Saar’s irreverent paintings of dolls from her collection celebrate the catharsis she found in play.
Youngblood’s paintings would probably make Piet Mondrian yelp.
A 1977 documentary explores how Betye Saar’s mythic altars illustrate the personal and political implications of Black identity.
There’s a casual, almost candid quality in Ed Templeton’s photos. His subjects look “cool,” most likely because he himself thinks that they are.