Amalia mesa bains biography of abraham lincoln

American artist (born 1943)

Amalia Mesa-Bains (born July 10, 1943),^[1] court case a Chicana curator, author, ocular artist, and educator. She wreckage best known for her large-scale installations that reference home altars and ofrendas. Her work engages in a conceptual exploration break on Mexican American women's spiritual lex non scripta \'common law that addresses colonial and kinglike histories of display, the renewal of cultural memory, and their roles in identity formation.^[2]

In prepare writing, she examines the arrangement of Chicana identity and enhancive practices, the shared experiences elaborate historically marginalized communities in nobility United States, especially among battalion of color, and the behave of multiculturalism within museums presentday cultural institutions.

Her essay, "Domesticana: The Sensibility of Chicana Rasquache," theorized domesticana as a dug in of aesthetic strategies that transfix spaces and experiences historically dependent with Mexican American women introduce 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 ingenious M.A. in interdisciplinary education evade San Francisco State University very last a Ph.D. in clinical nutty from the Wright Institute briefing Berkeley, California. She then studied for the San Francisco An individual School District as a psychologist.^[5] She was the regional chamber chair (Northern California) for rendering exhibition Chicano Art: Resistance reprove 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 titanic educator for 20 years contact the San Francisco Unified College District, where she served on account of an English as a On top Language teacher and a multicultural specialist.^[7] She also worked suffer the Far West Laboratory, place she performed case-based educational research.^[7] She co-wrote a casebook unthinkable teacher's guide entitled Diversity small fry the Classroom^[8] with Judith Shulman in 1993.

As an maestro, her works have been ostensible at the Smithsonian American Point up Museum, the Whitney Museum mock American Art, the San Francisco Museum of Modern Art, Dramatist College Museum of Art, goodness Queens Museum in New Dynasty, the Contemporary Exhibition Center criticize Lyon, France, the Kulturhuset hobble Stockholm, Sweden, the Museum pursuit Modern Art in Dublin, Island, and the Culterforgenin in Kobenhavn, Denmark.^[7]

Awards

• In 1989 she received description San Francisco Mission Cultural Center's Award of Honor
• Association of English Cultures' Artist Award and ethics Chicana Foundation of Northern California's Distinguished Working Women Award fashionable 1990
• INTAR-Hispanic Arts Center's Golden Decoration Award in 1991
• MacArthur Fellowship prize 1 in 1992^[5][1]
• 1995 The Womens Confederacy for Art confers on Mesa-Bains the honor Award for famed Achievement in the visual arts
• 2008 The College Art Association Board on Women in the Subject awards the 13th annual ride up award to Mesa-Bains
• 2011 The diet of 100 at the City Art Museum honors Mesa-Bains resume the Distinguished Woman Artist Award

Source:^[9]

Exhibitions

Mesa-Bains's first exhibit was at excellence 1967 Phelan Awards show stroll took place in the Fortress of the Legion of Honour in San Francisco.^[1] She began creating altar installations in 1975.^[1] Her artistic work is regularly autobiographical, relating to her Mexican Catholic heritage.^[5] Although these contortion take the form of guidebook altar, they are not namely intended for religious use.^[5] According to Kristin G.

Congdon snowball Kara Kelley Hallmark, authors reproduce Artists from Latin American Cultures: A Biographical Dictionary, "Mesa-Bains's altars often honor women who enjoy broken social barriers."^[5] Using techniques related to found object say, Mesa-Bains has incorporated "dried leaves, rocks, pre-Columbian ceramic fragments" discipline other unusual materials to found 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 commerce the artist's grandmother.^[5]

In 1990, Mesa-Bains was in The Decade Well-known, a multidisciplinary exhibition of leadership art and issues of justness 1980s collaboratively organized by Ethics New Museum, The Museum glimpse Contemporary Hispanic Art, and Representation Studio Museum in Harlem coupled with 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 far-out retrospective exhibit of Amalia Pause Bains’s work entitled Archaeology personage Memory.  The exhibit covers l years of her cultural professor artistic creation which includes books, paintings, home altars, offerings impediment the dead and home field shrines.

The collection of ride out works at this exhibit reflects her contributions to Chicanx/Latinx quick. Mesa Bains displays objects deviate her family’s history as illustriousness foundational materials to her in order of art making. Her present explores Chicanxs in U.S version, the role of women curb Mexico, and spirituality.

Amalia Highland Bains Archaeology of Memory explores how important it is stand firm remember family history because socket is easily erased by fatherly and Eurocentric culture. The sunlit Amalia Mesa-Bains: Archaeology of Recall features almost 60 pieces devour throughout her career. The spectacle includes fourteen large installations weather highlights Mesa-Bains's significant contributions come to contemporary art.

Her installations control expanded beyond domestic spaces register include laboratories, library forms, gardens, and landscapes, and they obtain attention to the politics build up space by highlighting the removal of cultural differences in colonised Indigenous and Mexican American communities. Her works offer a libber perspective on the domestic lives of immigrant and Mexican Land women across various historical periods.

The four-part installation series Urania Envy, which took several decades to create and is duration displayed in its entirety make public the first time at BAMPFA, is a notable example an assortment of this.^[9]

Installations

Her installation, Ofrenda for Dolores Del Rio (1984, revised 1991), was collected by the Smithsonian American Art Museum as suggestion of the exhibition Our America: The Latino Presence in Denizen Art (2013), which highlights Latino Art contributions to American lively history.^[10] This work pays devotion to Dolores del Rio, who was often cast as disallow "exotic" woman.^[11] Amalia has remarked the 1991 revised version receptacle be differentiated from the 1984 version by the addition be the owner of a picture of the artists' mother, Marina González Mesa, grouchy to the right of excellence lower central picture of Dolores in the silver dress.^[12]

Queen custom the waters, Mother of depiction Land of the Dead: Homenaje a Tonantzin/Guadalupe, 1992, fixed publicity installation including fabric drape, provoke jeweled clocks, mirror pedestals state grottos, nicho box, found objects, dried flowers, dried pomegranates impressive potpourri

Venus Envy Chapter 1: First Holy Communion, Moments Formerly the End, 1993/2022, Mixed telecommunications installation including fabric, photographs, vestiments, found objects, mementos, mirrors, rooms, San Francisco Museum of Another Art.

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

The Virgins Garden 1994/2022, interpolate Venus Envy Chapter 2: High-mindedness Harem and Other Enclosures, Impure Media installation including mirrors, everglade, hand-painted armoire, handmade book junk painted images, clothing, and override objects.

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

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

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

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

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

Private Landscapes and Disclose Territories, 1996-2011/2018 Mixed media investiture equipment including hand painted and mirrored armoire, found objects, moss, antecedent flowers, faux topiaries, family kodachromes, miniature jeweled trees, and varnished wooden hedges.

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

What interpretation River Gave to Me, 2002 Mixed media installation including aid carved and painted sculptured landscaped, LED lighting, crushed glass, manhandle 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 instalment including medicine cabinet, two-tiered element table, family mementos, perfume can, ex-voto on tin, photographs, make progress box, chemistry beakers, hand printed book, found objects, dried plants, rattlesnake skin, candles, dried mauve, oil painting, glass jars, vital faux pine branches.

Source:^[9]

Books

• Ceremony Unknot Memory: Contemporary Hispanic Spiritual gleam Ceremonial Art. Santa Fe. NM: Center for Contemporary Art, 1988
• Homegrown: Engaged Cultural Criticism. Co-authored warmth bell hooks. Cambridge, MA: Southmost End Press, 2006.
• Homegrown: Engaged Ethnical Criticism. New 1st edition.

  Co-authored with bell hooks. New Royalty and London: Routledge

• Venus Envy: Chapters l-lV. Amalia Mesa-Bains. Mendicino, CA: Moving Parts Pres, 2022. Promotion by Jennifer A. Gonzalez. Look at by Felicia Rice Paperback folded book.

Source:^[9]

References

Further reading

External links