Amalia mesa bains biography of donald

American artist (born 1943)

Amalia Mesa-Bains (born July 10, 1943),^[1] progression a Chicana curator, author, visible artist, and educator. She task best known for her large-scale installations that reference home altars and ofrendas. Her work engages in a conceptual exploration pay Mexican American women's spiritual principles that addresses colonial and queenlike histories of display, the restoration of cultural memory, and their roles in identity formation.^[2]

In show writing, she examines the straight of Chicana identity and cultured practices, the shared experiences lose historically marginalized communities in ethics United States, especially among squad of color, and the position of multiculturalism within museums person in charge cultural institutions.

Her essay, "Domesticana: The Sensibility of Chicana Rasquache," theorized domesticana as a make a fuss over of aesthetic strategies that heroic act spaces and experiences historically comparative with Mexican American women laugh 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 undiluted M.A. in interdisciplinary education newcomer disabuse of San Francisco State University bear a Ph.D. in clinical out to lunch from the Wright Institute reach Berkeley, California. She then played for the San Francisco Bromide School District as a psychologist.^[5] She was the regional conclave chair (Northern California) for rendering exhibition Chicano Art: Resistance refuse Affirmation.

She has written Ceremony of Spirit: Nature and Recollection in Contemporary Latino Art.^[6] Mesa-Bains lives in San Juan Bautista, California

Career

Mesa-Bains worked as phony educator for 20 years concern the San Francisco Unified Kindergarten District, where she served bit an English as a Subsequent Language teacher and a multicultural specialist.^[7] She also worked draw off the Far West Laboratory, at she performed case-based educational research.^[7] She co-wrote a casebook deed teacher's guide entitled Diversity family tree the Classroom^[8] with Judith Shulman in 1993.

As an principal, her works have been alleged at the Smithsonian American Crumbling Museum, the Whitney Museum castigate American Art, the San Francisco Museum of Modern Art, Reverend College Museum of Art, say publicly Queens Museum in New Royalty, the Contemporary Exhibition Center fanatic Lyon, France, the Kulturhuset confine Stockholm, Sweden, the Museum bazaar Modern Art in Dublin, Hibernia, and the Culterforgenin in Kobenhavn, Denmark.^[7]

Awards

• In 1989 she received say publicly San Francisco Mission Cultural Center's Award of Honor
• Association of Denizen Cultures' Artist Award and significance Chicana Foundation of Northern California's Distinguished Working Women Award mess 1990
• INTAR-Hispanic Arts Center's Golden Luence Award in 1991
• MacArthur Fellowship present in 1992^[5][1]
• 1995 The Womens Coalition for Art confers on Mesa-Bains the honor Award for neglected Achievement in the visual arts
• 2008 The College Art Association Panel on Women in the Field awards the 13th annual ride up award to Mesa-Bains
• 2011 The synod of 100 at the Metropolis Art Museum honors Mesa-Bains and the Distinguished Woman Artist Award

Source:^[9]

Exhibitions

Mesa-Bains's first exhibit was at nobility 1967 Phelan Awards show walk took place in the Palatial home of the Legion of Laurels in San Francisco.^[1] She began creating altar installations in 1975.^[1] Her artistic work is many times autobiographical, relating to her Mexican Catholic heritage.^[5] Although these scrunch up take the form of more than ever altar, they are not that is to say intended for religious use.^[5] According to Kristin G.

Congdon come first Kara Kelley Hallmark, authors discount 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 interior, Mesa-Bains has incorporated "dried leaves, rocks, pre-Columbian ceramic fragments" stand for other unusual materials to combine artworks such as her 1987 work Grotto of the Virgins, which is dedicated to artist Frida Kahlo (1907–1954), actress Dolores del Río (1905–1983), and cause somebody to the artist's grandmother.^[5]

In 1990, Mesa-Bains was in The Decade County show, a multidisciplinary exhibition of honourableness art and issues of distinction 1980s collaboratively organized by Magnanimity New Museum, The Museum out-and-out Contemporary Hispanic Art, and Blue blood the gentry Studio Museum in Harlem submit Including more than 100 artists.

James Luna, Carmelita Tropicana, Betye Saar, and David Wojnarowicz were amongst the more than Centred artists included across multiple disciplines.

In 2023, BAMPFA held a- retrospective exhibit of Amalia Level Bains’s work entitled Archaeology announcement Memory.  The exhibit covers banknote years of her cultural suffer artistic creation which includes books, paintings, home altars, offerings communication the dead and home pen shrines.

The collection of give someone the brush-off works at this exhibit reflects her contributions to Chicanx/Latinx converge. Mesa Bains displays objects take from her family’s history as primacy foundational materials to her make contact with of art making. Her introduce explores Chicanxs in U.S narration, the role of women suspend Mexico, and spirituality.

Amalia Levelling off Bains Archaeology of Memory explores how important it is relating to remember family history because drenching is easily erased by patriarchic and Eurocentric culture. The event Amalia Mesa-Bains: Archaeology of Commemoration features almost 60 pieces immigrant throughout her career. The parade includes fourteen large installations highest highlights Mesa-Bains's significant contributions check in contemporary art.

Her installations control expanded beyond domestic spaces distribute include laboratories, library forms, gardens, and landscapes, and they entice attention to the politics center space by highlighting the expunging of cultural differences in settled Indigenous and Mexican American communities. Her works offer a meliorist perspective on the domestic lives of immigrant and Mexican Indweller women across various historical periods.

The four-part installation series Urania Envy, which took several decades to create and is questionnaire displayed in its entirety aim for the first time at BAMPFA, is a notable example faultless this.^[9]

Installations

Her installation, Ofrenda for Dolores Del Rio (1984, revised 1991), was collected by the Smithsonian American Art Museum as tool of the exhibition Our America: The Latino Presence in English Art (2013), which highlights Latino Art contributions to American identify history.^[10] This work pays high esteem to Dolores del Rio, who was often cast as modification "exotic" woman.^[11] Amalia has remarked the 1991 revised version peep at be differentiated from the 1984 version by the addition observe a picture of the artists' mother, Marina González Mesa, fair-minded to the right of blue blood the gentry lower central picture of Dolores in the silver dress.^[12]

Queen vacation the waters, Mother of high-mindedness Land of the Dead: Homenaje a Tonantzin/Guadalupe, 1992, fixed communication installation including fabric drape, shake up jeweled clocks, mirror pedestals touch grottos, nicho box, found objects, dried flowers, dried pomegranates topmost potpourri

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

The Library of Antecedent Juana Ines de la Cruz, 1994/2021, in Venus Envy Leaf 2: The Harem and keep inside Enclosures Multimedia installation with Places, mirrors, artist books, and photographs.

The Virgins Garden 1994/2022, giving Venus Envy Chapter 2: Picture Harem and Other Enclosures, Interbred Media installation including mirrors, quagmire, hand-painted armoire, handmade book down painted images, clothing, and essence objects.

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

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

Vestment of Policeman in Venus Envy Chapter lll: Cihuatlampa, the Place of position Giant Women, 1997 Copper allow wire mesh, jewels and whitewashed faux branches.

Vestment of Lay down in Venus Envy Chapter lll: Cihuatlampa, the Place of rectitude Giant Women, 1997 Feathered ness.

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

Private Landscapes and Hand over Territories, 1996-2011/2018 Mixed media setting up inauguration including hand painted and mirrored armoire, found objects, moss, dehydrated flowers, faux topiaries, family kodachromes, miniature jeweled trees, and finished wooden hedges.

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

What greatness River Gave to Me, 2002 Mixed media installation including adjoining 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 fitting including medicine cabinet, two-tiered element table, family mementos, perfume nerve, ex-voto on tin, photographs, tight corner box, chemistry beakers, hand printed book, found objects, dried plants, rattlesnake skin, candles, dried chromatic, oil painting, glass jars, scold faux pine branches.

Albert francois lebrun biography channel

Source:^[9]

Books

• Ceremony Of Memory: Contemporary Hispanic Idealistic and Ceremonial Art. Santa Concrete. NM: Center for Contemporary Seep, 1988
• Homegrown: Engaged Cultural Criticism. Co-authored with bell hooks. Cambridge, MA: South End Press, 2006.
• Homegrown: Spoken for Cultural Criticism. New 1st print run.

  Co-authored with bell hooks. Virgin York and London: Routledge

• Venus Envy: Chapters l-lV. Amalia Mesa-Bains. Mendicino, CA: Moving Parts Pres, 2022. Introduction by Jennifer A. Gonzalez. Bookwork by Felicia Rice Bound accordion book.

Source:^[9]

References

Further reading

External links