LACMA

ShopMembershipMyLACMATickets
LACMA
Los Angeles County Museum of Art
5905 Wilshire Blvd.
Los Angeles, CA 90036
info@lacma.org
(323) 857-6000
Sign up to receive emails
Subscribe
© Museum Associates 2025

Museum Hours

Monday

11 am–6 pm

Tuesday

11 am–6 pm

Wednesday

Closed

Thursday

11 am–6 pm

Friday

11 am–8 pm

Saturday

10 am–7 pm

Sunday

10 am–7 pm

 

  • About LACMA
  • Jobs
  • Building LACMA
  • Host An Event
  • Unframed
  • Press
  • FAQs
  • Log in to MyLACMA
  • Privacy Policy
© Museum Associates 2025
Collections

Betye Saar
I'll Bend But I Will Not Break1998

On view:
Geffen Galleries, Transatlantic Exchange and Its Legacies
Sculptural installation with a weathered wooden ironing board holding a cast-iron flat iron connected by a metal chain, set before a white sheet clipped to a wire strung across a gallery corner
Assemblage sculpture: a weathered wooden ironing board with partial text reading "BREA[K]" and a faded image, supporting a heavily rusted cast iron flat iron and small metal vessel, connected by a metal link chain that drapes over the board's edge.
Detail photograph of white fabric with soft folds and raking shadows, showing three embroidered letters 'K' stacked vertically along the right edge.
Mixed-media ironing board on a wooden X-frame stand, its surface printed with a diagram of enslaved figures arranged in rows — referencing the Brooks slave ship plan — alongside a photographic image of a seated figure and a cast iron, with the text "I WILL BEND BUT I WILL NOT BREAK" printed along the top edge.
Artist or Maker
Betye Saar
United States, born 1926
Title
I'll Bend But I Will Not Break
Date Made
1998
Medium
Mixed media including vintage ironing board, flat iron, chain, white bedsheet, wood clothespins, and rope
Dimensions
80 x 96 x 36 in. (203.2 x 243.8 x 91.4 cm)
Credit Line
Gift of Lynda and Stewart Resnick through the 2018 Collectors Committee
Accession Number
M.2018.76.1-.5
Classification
Installation Art
Collecting Area
Modern Art
Curatorial Notes
I’ll Bend But I Will Not Break is one of Betye Saar’s iconic statements. In this sculptural tableau she combines powerful overlapping references to slavery and slave ships, traditional female labor, the history of late 19th- and early 20th-century art, and modern-day racism. While the iron and ironing board generically refer to working-class women who labor as laundresses and maids—as seen in the work of Edgar Degas and Pablo Picasso, among many others—Saar’s ironing board also conjures up memories of so-called house slaves. This specific ironing board is imprinted on top with the diagram of the plan of the British slave ship "Brookes," showing how scores of Black bodies were sandwiched into the ship’s lower deck. Saar’s diagram is borrowed directly from a well-known 18th-century engraving, which became the signature image of those who fought vociferously against the transatlantic slave trade. To reinforce the connection between the "Brookes" illustration and the impact that slavery had on American society, Saar superimposed a traditional image of a Black mammy over the diagram. The iron—chained to the ironing board just as slaves were chained to slave ships—refers not only to female labor but also to the branding of slaves with branding irons. Saar brings racism into the present via the sheet embroidered with the letters “KKK,” a reference to the Ku Klux Klan, a white supremacist hate group—founded in the 1860s and still in existence—whose members were known for wearing white sheets and hoods as they terrorized Blacks, Jews, and others whom they reviled. Saar has said about the sheet, “In order [for a Klan member] to wear a clean sheet to a Ku Klux Klan [rally], a Black woman had to wash it.” In fact, Saar’s sheet is pinned to an ordinary laundry line, ready to be ironed by an absent figure, presumably a Black woman.
Selected Bibliography
  • Eliel, Carol. Betye Saar: Call and Response. Los Angeles: Los Angeles County Museum of Art; Munich; New York: Delmonico Books-Prestel, 2019.
  • Baca, April. "On Dis/Appearance and Familiar Objects: Betye Saar at LACMA." Art Journal 79, no.2 (2020): 114-116.
  • Betye Saar: Keepin' it Clean. Los Angeles, CA: Craft and Folk Art Museum, 2017.
  • Entangled Pasts, 1768-now: Art, Colonialism and Change. London: Royal Academy of Arts, 2024.