos: Esmaa Mohamoud and Paul Salveson

@esmaamohamoud #esmaamohamoud #robertsprojects

Roberts Projects is pleased to announce its representation of Esmaa Mohamoud.

This announcement follows the gallery’s first solo exhibition with the artist in 2025, What Does Webster’s Say About Soul?

Known for her conceptual practice that incorporates familiar objects and symbols from Black visual culture—including football equipment, peacock chairs, lowriders, butterflies and shea butter—Mohamoud reimagines her source materials by transforming their scale and layering cultural references to recontextualize their conventional meaning. Grounded in extensive research and painstaking production, her work displays not only a mastery of a given material, but also a nuanced understanding of its symbolic power. By investigating Black history through its material culture, Mohamoud bypasses monolithic racial stereotypes to envision a world rich with complexity and diverse experiences.

Through her critique of Black body politics, Mohamoud considers how subjects are made to navigate spaces where they have already been objectified and racialized.In creating work that demystifies these unspoken social codes, Mohamoud simultaneously celebrates and reconfigures a visual language rooted in time-honored traditions of resistance and resilience.

Images: Portrait of Esmaa Mohamoud 2025, photo: Jeremy Clemente. Installation view, Esmaa Mohamoud, What Does Webster’s Say About Soul?, September 27 – November 15, 2025, Roberts Projects, Los Angeles, CA, photos: Esmaa Mohamoud and Paul Salveson

@esmaamohamoud #esmaamohamoud #robertsprojects

Roberts Projects is pleased to announce its representation of Esmaa Mohamoud.

This announcement follows the gallery’s first solo exhibition with the artist in 2025, What Does Webster’s Say About Soul?

Known for her conceptual practice that incorporates familiar objects and symbols from Black visual culture—including football equipment, peacock chairs, lowriders, butterflies and shea butter—Mohamoud reimagines her source materials by transforming their scale and layering cultural references to recontextualize their conventional meaning. Grounded in extensive research and painstaking production, her work displays not only a mastery of a given material, but also a nuanced understanding of its symbolic power. By investigating Black history through its material culture, Mohamoud bypasses monolithic racial stereotypes to envision a world rich with complexity and diverse experiences.

Through her critique of Black body politics, Mohamoud considers how subjects are made to navigate spaces where they have already been objectified and racialized.In creating work that demystifies these unspoken social codes, Mohamoud simultaneously celebrates and reconfigures a visual language rooted in time-honored traditions of resistance and resilience.

Images: Portrait of Esmaa Mohamoud 2025, photo: Jeremy Clemente. Installation view, Esmaa Mohamoud, What Does Webster’s Say About Soul?, September 27 – November 15, 2025, Roberts Projects, Los Angeles, CA, photos: Esmaa Mohamoud and Paul Salveson

@esmaamohamoud #esmaamohamoud #robertsprojects

Roberts Projects is pleased to announce its representation of Esmaa Mohamoud.

This announcement follows the gallery’s first solo exhibition with the artist in 2025, What Does Webster’s Say About Soul?

Known for her conceptual practice that incorporates familiar objects and symbols from Black visual culture—including football equipment, peacock chairs, lowriders, butterflies and shea butter—Mohamoud reimagines her source materials by transforming their scale and layering cultural references to recontextualize their conventional meaning. Grounded in extensive research and painstaking production, her work displays not only a mastery of a given material, but also a nuanced understanding of its symbolic power. By investigating Black history through its material culture, Mohamoud bypasses monolithic racial stereotypes to envision a world rich with complexity and diverse experiences.

Through her critique of Black body politics, Mohamoud considers how subjects are made to navigate spaces where they have already been objectified and racialized.In creating work that demystifies these unspoken social codes, Mohamoud simultaneously celebrates and reconfigures a visual language rooted in time-honored traditions of resistance and resilience.

Images: Portrait of Esmaa Mohamoud 2025, photo: Jeremy Clemente. Installation view, Esmaa Mohamoud, What Does Webster’s Say About Soul?, September 27 – November 15, 2025, Roberts Projects, Los Angeles, CA, photos: Esmaa Mohamoud and Paul Salveson

@esmaamohamoud #esmaamohamoud #robertsprojects

Betye Saar
Altered Polaroids and sketchbooks, 1994-1997

In 1994, while in residence at The Rockefeller Foundation Bellagio Center in northern Italy, Betye Saar began a series that incorporated her experiments with “altered Polaroids.” Using a Polaroid camera alongside her skills in printmaking, collage, assemblage and design, Saar drew, scratched, and pressed into the surfaces of the images as they developed to create layered photographic compositions.

These works are on view as part of our Frieze Los Angelespresentation, Visit us at Booth A2 through Sunday.

Images:
Leo Lady, 1999, mixed media assemblage,10.88 x 8.88 x 1.5 in (27.6 x 27.6 x 3.8 cm). Photo: Paul Salveson. Blue Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1.5 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Green Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson . Red Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Visionary, 1994, mixed media assemblage, 15.25 x 12.75 x 2.38 in (38.7 x 32.4 x 6.0 cm). Photo: Paul Salveson. Time and Terrain, 1995, mixed media assemblage, 10.75 x 13.75 x 2 in (27.3 x 34.9 x 5.1 cm). Photo: Paul Salveson. 4 Doors in a Window (Bellagio, Italy - 1994), 2004, mixed media assemblage, 25.5 x 25.5 x 1.75 in (64.8 x 64.8 x 4.4 cm). Photo: Robert Wedemeyer.

#BetyeSaar #RobertsProjects #FriezeLosAngeles

Betye Saar
Altered Polaroids and sketchbooks, 1994-1997

In 1994, while in residence at The Rockefeller Foundation Bellagio Center in northern Italy, Betye Saar began a series that incorporated her experiments with “altered Polaroids.” Using a Polaroid camera alongside her skills in printmaking, collage, assemblage and design, Saar drew, scratched, and pressed into the surfaces of the images as they developed to create layered photographic compositions.

These works are on view as part of our Frieze Los Angelespresentation, Visit us at Booth A2 through Sunday.

Images:
Leo Lady, 1999, mixed media assemblage,10.88 x 8.88 x 1.5 in (27.6 x 27.6 x 3.8 cm). Photo: Paul Salveson. Blue Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1.5 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Green Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson . Red Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Visionary, 1994, mixed media assemblage, 15.25 x 12.75 x 2.38 in (38.7 x 32.4 x 6.0 cm). Photo: Paul Salveson. Time and Terrain, 1995, mixed media assemblage, 10.75 x 13.75 x 2 in (27.3 x 34.9 x 5.1 cm). Photo: Paul Salveson. 4 Doors in a Window (Bellagio, Italy - 1994), 2004, mixed media assemblage, 25.5 x 25.5 x 1.75 in (64.8 x 64.8 x 4.4 cm). Photo: Robert Wedemeyer.

#BetyeSaar #RobertsProjects #FriezeLosAngeles

Betye Saar
Altered Polaroids and sketchbooks, 1994-1997

In 1994, while in residence at The Rockefeller Foundation Bellagio Center in northern Italy, Betye Saar began a series that incorporated her experiments with “altered Polaroids.” Using a Polaroid camera alongside her skills in printmaking, collage, assemblage and design, Saar drew, scratched, and pressed into the surfaces of the images as they developed to create layered photographic compositions.

These works are on view as part of our Frieze Los Angelespresentation, Visit us at Booth A2 through Sunday.

Images:
Leo Lady, 1999, mixed media assemblage,10.88 x 8.88 x 1.5 in (27.6 x 27.6 x 3.8 cm). Photo: Paul Salveson. Blue Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1.5 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Green Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson . Red Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Visionary, 1994, mixed media assemblage, 15.25 x 12.75 x 2.38 in (38.7 x 32.4 x 6.0 cm). Photo: Paul Salveson. Time and Terrain, 1995, mixed media assemblage, 10.75 x 13.75 x 2 in (27.3 x 34.9 x 5.1 cm). Photo: Paul Salveson. 4 Doors in a Window (Bellagio, Italy - 1994), 2004, mixed media assemblage, 25.5 x 25.5 x 1.75 in (64.8 x 64.8 x 4.4 cm). Photo: Robert Wedemeyer.

#BetyeSaar #RobertsProjects #FriezeLosAngeles

Betye Saar
Altered Polaroids and sketchbooks, 1994-1997

In 1994, while in residence at The Rockefeller Foundation Bellagio Center in northern Italy, Betye Saar began a series that incorporated her experiments with “altered Polaroids.” Using a Polaroid camera alongside her skills in printmaking, collage, assemblage and design, Saar drew, scratched, and pressed into the surfaces of the images as they developed to create layered photographic compositions.

These works are on view as part of our Frieze Los Angelespresentation, Visit us at Booth A2 through Sunday.

Images:
Leo Lady, 1999, mixed media assemblage,10.88 x 8.88 x 1.5 in (27.6 x 27.6 x 3.8 cm). Photo: Paul Salveson. Blue Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1.5 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Green Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson . Red Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Visionary, 1994, mixed media assemblage, 15.25 x 12.75 x 2.38 in (38.7 x 32.4 x 6.0 cm). Photo: Paul Salveson. Time and Terrain, 1995, mixed media assemblage, 10.75 x 13.75 x 2 in (27.3 x 34.9 x 5.1 cm). Photo: Paul Salveson. 4 Doors in a Window (Bellagio, Italy - 1994), 2004, mixed media assemblage, 25.5 x 25.5 x 1.75 in (64.8 x 64.8 x 4.4 cm). Photo: Robert Wedemeyer.

#BetyeSaar #RobertsProjects #FriezeLosAngeles

Betye Saar
Altered Polaroids and sketchbooks, 1994-1997

In 1994, while in residence at The Rockefeller Foundation Bellagio Center in northern Italy, Betye Saar began a series that incorporated her experiments with “altered Polaroids.” Using a Polaroid camera alongside her skills in printmaking, collage, assemblage and design, Saar drew, scratched, and pressed into the surfaces of the images as they developed to create layered photographic compositions.

These works are on view as part of our Frieze Los Angelespresentation, Visit us at Booth A2 through Sunday.

Images:
Leo Lady, 1999, mixed media assemblage,10.88 x 8.88 x 1.5 in (27.6 x 27.6 x 3.8 cm). Photo: Paul Salveson. Blue Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1.5 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Green Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson . Red Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Visionary, 1994, mixed media assemblage, 15.25 x 12.75 x 2.38 in (38.7 x 32.4 x 6.0 cm). Photo: Paul Salveson. Time and Terrain, 1995, mixed media assemblage, 10.75 x 13.75 x 2 in (27.3 x 34.9 x 5.1 cm). Photo: Paul Salveson. 4 Doors in a Window (Bellagio, Italy - 1994), 2004, mixed media assemblage, 25.5 x 25.5 x 1.75 in (64.8 x 64.8 x 4.4 cm). Photo: Robert Wedemeyer.

#BetyeSaar #RobertsProjects #FriezeLosAngeles

Betye Saar
Altered Polaroids and sketchbooks, 1994-1997

In 1994, while in residence at The Rockefeller Foundation Bellagio Center in northern Italy, Betye Saar began a series that incorporated her experiments with “altered Polaroids.” Using a Polaroid camera alongside her skills in printmaking, collage, assemblage and design, Saar drew, scratched, and pressed into the surfaces of the images as they developed to create layered photographic compositions.

These works are on view as part of our Frieze Los Angelespresentation, Visit us at Booth A2 through Sunday.

Images:
Leo Lady, 1999, mixed media assemblage,10.88 x 8.88 x 1.5 in (27.6 x 27.6 x 3.8 cm). Photo: Paul Salveson. Blue Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1.5 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Green Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson . Red Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Visionary, 1994, mixed media assemblage, 15.25 x 12.75 x 2.38 in (38.7 x 32.4 x 6.0 cm). Photo: Paul Salveson. Time and Terrain, 1995, mixed media assemblage, 10.75 x 13.75 x 2 in (27.3 x 34.9 x 5.1 cm). Photo: Paul Salveson. 4 Doors in a Window (Bellagio, Italy - 1994), 2004, mixed media assemblage, 25.5 x 25.5 x 1.75 in (64.8 x 64.8 x 4.4 cm). Photo: Robert Wedemeyer.

#BetyeSaar #RobertsProjects #FriezeLosAngeles

Betye Saar
Altered Polaroids and sketchbooks, 1994-1997

In 1994, while in residence at The Rockefeller Foundation Bellagio Center in northern Italy, Betye Saar began a series that incorporated her experiments with “altered Polaroids.” Using a Polaroid camera alongside her skills in printmaking, collage, assemblage and design, Saar drew, scratched, and pressed into the surfaces of the images as they developed to create layered photographic compositions.

These works are on view as part of our Frieze Los Angelespresentation, Visit us at Booth A2 through Sunday.

Images:
Leo Lady, 1999, mixed media assemblage,10.88 x 8.88 x 1.5 in (27.6 x 27.6 x 3.8 cm). Photo: Paul Salveson. Blue Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1.5 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Green Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson . Red Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Visionary, 1994, mixed media assemblage, 15.25 x 12.75 x 2.38 in (38.7 x 32.4 x 6.0 cm). Photo: Paul Salveson. Time and Terrain, 1995, mixed media assemblage, 10.75 x 13.75 x 2 in (27.3 x 34.9 x 5.1 cm). Photo: Paul Salveson. 4 Doors in a Window (Bellagio, Italy - 1994), 2004, mixed media assemblage, 25.5 x 25.5 x 1.75 in (64.8 x 64.8 x 4.4 cm). Photo: Robert Wedemeyer.

#BetyeSaar #RobertsProjects #FriezeLosAngeles

On view now! Roberts Projects at Frieze Los Angeles, Booth A2

Featuring new works by Wendy Red Star

In a continuation of her “Reservation Pop” series, Red Star composites digital images of the unique homes that characterize the visual landscape of the Crow reservation in Montana. The titles of these works reference the U.S. Department of Housing and Urban Development, which built homes on the Crow reservation in the 1970s using cheap materials and paint, resulting in an uncanny, technicolor suburbia unlike anywhere else.

Red Star has said, “My work often looks at the normalcies of everyday Crow life. The mundane that connects Crow people to all people and connects all people to a common humanity. Taking a closer look at each house gives clues to the lives of the owners, the community, environment and life on the Crow reservation.”

Red Star continues her examination of contemporary Crow life in “The Dawn Chorus”, a multimedia sound installation featuring miniature recreations of reservation homes that each play recorded audio of different birds native to Montana. This work recalls Red Star’s memory of waking up early as a teenager on her father’s ranch and hearing the “dawn chorus” for the first time, underscoring the importance of birds in Crow culture and the richness of life experienced on the Crow reservation.

Images:
The (HUD) 1, 2026, The (HUD) 2, 2026, The (HUD) 3 2026, The (HUD) 4, 2026, The (HUD) 5, 2026, The (HUD) 6, 2026, all works - archival pigment print collage on fabric, 36 x 36 in (91.4 x 91.4 cm) board, 37.5 x 37.25 x 1.25 in (95.3 x 94.6 x 3.2 cm) framed. Photo: Paul Salveson. The Dawn Chorus, 2026, Acrylic, balsa wood, sandpaper and audio components, houses: 5.75 x 12.75 x 6 in (14.6 x 32.4 x 15.2 cm) each, total Configuration of 8: Approx. 45 x 31 in (114.3 x 78.7 cm). Photo: Philippe Baron.Installation views: Roberts Projects at Frieze Los Angeles, February 26 – March 1, 2026, Los Angeles, California. Photography: Paul Salveson

#WendyRedStar #FriezeLosAngeles #RobertsProjects

Opening Today - Frieze Los Angeles 2026!
Please join us at Booth A2

WITH WORKS BY ~
Luke Agada - @lukechidiagada
Amoako Boafo - @amoakoboafo
Daniel Crews-Chubb - @danielcrewschubb
Aaron Glasson - @aaronglasson
Suchitra Mattai - @suchitramattaistudio
Mia Middleton - @miamiddleton
Collins Obijiaku - @collins_obijiaku
Wendy Red Star - #wendyredstar
Betye Saar - @betyesaar
Kehinde Wiley - @kehindewiley

Frieze Los Angeles
Roberts Projects | Booth A2
February 26 – March 1, 2026

#FriezeLosAngeles Photo: Paul Salveson

Opening Today - Frieze Los Angeles 2026!
Please join us at Booth A2

WITH WORKS BY ~
Luke Agada - @lukechidiagada
Amoako Boafo - @amoakoboafo
Daniel Crews-Chubb - @danielcrewschubb
Aaron Glasson - @aaronglasson
Suchitra Mattai - @suchitramattaistudio
Mia Middleton - @miamiddleton
Collins Obijiaku - @collins_obijiaku
Wendy Red Star - #wendyredstar
Betye Saar - @betyesaar
Kehinde Wiley - @kehindewiley

Frieze Los Angeles
Roberts Projects | Booth A2
February 26 – March 1, 2026

#FriezeLosAngeles Photo: Paul Salveson

Opening Today - Frieze Los Angeles 2026!
Please join us at Booth A2

WITH WORKS BY ~
Luke Agada - @lukechidiagada
Amoako Boafo - @amoakoboafo
Daniel Crews-Chubb - @danielcrewschubb
Aaron Glasson - @aaronglasson
Suchitra Mattai - @suchitramattaistudio
Mia Middleton - @miamiddleton
Collins Obijiaku - @collins_obijiaku
Wendy Red Star - #wendyredstar
Betye Saar - @betyesaar
Kehinde Wiley - @kehindewiley

Frieze Los Angeles
Roberts Projects | Booth A2
February 26 – March 1, 2026

#FriezeLosAngeles Photo: Paul Salveson