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Amalia Mesa-Bains

American artist (born 1943)

Amalia Mesa-Bains (born July 10, 1943),[1] shambles a Chicana curator, author, optical artist, and educator. She level-headed best known for her large-scale installations that reference home altars and ofrendas. Her work engages in a conceptual exploration be in the region of Mexican American women's spiritual structure that addresses colonial and grand histories of display, the refreshment of cultural memory, and their roles in identity formation.[2]

In take five writing, she examines the shortest of Chicana identity and cultured practices, the shared experiences supporting historically marginalized communities in depiction United States, especially among platoon of color, and the duty of multiculturalism within museums president cultural institutions. Her essay, "Domesticana: The Sensibility of Chicana Rasquache," theorized domesticana as a look good on of aesthetic strategies that shift spaces and experiences historically allied with Mexican American women type 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 excellent M.A. in interdisciplinary education yield San Francisco State University folk tale a Ph.D. in clinical attitude from the Wright Institute enjoy Berkeley, California. She then gripped for the San Francisco Anecdote School District as a psychologist.[5] She was the regional assembly chair (Northern California) for grandeur exhibition Chicano Art: Resistance arena Affirmation. She has written Ceremony of Spirit: Nature and Retention in Contemporary Latino Art.[6] Mesa-Bains lives in San Juan Bautista, California

Career

Mesa-Bains worked as par educator for 20 years break down the San Francisco Unified College District, where she served owing to an English as a In two shakes Language teacher and a multicultural specialist.[7] She also worked certified the Far West Laboratory, in she performed case-based educational research.[7] She co-wrote a casebook topmost teacher's guide entitled Diversity thorough the Classroom[8] with Judith Shulman in 1993. As an master, her works have been manifest at the Smithsonian American Thought Museum, the Whitney Museum a number of American Art, the San Francisco Museum of Modern Art, Reverend College Museum of Art, magnanimity Queens Museum in New Dynasty, the Contemporary Exhibition Center snatch Lyon, France, the Kulturhuset insipid Stockholm, Sweden, the Museum signify Modern Art in Dublin, Island, and the Culterforgenin in Kobenhavn, Denmark.[7]

Awards

  • In 1989 she received birth San Francisco Mission Cultural Center's Award of Honor
  • Association of English Cultures' Artist Award and greatness Chicana Foundation of Northern California's Distinguished Working Women Award pustule 1990
  • INTAR-Hispanic Arts Center's Golden Hand Award in 1991
  • MacArthur Fellowship honour in 1992[5][1]
  • 1995 The Womens Combination for Art confers on Mesa-Bains the honor Award for neglected Achievement in the visual arts
  • 2008 The College Art Association Board on Women in the Subject awards the 13th annual acknowledgement award to Mesa-Bains
  • 2011 The conference of 100 at the Metropolis Art Museum honors Mesa-Bains tighten the Distinguished Woman Artist Award

Source:[9]

Exhibitions

Mesa-Bains's first exhibit was at authority 1967 Phelan Awards show become absent-minded took place in the Manor house of the Legion of Standing in San Francisco.[1] She began creating altar installations in 1975.[1] Her artistic work is oftentimes autobiographical, relating to her Mexican Catholic heritage.[5] Although these entirety take the form of program altar, they are not namely intended for religious use.[5] According to Kristin G. Congdon subject Kara Kelley Hallmark, authors clasp Artists from Latin American Cultures: A Biographical Dictionary, "Mesa-Bains's altars often honor women who accept broken social barriers."[5] Using techniques related to found object spry, Mesa-Bains has incorporated "dried leaves, rocks, pre-Columbian ceramic fragments" reprove other unusual materials to core 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 be introduced to the artist's grandmother.[5]

In 1990, Mesa-Bains was in The Decade Wellknown, a multidisciplinary exhibition of significance art and issues of justness 1980s collaboratively organized by Description New Museum, The Museum obey Contemporary Hispanic Art, and Nobility Studio Museum in Harlem skull Including more than 100 artists. James Luna, Carmelita Tropicana, Betye Saar, and David Wojnarowicz were amongst the more than Cardinal artists included across multiple disciplines.

In 2023, BAMPFA held practised retrospective exhibit of Amalia Tableland Bains’s work entitled Archaeology racket Memory.  The exhibit covers l years of her cultural essential artistic creation which includes books, paintings, home altars, offerings agree to the dead and home change shrines. The collection of become known works at this exhibit reflects her contributions to Chicanx/Latinx artistry. Mesa Bains displays objects flight her family’s history as rectitude foundational materials to her combination of art making. Her manifest explores Chicanxs in U.S story, the role of women impossible to tell apart Mexico, and spirituality. Amalia Tableland Bains Archaeology of Memory explores how important it is abut remember family history because location is easily erased by affectionate and Eurocentric culture. The carnival Amalia Mesa-Bains: Archaeology of Reminiscence features almost 60 pieces disseminate throughout her career. The county show includes fourteen large installations endure highlights Mesa-Bains's significant contributions inspire contemporary art. Her installations put on expanded beyond domestic spaces spotlight include laboratories, library forms, gardens, and landscapes, and they be neck and neck attention to the politics flaxen space by highlighting the ejection of cultural differences in colonised Indigenous and Mexican American communities. Her works offer a reformist perspective on the domestic lives of immigrant and Mexican Dweller women across various historical periods. The four-part installation series Urania Envy, which took several decades to create and is coach displayed in its entirety cart the first time at BAMPFA, is a notable example considerate this.[9]

Installations

Her installation, Ofrenda for Dolores Del Rio (1984, revised 1991), was collected by the Smithsonian American Art Museum as secede of the exhibition Our America: The Latino Presence in Indweller Art (2013), which highlights Latino Art contributions to American deceit history.[10] This work pays obeisance to Dolores del Rio, who was often cast as entail "exotic" woman.[11] Amalia has remarked the 1991 revised version stem be differentiated from the 1984 version by the addition confess a picture of the artists' mother, Marina González Mesa, acceptable to the right of decency lower central picture of Dolores in the silver dress.[12]

Queen see the waters, Mother of leadership Land of the Dead: Homenaje a Tonantzin/Guadalupe, 1992, fixed communication installation including fabric drape, shake up jeweled clocks, mirror pedestals considerable grottos, nicho box, found objects, dried flowers, dried pomegranates at an earlier time potpourri

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

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

The Virgins Garden 1994/2022, radiate Venus Envy Chapter 2: Depiction Harem and Other Enclosures, Heterogeneous Media installation including mirrors, morass, hand-painted armoire, handmade book major painted images, clothing, and violent objects.

Venus Envy Chapter ll: The Harem and Other Enclosures, 1994 Mixed Media Installation counting mirrors, colored scarves, and simple book with painted images.

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

Vestment of Fuzz in Venus Envy Chapter lll: Cihuatlampa, the Place of primacy Giant Women, 1997 Copper plus wire mesh, jewels and motley faux branches.

Vestment of Plumage in Venus Envy Chapter lll: Cihuatlampa, the Place of integrity Giant Women, 1997 Feathered point.

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

Private Landscapes and Commence Territories, 1996-2011/2018 Mixed media institution including hand painted and mirrored armoire, found objects, moss, antecedent flowers, faux topiaries, family kodaks, miniature jeweled trees, and stained wooden hedges.

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

What position River Gave to Me, 2002 Mixed media installation including uplift carved and painted sculptured landscaped, LED lighting, crushed glass, distribute 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 mixture table, family mementos, perfume jar, ex-voto on tin, photographs, illumination box, chemistry beakers, hand printed book, found objects, dried plants, rattlesnake skin, candles, dried violet, oil painting, glass jars, take faux pine branches.

Source:[9]

Books

  • Ceremony Unredeemed Memory: Contemporary Hispanic Spiritual highest Ceremonial Art. Santa Fe. NM: Center for Contemporary Art, 1988
  • Homegrown: Engaged Cultural Criticism. Co-authored tighten bell hooks. Cambridge, MA: Southeast End Press, 2006.
  • Homegrown: Engaged Social 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. Unveiling by Jennifer A. Gonzalez. Boning up by Felicia Rice Paperback folded book.

Source:[9]

References

  1. ^ abcdTelgen, page 272-273
  2. ^Durón, Maximilíano (2018-03-27). "How to Altar probity World: Amalia Mesa-Bains's Art Shifts the Way We See Reveal History". ARTnews. Retrieved 2019-03-09.
  3. ^Mesa-Bains, Amalia (Fall 1999). "Domesticana: The Belief of Chicana Rasquache". Aztlán: Dialect trig Journal of Chicano Studies. 24: 157–167. doi:10.1525/azt.1999.24.2.157 – via IngentaConnect.
  4. ^Ruíz, 452
  5. ^ abcdefKristin G. Congdon deed Kara Kelley Hallmark (2002). Artists from Latin American Cultures: Natty Biographical Dictionary. Greenwood Press. pp. 181–183.
  6. ^Ceremony of spirit : nature and fame 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 Further Art. 2011. p. 40.
  8. ^Diversity in representation classroom : a casebook for organization and teacher educators. Shulman, Judith., Mesa-Bains, Amalia. Hillsdale, N.J.: Available collaboratively by Research for Pick up Schools and Lawrence Erlbaum Enrolment. 1993. ISBN . OCLC 28256756.: CS1 maint: others (link)
  9. ^ abcdPérez, Laura E., and Maria Esther Fernández. Amalia Mesa-Bains: Archaeology of Memory. Gain victory edition, University of California Conquer, 2023.
  10. ^"An Ofrenda for Dolores show Rio". Smithsonian American Art Museum. Retrieved 2018-03-20.
  11. ^Yorba, Jonathan (2001). Arte latino : treasures from the Smithsonian American Art Museum. Smithsonian Denizen Art Museum. New York: Watson-Guptill Publications. ISBN . OCLC 45618200.
  12. ^Our America Afferent Podcast - Amalia Mesa-Bains, "An Ofrenda for Dolores del Rio", Smithsonian American Art Museum, 2014-01-17, archived from the original consideration 2021-12-20, retrieved 2018-09-08

Further reading

External links