Jump to content

Candida Alvarez

Daga Wikipedia, Insakulofidiya ta kyauta.
Candida Alvarez
artist-in-residence (en) Fassara

1984 - 1985
Rayuwa
Haihuwa Brooklyn (mul) Fassara, 2 ga Faburairu, 1955 (71 shekaru)
ƙasa Tarayyar Amurka
Mazauni Chicago
Brooklyn (mul) Fassara
Farragut Houses (en) Fassara
Karatu
Makaranta Fordham University (en) Fassara 1977) Bachelor na Fine Arts
Skowhegan School of Painting and Sculpture (en) Fassara
Yale School of Art (en) Fassara
Harsuna Turanci
Sana'a
Sana'a painter (en) Fassara da mai zane-zane
Employers Art Institute of Chicago (en) Fassara
Muhimman ayyuka B is for Birds in the Bronx (en) Fassara
Kyaututtuka
candidaalvarez.com
Fayil:Candida Alvarez Are you listening to this 2022.JPG
Candida Alvarez, Kuna sauraron wannan?, acrylic a kan lilin, alamar ƙarfe, ruwan kyalkyali, 84" x 72", 2022.

Candida Alvarez (an haife ta a shekara ta 1955) ƙwararriyar mai fasaha ce kuma farfesa 'yar Amurka, wacce aka san ta da zane-zane da zane-zane. [1][2][3]


Alvarez ta yi baje kolin a Gidan Tarihi na Whitney na Fasahar Amurka, MoMA PS1, Gidan Tarihi na Fasahar Zamani na Chicago, [4]da Gidan Tarihi na Fasahar Zamani na Houston, Ayyukanta na tarin fasahar jama'a ne na Whitney, Cibiyar Fasaha ta Chicago, Gidan Tarihi na Fasaha ta San Jose, da Gidan Tarihi na Fasahar Fine na Virginia, da sauransu. An nada ta a matsayin Fellow Artist Fellow na Amurka na Latinx a shekarar 2022 kuma Gidauniyar Helen Frankenthaler, Gidauniyar Joan Mitchell da Gidauniyar Pollock-Krasner sun amince da ita. Tana zaune kuma tana aiki a Chicago da Baroda, Michigan kuma farfesa ce a fannin zane da zane a Makarantar Fasaha ta Chicago . [5] [6]

Ilimi da aiki

[gyara sashe | gyara masomin]

An haifi Alvarez a shekarar 1955 a Brooklyn ga iyayenta waɗanda suka zo daga Puerto Rico shekaru biyu da suka gabata. Ta girma a wani babban gini a cikin aikin gidaje na jama'a na Farragut Houses . Alvarez ta halarci Jami'ar Fordham da ke Lincoln Center a New York kuma ta sami digiri na farko a fannin zane-zane/fasahohin sassauci a 1977; ta yi karatu a Makarantar Zane da Zane ta Skowhegan a 1981. [7][8][9] A farkon aikinta a New York, ta yi aiki a matsayin mai kula da El Museo del Barrio [7] kuma ta baje kolin a wasannin rukuni a cibiyoyi ciki har da Gidan Tarihi na Brooklyn, MoMA PS1, Gidan Tarihi na Studio da ke Harlem (zaman zama na masu fasaha) da Cibiyar Fasaha ta Jamaica . A wannan lokacin, ta yi wasannin kwaikwayo na kaɗaici a Exit Art (1985), Gidan Tarihi na Queens (1991), da Gidan Tarihi na Bronx na Fasaha (1992), da sauransu.

A shekarar 1995, ta yi rajista a Makarantar Fasaha ta Yale, inda ta yi karatu tare da Mel Bochner, Rochelle Feinstein da Howardena Pindell . Karatunta a can ya kafa matattarar salon wasan kwaikwayo na abstraction wanda aka san ta da shi, kuma ya kai ga kammala karatun digiri na MFA a shekarar 1997. A shekara mai zuwa, ta karɓi aiki a Makarantar Fasaha ta Chicago, inda ita ce Farfesa a fannin Zane-zane na FH. [6] [10] A cikin aikinta na baya, an haɗa Alvarez a cikin manyan bincike na abstraction ("Filayen Magnetic: Expanding American Abstraction, 1960s to Today," Kemper Museum of Contemporary Art, 2017) da Latinx art ("Estamos Bien – La Trienal 20/21," El Museo del Barrio, 2021; "Latinx Abstract," BRIC, 2021; "no existen un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria," Whitney Museum, 2022). Ta yi nune-nunen kaɗaita a Cibiyar Fasaha ta Hyde Park (2012), Cibiyar Al'adu ta Chicago (2017), GAVLAK Gallery (Palm Beach, 2019; Los Angeles, 2021) da Monique Meloche Gallery (Chicago, 2020), da sauran wurare.

A shekarar 2017, masu zane-zanen salon zamani na kasar Japan Rei Kawakubo sun yi amfani da kayan kwalliya guda shida na Alvarez don tarin kayan kwalliyar maza na " Comme des Garçons haute couture".

Aiki da liyafa

[gyara sashe | gyara masomin]

Alvarez ta sake yin amfani da kayan aiki da hanyoyi a cikin aikinta, tana tsayayya da hanya ɗaya ta gani da kuma wargaza bambance-bambance tsakanin zare-zare, wakilci da kuma ra'ayi . Zanenta ya haɗa nau'ikan yanayi daban-daban: filayen launuka masu iyo, yanayin ƙasa mai tsari, hotunan zane-zane masu rauni, rubutu da tsarin jagora marasa ganuwa. Susan Snodgrass, mai suka, ta bayyana tsarin Alvarez a matsayin wanda ya dace kuma ya kasance "mai alaƙa da dabarun haɗakar al'adu da haɗin kai wanda ke ba da damar wucewa tsakanin mahallin da tarihi daban-daban, kamar yadda ta yi amfani da labaran sirri da alamomin sirri a matsayin alamun asali."

Fayil:Candida Alvarez Sit, Stand & Kneel 1986.jpg
Candida Alvarez, Zauna, Tsaya & Kwanƙwasa, acrylic da gel matsakaici akan zane, 63" x 76.25", 1986.

Aikin farko

[gyara sashe | gyara masomin]

A shekarun 1980, Alvarez ta samar da zane-zane masu wakiltar mutane waɗanda suka yi daidai da abubuwan da ta fuskanta a birnin da kuma gadon Puerto Rica, suna haɗa hotuna, shimfidar wuri, kalmomin da aka rubuta da kuma hotunan mutum. [ Sau da yawa tana nuna 'yan uwa; Yana son yin mafarki (1985) wani aiki ne mai launuka iri-iri na shimfidar wurare masu faɗi, kusurwoyi masu kaifi da hotunan taimako da ke nuna mahaifinta. Zane-zane kamar su zane mai sassa uku, mai kama da bagadi, Sit, Stand & Kneel (1986) ko Soy Boricua (Ni Puerto Rican ce) (1989) sun nuna jaruman mata masu aiki marasa aiki, masu himma, masu taka tsantsan ko kuma masu ƙarfi yayin da suke duba ayyuka da asalinsu. Masu suka sun siffanta waɗannan bayyanannun launuka da hotuna na rayuwar iyali ta gargajiya a matsayin hangen nesa, mai ban haushi, mai motsin rai da kuma tunawa da sihirin gaskiya, fasaha mara hankali ko waƙoƙin ikirari; [11] [12] [3] Peggy Cyphers na Mujallar Fasaha ta kwatanta su da fasahar Marc Chagall da Paul Klee . [13]

A cikin aikin da ya biyo baya, Alvarez ta yi gwaji da sabbin kayan aiki iri-iri, zane-zane da tsare-tsare masu yawa waɗanda ke aiki a matsayin na'urorin tsari da na labari. Nunin da ta yi shi kaɗai a Gidan Tarihi na Fasaha na Bronx (1992) da Gidan Tarihi na Fasaha na Amurka na New Britain (1996) sun nuna zane-zane masu hotuna da yawa na siffofi na ɗan adam na farko da kuzarin asali waɗanda suka haifar da jigogi na girma na halitta ko na ciki. Mai sukar jaridar New York Times Holland Cotter ya rubuta cewa "aikin wakoki, mai zane" ya nuna ci gaba "daga duhu zuwa haske da kuma daga rarrabuwa zuwa cikakke," yana samun ƙarfi daga rashin tabbas game da alaƙar da ke tsakanin siffofin ɗan adam da ƙarfin halitta. [14] Faifan sun nuna alamun sassa na ciki a jere yayin da kuma suke aiki a matsayin wurare na waje, na gine-gine, suna nuni ga tagogi na aikin gidaje na hawa na 14 da ta yi kallo tun tana ƙarama (misali, 'Yan'uwa Mata I da 'Yan'uwa Mata 2, 1992; Labarun Goma Sha Shida, 1996). [15] Wannan aikin ya gabatar da sha'awarta daga baya ga tsarin da ba shi da tsari da kuma tsarin nuna alamun jiki .

Aiki daga baya

[gyara sashe | gyara masomin]

A lokacin da take a Yale, Alvarez ta yi nazarin ka'idar launi kuma ta fara gwaji da hanyoyin da ba su da rikitarwa, wasanin gwada ilimi da wasanni, wanda wani ɓangare ya yi tasiri a kan abotarta da mai zane mai sauƙi da ra'ayi Sol LeWitt . Waɗannan dabarun sun tura aikinta zuwa ga zayyana abubuwa kuma sun sake haɗa ɓangarorin tarihin rayuwarsa, yayin da suke kula da tsarin aiki da tushen wahayi. Zane-zane kamar Tossing Pennies (1995), waɗanda suka haɗa da pennies da orbs masu launi a matsayin nodes a cikin tsarin haɗa-da-digo, an ƙaddara su ne bisa ga kwatsam; a cikin ayyukan zane-zane masu haske da kama da haka, ta yi amfani da haruffa da lambobi a matsayin tsarin shiryawa (misali, Louise ko Jimmy, duka a 1996).

A cikin shekarun 2000, ayyukan Alvarez sun kasance masu ban sha'awa ta hanyar zane mai kyau da kuma bambancin zamani wanda ya bambanta da salon zamani. Nunin sararin samaniya na TBA Exhibition Space (2005) ya ƙunshi zane-zane masu ban mamaki, masu kama da zane-zane da manyan kayan zane waɗanda ke jan hankalin kayan wasa, abubuwan tunawa da tarihin mutum. Zane-zane kamar Celia Mia (2000–1) sun haɗa da tsarin fure da na geometric, rubutu da haruffa masu wasa, yayin da zane-zanen ya nuna irin waɗannan siffofi masu launin baƙi da layukan da aka dinka a cikin baƙar fata mai laushi a kan murabba'ai na auduga baƙi masu kama da labule. [16]

Nunin Alvarez na baya-bayan nan—"Mambomountain" (Hyde Park Art Center, 2012), "Here" (Chicago Cultural Center, 2017), "Estoy Bien" (Monique Meloche Gallery, 2020) da "Palimpsest" (GAVLAK Los Angeles, 2021)—sun fi mai da hankali kan zane-zane. [10] A cikin manyan ayyuka kamar Mary in the sky with lu'u-lu'u (2005), arroz amargo (2010) da hi ho azurfa (2008), ta ƙirƙiri saman da aka canza, mai layi mai layi cike da laushi, ra'ayoyi da tarkacen al'adun pop. New City ta kwatanta siffofi masu ban sha'awa, layuka masu laushi da ƴan rubutun zanen na ƙarshe zuwa "zanen zane mai ban dariya wanda aka yanka a cikin injin blender." Tunanin "Here" ya gabatar da kusan ayyuka sittin da suka ɗauki shekaru arba'in. An shirya shirin ne bisa tsarin lokaci-lokaci don ƙirƙirar alaƙa, kuma an haɗa shi da tsarin "ɓoye" na allon tushe wanda ke gudana a ko'ina wanda aka samo daga aikin da aka yi amfani da shi a cikin haɗin gwiwar Comme des Garçons. Sabbin ayyukan sun haɗa da wasan kwaikwayo masu sauƙi tsakanin ciki da waje, ji da gani (misali, Sauraron Haruki Murakami yayin kallon faɗuwar rana, 2016) da ƙalubale masu ban sha'awa ga tauri da ikon grid na zamani. [2] [3] Misalan na ƙarshen sun haɗa da Tunatarwa Sol LeWitt (2016) - wanda ya haɗa da allon dubawa mai faɗi, yanar gizo mai jujjuyawa, walƙiyar zinare da rubutu mai rubutu - da kuma Rainbows mai ruɗani a kan bene na Studio (2016), tsarin ja da baya, ɗan ƙanƙanta na cikakkun parallelograms bisa benen tayal na sararin nunin. [2] [12] [3] [17]

Fayil:Candida Alvarez Here To There 2018.jpg
Candida Alvarez, Nan Zuwa Can, daga "Paintings na Iska" (2017-19); hoton hagu: gaba, hoton dama: baya; tawada ta latex, acrylic, enamel, da kyalkyali akan ragar PVC da aluminum da itace; 81" x 71" x 26"; 2018.

Nunin "Estoy Bien" ("Ina lafiya") ya ƙunshi manyan "Paintings na Iska" masu gefe biyu waɗanda suka yi amfani da salon gani da yawa da asarar da aka ambata (mutuwar mahaifinta kwanan nan), zagayowar yanayi da tasirin sauyin yanayi - musamman, barnar da Guguwar Maria ta Puerto Rico ta yi. An yi zane-zanen ne da kayan PVC mai haske kuma an dakatar da su daga firam ɗin aluminum masu tsaye. Ta ƙirƙira su ta hanyar buga hotunan da aka sarrafa ta hanyar dijital daga aikin studio ɗinta a kan raga, wanda daga nan ta gyara ta da amfani da tawada mai kama da latex, kyalkyali da fenti da filayen fenti na siffofi masu kama da na geometric da kama da ɓoye (misali, Here to There, 2018). [10]

Zane mai taken shirin, Estoy Bien, wani aiki mai haske, mai launukan pastel wanda ke nuna launukan murjani, shuɗi mai launin ruwa da fari, ya zaburar da suna da jigon binciken farko na ƙasa na El Museo del Barrio game da ayyukan Latino na zamani - mafi girma a tarihinsa - "Estamos Bien - La Trienal 20/21." Mai sukar jaridar New York Times Holland Cotter ya bayyana taken Alvarez a matsayin mai rikitarwa kuma "mai cike da ban dariya, kalmomin suna nuna juriya da ɗaci"; gidan kayan tarihin ya kira shi "bayyanar juriya da tsokana, yana haɗa ba'a da sautin kirki." Nunin (wanda ya haɗa da Alvarez) ya fuskanci tsarin iko kuma ya binciki asali, wariyar launin fata, ƙaura, ƙaura, yanayi da adalci na muhalli ta hanyar aikin masu fasaha da ƙungiyoyi 42. [18]

A cikin zane-zanen "Palimpsest" (2021), Alvarez ta yi amfani da irin wannan tsari kamar "Paintings na Iska," ta hanyar duba da buga zane-zane - a wannan yanayin, a kan zane-zane masu gefe ɗaya - sannan ta yi amfani da yadudduka masu haske a jere waɗanda suka goge kuma suka haɗu da hotunan farko, suna ƙirƙirar rikodin aiki da lokaci masu rikitarwa.

Gidan Tarihi na El Museo del Barrio ya nuna ayyukanta a cikin Candida Alvarez: Circle, Point, Hoop [19] daga 24 ga Afrilu, 2025 zuwa 3 ga Agusta, 2025. Nunin ya nuna ayyukanta na shekaru 50 na aikinta, ciki har da zane-zane da sassaka.

Lambobin yabo da karramawa

[gyara sashe | gyara masomin]

A shekarar 2022, an nada Alvarez a matsayin ɗan wasan kwaikwayo na Latinx na Amurka ( Ford Foundation da Mellon Foundation ) kuma ta sami kyautar Arts and Letters a fannin Fasaha daga Kwalejin Fasaha da Wasiku ta Amurka . Gidauniyar Helen Frankenthaler (2021), Gidauniyar Joan Mitchell (2019), Shirin Studio na Masu Fasaha na Duniya (Stockholm, 1999), Gidauniyar Pollock-Krasner (1994), Gidauniyar Yankin Tsakiyar Atlantika-NEA (1988) da Gidauniyar Fasaha ta New York ( sun ba ta lambar yabo ta zama mai zane-zane daga Gidauniyar LUMA (Arles), MacDowell Colony, MoMA PS1, Makarantar Gilashin Pilchuck da Gidan Tarihi na Studio da ke Harlem.

Ayyukan Alvarez na cikin tarin zane-zane na jama'a, ciki har da Addison Gallery of American Art, Cibiyar Fasaha ta Chicago, Gidan Tarihi na Baltimore, Gidan Tarihi na Blanton Art, Brandywine Workshop and Archives, DePaul Art Museum, El Museo Del Barrio, Gidan Tarihi na Zamani na Chicago, Pérez Art Museum Miami, San Jose Museum of Art, Studio Museum a Harlem, Virginia Museum of Fine Arts, da Whitney Museum, da sauransu. [6] Ta kuma karɓi kuma ta kammala kwamitocin zane-zane na jama'a guda uku. Waɗannan sun haɗa da Me kuke gani?, saitin tagogi shida masu launi waɗanda aka ƙirƙira don PS 306 (makarantar gwamnati) a Bronx; aikin MTA Arts & Design, B na Tsuntsaye ne a Bronx (2006), an sanya gilashin gilashi mai fuska a tashar Bronx Park East ta New York; da Howlings—Soft Paintings (2017), wani zane mai siffar latex da aka sanya a gefen Kogin Chicago a matsayin wani ɓangare na Shekarar Fasaha ta Jama'a ta Chicago. [10]

Manazarta

[gyara sashe | gyara masomin]
  1. ↑ Voon, Claire. "Chicago Legend Candida Alvarez Finds Comfort—and Reprieve from Trauma—in Abstraction," ARTnews, March 13, 2020. Retrieved October 10, 2022.
  2. ↑ 2.0 2.1 2.2 Snodgrass, Susan. "Arriving Here: Candida Alvarez," The Seen, Issue 05, 2017. Retrieved November 14, 2022.
  3. ↑ 3.0 3.1 3.2 3.3 Waxman, Lori. "Candida Alvarez, Up to Try Anything," Archived 2024-11-27 at the Wayback Machine Chicago Tribune, August 3, 2017. Retrieved November 14, 2022.
  4. ↑ Whitney Museum of American Art. "no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria," Exhibitions. Retrieved November 15, 2022.
  5. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Velie22
  6. ↑ 6.0 6.1 6.2 "Candida Alvarez – SAIC Faculty Sabbatical Exhibit" (in Turanci). Retrieved 2024-10-14. Cite error: Invalid <ref> tag; name "SAIC" defined multiple times with different content
  7. ↑ 7.0 7.1 Barbara A. MacAdam, "Candida Alvarez, Myth, Memory and Old Lace," ARTnews, February 1993, p. 67.
  8. ↑ Jones, Kellie. "When Painting Stepped Out to Lunch," Candida Alvarez: Here. A Visual Reader, Chicago: The Green Lantern Press. Retrieved November 15, 2022.
  9. ↑ Foumberg, Jason. "Candida’s Coloring Book," Chicago Magazine, May 2017, p. 43.
  10. ↑ 10.0 10.1 10.2 10.3 Leahy, Brian T. (2020-05-01). "Candida Alvarez". Artforum (in Turanci). Retrieved 2024-10-14. Cite error: Invalid <ref> tag; name "Leahy20" defined multiple times with different content
  11. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Brenson87
  12. ↑ 12.0 12.1 Cite error: Invalid <ref> tag; no text was provided for refs named Miller17
  13. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Cyphers90
  14. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Cotter92
  15. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Zimmer96
  16. ↑ Snodgrass, Susan, "Candida Alvarez at TBA," Art in America, May 2003, p. 154.
  17. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Myers20
  18. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named DeGregorio21
  19. ↑ "Candida Alvarez: Circle, Point, Hoop". El Museo del Barrio (in Turanci). Retrieved 2025-08-01.
Daga "https://ha.wikipedia.org/w/index.php?title=Candida_Alvarez&oldid=790592"