{"id":952,"date":"2021-05-13T14:34:19","date_gmt":"2021-05-13T18:34:19","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/there-is-a-woman-in-every-color-2021\/?page_id=952"},"modified":"2021-06-17T11:47:30","modified_gmt":"2021-06-17T15:47:30","slug":"betye-saar-highlight-essay","status":"publish","type":"page","link":"https:\/\/courses.bowdoin.edu\/there-is-a-woman-in-every-color-2021\/learn-more\/betye-saar-highlight-essay\/","title":{"rendered":"Highlight Essay: Betye Saar\u2019s Now You Cookin\u2019 With Gas"},"content":{"rendered":"<h4>By Camille Amezcua &#8217;22<\/h4>\n<figure id=\"attachment_608\" aria-describedby=\"caption-attachment-608\" style=\"width: 224px\" class=\"wp-caption alignright\"><a href=\"https:\/\/courses.bowdoin.edu\/there-is-a-woman-in-every-color-2021\/wp-content\/uploads\/sites\/502\/2021\/03\/Woman_SaarBetye_BCMA-1000x1340-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-608 size-medium\" src=\"https:\/\/courses.bowdoin.edu\/there-is-a-woman-in-every-color-2021\/wp-content\/uploads\/sites\/502\/2021\/03\/Woman_SaarBetye_BCMA-1000x1340-1-224x300.jpg\" alt=\"Mixed media collage with a frame image of two Black men wearing zoot suits standing on the sidewalk of Harlem with brownstones and tenement buildings in the background. A Black woman with a pink dress and hand on her proper left hip stands out of the frame\" width=\"224\" height=\"300\" srcset=\"https:\/\/courses.bowdoin.edu\/there-is-a-woman-in-every-color-2021\/wp-content\/uploads\/sites\/502\/2021\/03\/Woman_SaarBetye_BCMA-1000x1340-1-224x300.jpg 224w, https:\/\/courses.bowdoin.edu\/there-is-a-woman-in-every-color-2021\/wp-content\/uploads\/sites\/502\/2021\/03\/Woman_SaarBetye_BCMA-1000x1340-1-764x1024.jpg 764w, https:\/\/courses.bowdoin.edu\/there-is-a-woman-in-every-color-2021\/wp-content\/uploads\/sites\/502\/2021\/03\/Woman_SaarBetye_BCMA-1000x1340-1-768x1029.jpg 768w, https:\/\/courses.bowdoin.edu\/there-is-a-woman-in-every-color-2021\/wp-content\/uploads\/sites\/502\/2021\/03\/Woman_SaarBetye_BCMA-1000x1340-1.jpg 1000w\" sizes=\"auto, (max-width: 224px) 100vw, 224px\" \/><\/a><figcaption id=\"caption-attachment-608\" class=\"wp-caption-text\">Betye Saar, Now You Cookin&#8217; with Gas, 1999, \u00a9 Courtesy of the artist and Roberts Projects, Los Angeles, California<\/figcaption><\/figure>\n<p>Art has the power to be contagious. The exhibition, <em>There is A Woman in Every Color: Black Women in Art <\/em>opens up a space in which art imbues a conversation with the constructions of gender, sexuality, and identity of women of color to reimagine stereotypical assumptions of personhood. Through the mediation of images, the exhibition actively begs its audience to grasp art as a constant challenging of social performance and as a way to confront a cultural memory rooted in racism and sexism. In my essay, I will examine artist Betye Saar and her piece <em>Now You Cookin\u2019 With Gas <\/em>featured in the exhibition. Saar is an American artist known for her work in the medium of assemblage. She is a storyteller, crafting visual biographies with found objects to recollect narratives of identity, history, and memory. <em>Now You Cookin\u2019 With Gas <\/em>is a part of series of six silk-screened collages that correspond to author, anthropologist, and filmmaker Zora Neale Hurston\u2019s short stories. Saar threads together her artistic vision and Hurston\u2019s words to create a visual language that seeks to tell of both feminine and racial realities.<\/p>\n<p><em>Now You Cookin\u2019 With Gas <\/em>is the last story in Hurston\u2019s and Saar\u2019s book, <em>Bookmarks in the Pages of Life: A Selection of Short Stories. <\/em>Hurston\u2019s original, unedited short story appeared as the \u201cStory in Harlem Slang,\u201d which was published in <em>The American Mercury<\/em> (1942). Saar portrays a woman, her hand propped up on her jived hip and her profile turned in a slight direction toward two men. Hurston begins the story, \u201cWait till I light up my coal-pot, and I\u2019ll tell you about this Zigaboo called Jelly.\u201d<a href=\"#_ftn1\" name=\"_ftnref1\"><sup>[1]<\/sup><\/a> Jelly is a \u201cseal-skin brown and papa-tree-top-tall\u2026 skinny in the hips\u201d built man.<a href=\"#_ftn2\" name=\"_ftnref2\"><sup>[2]<\/sup><\/a> He dresses in his \u201czoot suit with the reet pleats\u201d to peruse 132<sup>nd<\/sup> Street where he meets up with his colleague Sweet Back.<a href=\"#_ftn3\" name=\"_ftnref3\"><sup>[3]<\/sup><\/a> Together they see a girl, stating \u201cthis one looked prosperous.\u201d<a href=\"#_ftn4\" name=\"_ftnref4\"><sup>[4]<\/sup><\/a> The two men speak loud enough for her to hear down the avenue, and as she halts and braces her hips with her hands\u2013as Saar has illustrated\u2013she says, \u201cA Zigaboo down in Georgey where I come from asked a woman that one time and the judge told him \u2018ninety days\u2019\u201d<a href=\"#_ftn5\" name=\"_ftnref5\"><sup>[5]<\/sup><\/a> The men continue their degrading talk, claiming she\u2019s good for the money, but the girl simply laughs and snorts, \u201cNobody ain\u2019t pimping on me. You dig me.\u201d (239). Her laughter heightens, her tone of amusement growing harsher and harsher as the men make a greater mockery of themselves. She retorts back at them, threatening their advances, \u201ctouch me and I\u2019ll holler like a pretty white woman!\u201d<a href=\"#_ftn6\" name=\"_ftnref6\"><sup>[6]<\/sup><\/a> She is the one who walks away. She leaves the men to squander in their foolish swag. They try to boast again of the women who feed their riches and yet leave to go scrap a dime from running another\u2019s errands, their ears still ringing from the girl\u2019s roar.<\/p>\n<p>Saar curates Hurston\u2019s language to visually depict the prosperous woman to exist on the edge of the imagined Harlem sidewalk. She is physically independent of the men who look upon her. She is self-possessive, unaffected by their glares of desire. The identity of the woman is at the center of the piece. Saar creates a space that grounds itself in familiar aesthetics while also pushing its audience into an imaginative space in which implicit tensions can be further seen and discussed.<\/p>\n<p>Driven by the need to communicate knowledge through the intimacy of experience, it is through Saar\u2019s art that one finds the ability to assert themself beyond bias. She understood how to be a woman, how to be Black, and how to be an artist all separate from one another. Saar then wove these identities together in order to reimagine stereotypes, and to break assumptions\u2013such as the meanings of \u201cwomen\u201d and \u201cBlack.\u201d <em>Now You Cookin\u2019 With Gas <\/em>exposes the racial and feminine implications of imagery to present a subversive telling. How does the physical placing of the girl, separate from the male gaze \u2013reversing the power dynamic\u2013 overturn the subservient role that Black woman usually play in imagery? The work refigures fetishes in order to reclaim imagery that help them be seen differently. Saar commands a sense of power, while also infecting it. Her artwork is a part of a great continuum of Black history in America. In 1998 Saar wrote a poem in which she says, \u201cBy shifting the point of view \/ an inner spirit is released \/ Free to create.\u201d<a href=\"#_ftn7\" name=\"_ftnref7\"><sup>[7]<\/sup><\/a> Her work in <em>Now You Cookin\u2019 With Gas, <\/em>along with every artwork in <em>There is A Woman in Every Color: Black Women in Art, <\/em>has the ability to transgress social and historical boundaries, for the art will never end in its performance as a social movement.<\/p>\n<h4>Bibliography<\/h4>\n<p>Hurston, Zora Neale, Henry Louis Gates, Sieglinde Lemke, Alice Walker, and Zora Neale Hurston. \u201cNow You Cookin&#8217; With Gas.\u201d Essay. In <em>The Complete Stories<\/em>, First ed., 233\u201341. New York, NY: Harper Perennial Modern Classics, 2008.<\/p>\n<p>Saar, Betye. <em>Betye Saar: as Time Goes By<\/em>. Georgia, GA: Savannah College of Art and Design, 2000.<\/p>\n<h4>Endnotes<\/h4>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\"><sup>[1]<\/sup><\/a> Hurston, Zora Neale. (2008). \u201cNow You Cookin&#8217; With Gas.\u201d In <em>The Complete Stories<\/em>, First ed., 233.<\/p>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\"><sup>[2]<\/sup><\/a> Ibid, 234.<\/p>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\"><sup>[3]<\/sup><\/a> Ibid, 234.<\/p>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\"><sup>[4]<\/sup><\/a> Ibid, 237.<\/p>\n<p><a href=\"#_ftnref5\" name=\"_ftn5\"><sup>[5]<\/sup><\/a> Hurston, Zora Neale. (2008). \u201cNow You Cookin&#8217; With Gas.\u201d In <em>The Complete Stories<\/em>, First ed., 238.<\/p>\n<p><a href=\"#_ftnref6\" name=\"_ftn6\"><sup>[6]<\/sup><\/a> Ibid, 240.<\/p>\n<p><a href=\"#_ftnref7\" name=\"_ftn7\"><sup>[7]<\/sup><\/a> Saar, Betye. (2000). <em>Betye Saar: as Time Goes By. <\/em>Georgia, GA: Savannah College of Art and Design, 9.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>By Camille Amezcua &#8217;22 Art has the power to be contagious. The exhibition, There is A Woman in Every Color: Black Women in Art opens up a space in which art imbues a conversation with the constructions of gender, sexuality, and identity of women of color to reimagine stereotypical assumptions of personhood. Through the mediation [&hellip;]<\/p>\n","protected":false},"author":1279,"featured_media":1056,"parent":520,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","_vp_format_video_url":"","_vp_image_focal_point":[],"footnotes":""},"class_list":{"0":"post-952","1":"page","2":"type-page","3":"status-publish","4":"has-post-thumbnail","6":"entry"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Highlight Essay: Betye Saar\u2019s Now You Cookin\u2019 With Gas - Bowdoin College Museum of Art - There Is a Woman in Every Color: Black Women in Art<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/courses.bowdoin.edu\/there-is-a-woman-in-every-color-2021\/learn-more\/betye-saar-highlight-essay\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Highlight Essay: Betye Saar\u2019s Now You Cookin\u2019 With Gas - Bowdoin College Museum of Art - There Is a Woman in Every Color: Black Women in Art\" \/>\n<meta property=\"og:description\" content=\"By Camille Amezcua &#8217;22 Art has the power to be contagious. 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