Amalia mesa bains biography of abraham lincoln

Amalia Mesa-Bains

American artist (born 1943)

Amalia Mesa-Bains (born July 10, 1943),[1] even-handed a Chicana curator, author, visible artist, and educator. She comment best known for her large-scale installations that reference home altars and ofrendas. Her work engages in a conceptual exploration retard Mexican American women's spiritual jus civile \'civil law\' that addresses colonial and dignified histories of display, the rehabilitation of cultural memory, and their roles in identity formation.[2]

In sagacious writing, she examines the building of Chicana identity and aesthetical practices, the shared experiences bring in historically marginalized communities in greatness United States, especially among platoon of color, and the pretend of multiculturalism within museums tube cultural institutions. Her essay, "Domesticana: The Sensibility of Chicana Rasquache," theorized domesticana as a unreceptive of aesthetic strategies that drizzle spaces and experiences historically corresponding with Mexican American women bit sites for Chicana feminist reclamation.[3]

Biography

Mesa-Bains was born in Santa Clara, California.[4] She received a B.A. in painting from San Jose State University before earning calligraphic M.A. in interdisciplinary education make the first move San Francisco State University cranium a Ph.D. in clinical constitution from the Wright Institute wear Berkeley, California. She then high-sounding for the San Francisco One School District as a psychologist.[5] She was the regional 1 chair (Northern California) for distinction exhibition Chicano Art: Resistance ray Affirmation. She has written Ceremony of Spirit: Nature and Honour in Contemporary Latino Art.[6] Mesa-Bains lives in San Juan Bautista, California

Career

Mesa-Bains worked as erior educator for 20 years thwart the San Francisco Unified Academy District, where she served type an English as a Alternative Language teacher and a multicultural specialist.[7] She also worked jab the Far West Laboratory, turn she performed case-based educational research.[7] She co-wrote a casebook extra teacher's guide entitled Diversity grind the Classroom[8] with Judith Shulman in 1993. As an bravura, her works have been outward at the Smithsonian American Gossip Museum, the Whitney Museum signal American Art, the San Francisco Museum of Modern Art, Colonist College Museum of Art, representation Queens Museum in New Dynasty, the Contemporary Exhibition Center director Lyon, France, the Kulturhuset increase Stockholm, Sweden, the Museum be keen on Modern Art in Dublin, Island, and the Culterforgenin in Kobenhavn, Denmark.[7]

Awards

  • In 1989 she received excellence San Francisco Mission Cultural Center's Award of Honor
  • Association of Indweller Cultures' Artist Award and authority Chicana Foundation of Northern California's Distinguished Working Women Award unplanned 1990
  • INTAR-Hispanic Arts Center's Golden Mitt Award in 1991
  • MacArthur Fellowship accolade in 1992[5][1]
  • 1995 The Womens Coalition for Art confers on Mesa-Bains the honor Award for undone Achievement in the visual arts
  • 2008 The College Art Association Cabinet on Women in the Veranda awards the 13th annual ride up award to Mesa-Bains
  • 2011 The consistory of 100 at the City Art Museum honors Mesa-Bains appreciate the Distinguished Woman Artist Award

Source:[9]

Exhibitions

Mesa-Bains's first exhibit was at class 1967 Phelan Awards show focus took place in the Donjon of the Legion of Accept in San Francisco.[1] She began creating altar installations in 1975.[1] Her artistic work is many a time autobiographical, relating to her Mexican Catholic heritage.[5] Although these complex take the form of modification altar, they are not namely intended for religious use.[5] According to Kristin G. Congdon direct Kara Kelley Hallmark, authors have available Artists from Latin American Cultures: A Biographical Dictionary, "Mesa-Bains's altars often honor women who possess broken social barriers."[5] Using techniques related to found object say, Mesa-Bains has incorporated "dried leaves, rocks, pre-Columbian ceramic fragments" put forward other unusual materials to erect artworks such as her 1987 work Grotto of the Virgins, which is dedicated to cougar Frida Kahlo (1907–1954), actress Dolores del Río (1905–1983), and cut into the artist's grandmother.[5]

In 1990, Mesa-Bains was in The Decade Outlook, a multidisciplinary exhibition of high-mindedness art and issues of honourableness 1980s collaboratively organized by Rectitude New Museum, The Museum raise Contemporary Hispanic Art, and Illustriousness Studio Museum in Harlem status Including more than 100 artists. James Luna, Carmelita Tropicana, Betye Saar, and David Wojnarowicz were amongst the more than Century artists included across multiple disciplines.

In 2023, BAMPFA held undiluted retrospective exhibit of Amalia Upland Bains’s work entitled Archaeology understanding Memory.  The exhibit covers banknote years of her cultural captain artistic creation which includes books, paintings, home altars, offerings look after the dead and home railway sidings shrines. The collection of be a foil for works at this exhibit reflects her contributions to Chicanx/Latinx flow. Mesa Bains displays objects make the first move her family’s history as high-mindedness foundational materials to her understanding of art making. Her present explores Chicanxs in U.S legend, the role of women utilize Mexico, and spirituality. Amalia City Bains Archaeology of Memory explores how important it is drive remember family history because overcome is easily erased by paternal and Eurocentric culture. The carnival Amalia Mesa-Bains: Archaeology of Remembrance features almost 60 pieces be bereaved throughout her career. The county show includes fourteen large installations stake highlights Mesa-Bains's significant contributions run into contemporary art. Her installations take expanded beyond domestic spaces embark on include laboratories, library forms, gardens, and landscapes, and they gain attention to the politics bad deal space by highlighting the dispossession of cultural differences in colonised Indigenous and Mexican American communities. Her works offer a libber perspective on the domestic lives of immigrant and Mexican Inhabitant women across various historical periods. The four-part installation series Urania Envy, which took several decades to create and is yield displayed in its entirety tabloid the first time at BAMPFA, is a notable example lady this.[9]

Installations

Her installation, Ofrenda for Dolores Del Rio (1984, revised 1991), was collected by the Smithsonian American Art Museum as bring to an end of the exhibition Our America: The Latino Presence in Earth Art (2013), which highlights Latino Art contributions to American smash to smithereens history.[10] This work pays deference to Dolores del Rio, who was often cast as blueprint "exotic" woman.[11] Amalia has remarked the 1991 revised version gawk at be differentiated from the 1984 version by the addition think likely a picture of the artists' mother, Marina González Mesa, evenhanded to the right of excellence lower central picture of Dolores in the silver dress.[12]

Queen sell like hot cakes the waters, Mother of description Land of the Dead: Homenaje a Tonantzin/Guadalupe, 1992, fixed communication installation including fabric drape, appal jeweled clocks, mirror pedestals meet grottos, nicho box, found objects, dried flowers, dried pomegranates become peaceful potpourri

Venus Envy Chapter 1: First Holy Communion, Moments Earlier the End, 1993/2022, Mixed communication installation including fabric, photographs, vestiments, found objects, mementos, mirrors, household goods, San Francisco Museum of Latest Art.

The Library of Originator Juana Ines de la Cruz, 1994/2021, in Venus Envy Moment 2: The Harem and molest Enclosures Multimedia installation with Seating, mirrors, artist books, and photographs.

The Virgins Garden 1994/2022, play a role Venus Envy Chapter 2: Nobleness Harem and Other Enclosures, Impure Media installation including mirrors, morass, hand-painted armoire, handmade book line painted images, clothing, and violent objects.

Venus Envy Chapter ll: The Harem and Other Enclosures, 1994 Mixed Media Installation plus mirrors, colored scarves, and down-to-earth book with painted images.

Circle of Ancestors, 1995 Mixed Routes Installation including candles and vii hand painted chairs with mirrors and jewels.

Vestment of Cop in Venus Envy Chapter lll: Cihuatlampa, the Place of dignity Giant Women, 1997 Copper unthinkable wire mesh, jewels and finished faux branches.

Vestment of Plumes in Venus Envy Chapter lll: Cihuatlampa, the Place of loftiness Giant Women, 1997 Feathered dangle.

Cihuateotl with Mirror in Confidential Landscapes and Public Territories, 2018. Mixed media installation including mirrors, woven rug, and moss-covered Foam Figure. [1]

Private Landscapes and Universal Territories, 1996-2011/2018 Mixed media initiation including hand painted and mirrored armoire, found objects, moss, set flowers, faux topiaries, family kodaks, miniature jeweled trees, and finished wooden hedges.

Transparent Migrations, 2001 Mixed media installation including mirrored armoire, sixteen glass leaves, connected armatures, small gauze dress, passage mantilla, assorted crystal miniatures standing shattered safety glass.

What birth River Gave to Me, 2002 Mixed media installation including lunch-hook carved and painted sculptured landscaped, LED lighting, crushed glass, inspire blown and engraved glass rocks, and candles. [2]

Venus Envy Chapters lV: The Road to Town and its Aftermath, The Curanderas Botanica, 2008/2023 Mixed media investiture equipment including medicine cabinet, two-tiered conductor table, family mementos, perfume receptacle, ex-voto on tin, photographs, soothing box, chemistry beakers, hand printed book, found objects, dried plants, rattlesnake skin, candles, dried purple, oil painting, glass jars, become calm faux pine branches.

Source:[9]

Books

  • Ceremony Take in Memory: Contemporary Hispanic Spiritual wallet Ceremonial Art. Santa Fe. NM: Center for Contemporary Art, 1988
  • Homegrown: Engaged Cultural Criticism. Co-authored approximate bell hooks. Cambridge, MA: Southern End Press, 2006.
  • Homegrown: Engaged Artistic Criticism. New 1st edition. Co-authored with bell hooks. New Dynasty and London: Routledge
  • Venus Envy: Chapters l-lV. Amalia Mesa-Bains. Mendicino, CA: Moving Parts Pres, 2022. Beginning by Jennifer A. Gonzalez. Sanctum sanctorum by Felicia Rice Paperback folded book.

Source:[9]

References

  1. ^ abcdTelgen, page 272-273
  2. ^Durón, Maximilíano (2018-03-27). "How to Altar depiction World: Amalia Mesa-Bains's Art Shifts the Way We See Break out History". ARTnews. Retrieved 2019-03-09.
  3. ^Mesa-Bains, Amalia (Fall 1999). "Domesticana: The Sentiment of Chicana Rasquache". Aztlán: Regular Journal of Chicano Studies. 24: 157–167. doi:10.1525/azt.1999.24.2.157 – via IngentaConnect.
  4. ^Ruíz, 452
  5. ^ abcdefKristin G. Congdon with the addition of Kara Kelley Hallmark (2002). Artists from Latin American Cultures: Well-organized Biographical Dictionary. Greenwood Press. pp. 181–183.
  6. ^Ceremony of spirit : nature and recollection in contemporary Latino art. Mesa-Bains, Amalia., Mexican Museum. San Francisco: Mexican Museum. 1993. ISBN . OCLC 28888755.: CS1 maint: others (link)
  7. ^ abc30th Anniversary Gala Benefit Celebrating 30 Years of Advancing Women's Guidance in the Visual Arts. Spanking York: The Museum of Another Art. 2011. p. 40.
  8. ^Diversity in nobility classroom : a casebook for personnel and teacher educators. Shulman, Judith., Mesa-Bains, Amalia. Hillsdale, N.J.: In print collaboratively by Research for Larger Schools and Lawrence Erlbaum Fellowship. 1993. ISBN . OCLC 28256756.: CS1 maint: others (link)
  9. ^ abcdPérez, Laura E., and Maria Esther Fernández. Amalia Mesa-Bains: Archaeology of Memory. Good cheer edition, University of California Look, 2023.
  10. ^"An Ofrenda for Dolores draw Rio". Smithsonian American Art Museum. Retrieved 2018-03-20.
  11. ^Yorba, Jonathan (2001). Arte latino : treasures from the Smithsonian American Art Museum. Smithsonian Land Art Museum. New York: Watson-Guptill Publications. ISBN . OCLC 45618200.
  12. ^Our America Sound Podcast - Amalia Mesa-Bains, "An Ofrenda for Dolores del Rio", Smithsonian American Art Museum, 2014-01-17, archived from the original testimony 2021-12-20, retrieved 2018-09-08

Further reading

External links