| 词条 | Draft:Liliana Wilson Grez |
| 释义 |
| name = Liliana Wilson Grez | image = Liliana Wilson Grez.jpg | birth_place = Valparaíso, Chile | nationality = Chilean | field = Artist | website = {{URL|http://www.lilianawilson.com}} }}Liliana Wilson Grez is a Chilean Latin American artist born in Valparaíso, Chile in 1954.[1] Born to Chilean parents Gustavo Wilson and Adriana Grez, Wilson is one of five children who was raised in Viña Del Mar, Chile. Her adolescent years were faced with hardships both at home and because of the Chilean coup d'état. Living through the Chilean coup d'état influenced and shaped her artistic style, but it also prevented her from pursing a sustainable life as an artist in Chile. Because of political and economic standards she pursued an education in law studies and architecture at Pontifical Catholic University[2]. The Chilean dictatorship forced Wilson permanently immigrate to Austin, Texas in 1977. Notably, she has not returned to Chile since she fled to safety to the United States. While in Austin she was finally able to get an education in drawing and painting, and began a career in art.[3] Her artwork reflects themes that resonate with the Chilean coup d'état and a chilean immigrant experience.[2] Wilson's most common [https://www.tate.org.uk/art/art-terms/m/medium medium] is acrylic paintings on wood.[4] ChildhoodLiliana Wilson Grez was born in Valparaíso, Chile to Gustavo Wilson and Adriana Grez. When Wilson was around one to two years of age her family moved to Viña Del Mar, Chile. Wilson lived with her mother, father, and five brothers and sisters of which she was the third eldest. Her mother, Adriana Grez, was the head figure in her household. Her father, Gustavo Wilson, was merchant marine of which he constantly be gone for work abroad and rarely present in Wilson's childhood. Wilson had a complicated relationship with her father. Gustavo Wilson's alcoholism inflicted tension between the two. From a young age Wilson and her siblings had to learn how to care for their father when he was intoxicated. However, Wilson's gives credit to her father for her artistic talent, who was not artist himself, but could draw very well and with great detail.[2] From a young age Wilson was known for constantly drawing. During primary school Wilson was asked to do a drawing for Holy Week on the hallway of her school chalkboard. This was her first artwork project at the age of 10. [2] Wilson had a strong relationship with her mother's side of the family. Her grandmother in particular, Abuelita Marta, was an important figure in her life. She frequently visited her grandmother's house in Valparaíso. Abuelita Marta's house was the central location of family gatherings. Her thirty to thirty-five cousins and nine aunts and uncles would traditionally come together once a week for teatime on Saturday or Sunday. The happiest memories of her childhood were deeply rooted at her grandmother's house. She was also raised by a woman who was hired as help named Rebecca Esquivel. Rebecca Esquivel was a socialist who introduced Liliana to a social awakening at an early age.[2] At the age of sixteen Liliana's father died. Education (1971–93)Liliana Wilson Grez attended all girls schools from kindergarten to twelfth grade. From kindergarten to the tenth grade she attended Los Sagrados Corazones Catholic School, and for her eleventh and twelfth grade she attended Liceo de Niñas de Viña del Mar public school. In 1971, she enrolled in Pontifical Catholic University of Valparaíso, a coed school, for a year. This was the first time in her education where she did not attend an all girls campus. She attended Pontifical Catholic University to study architecture. Since there were no art schools near her town architecture was the only field of study that closely mimicked art courses. Wilson was one of the twenty women in her architecture class of 100 students. Following her one year in architecture she decided to pursue Law studies at Pontifical Catholic University of Valparaíso until she migrated to Texas in 1977. Much of her education in Chile was influenced by family pressures to pursue a sustainable career.[2] Wilson took drawing classes at Austin Community college from 1980-1983. This was the first time Wilson was able to enroll and study art in her education. Her education in art continued until 1991-95 at Southwest Texas State University, San Marco Texas where she studied painting.[5] Military coup (1973–77)While Liliana Wilson Grez was in law school the Chilean coup d'état overthrew President Salvador Allende's socialist government.[6] The uprising of the Chilean coup d'état led her university to go on strike. Liliana avoided the strike by staying with a friend in Santiago. During her stay in Santiago she discovered that the Chilean coup d'état succeeded in overthrowing Salvador Allende's socialist government. Liliana was forced to flee to safety while the Chilean coup d'état declared a state of siege[7]. Liliana was deeply affected with the news that Salvador Allende had committed suicide. She did not believe that Allende had committed suicide, but believes that the military was involved in his death. Wilson painted Pedazos and Niña en el desert to portray the grief she feels towards Allende's death. Many of her drawings speak on behalf of the events that occurred during Pinochet's dictatorship such as "soldiers raping women, the torture, the brutality and violence of the time."[2] During the dictatorship, Chilean artist had to express their creativity in subtle ways that would not reflect disapproval of Pinochet's regime. Because of this abiding rule, Wilson's artwork is influenced by metaphors.[2] It was too dangerous for Wilson to keep her anti-Pinochet dictatorship drawings and thus had to throw away many of paintings for her safety. During the right wing dictatorship many artist critiqued the government. Although it was dangerous to express anti-right wing emotions, many artist maneuvered around the censorship in creative ways. Liliana was particularly influenced by theatre that obscurely provoked Pinochet's dictatorship. She began expressing a political voice in her art where she used animals as representations of villains.[8] Adulthood and art (Austin, Texas)Wilson arrived to Austin, Texas in 1977 without knowing any English. Her first jobs in the United States was working as a housekeeper and nanny. After a day at work Wilson would spend the rest of her evenings drawing. She eventually enrolled in drawing classes at Austin Community College. After 10 years of residing in Texas Wilson met Cynthia Pérez, founder of La Peña and co-owner of the restaurant Las Manitas. Wilson's first exhibition was featured at Cynthia Perez's restaurant [https://www.austinchronicle.com/news/2006-07-21/388473/ Las Manitas]. Cynthia Pérez later introduced Wilson to [https://conservancy.umn.edu/bitstream/handle/11299/167856/Anzaldua,%20Gloria.pdf?sequence=1 Gloria Anzaldúa]. Gloria Anzaldúa introduced Wilson to the Movimiento de Arte y Cultura Latino American (MACLA) project. In 1995 Wilson joined Gloria Anzaldúa on a five week workshop called El Taller Nepantla to discuss the ideas of nepantla. Learning about nepantla guided Wilson to create art that reflected a Chilean immigrant identity within the United States.[2] Notable worksChile Series (1970s)In the late 1970s Wilson's art focused on themes of Chile, they were influenced by her own experiences of the violence and repression she faced during Pinochet's dictatorship. Her earlier paintings commonly used a monochromatic palette of dark colors. El Estadio Nacional (1979) is a mixed media drawing on a 12 by 15 inch canvas. The title of this drawing is referring to the national stadium in Chile that became the focal point where the military coup would take Chilean citizens and abuse them. The man sitting against the wall of the stadium is Victor Jara, a political singer and song writer activist who supported Allende and was murdered for it. Drawing him in her artwork further shows Wilson's support for Allende. Wilson drew this piece a decade after the dictatorship ended, but through this drawing she is highlighting the reality of continuous torture even a decade later.[9] Los desaparecidos en el cielo (1977) ((The Disappeared in Heaven) is one of Wilson's color pencil drawings (9 1/4 by 6 7/8 inches) that shows two men sleeping on the sand near the ocean. This artwork was influenced by real life events. Wilson saw these two dead men washed ashore on a beach near her home in Chile. The men were identified as prisoners of Augusto Pinochet's Chilean dictatorship, who were tortured and murdered on a ship before being thrown into the sea.[8][10]Immigration Series (1980s)During the 1980s Wilson's paintings focused on themes of immigration and being an immigrant in the United States. Settling in Texas, a majority Chicana/o sate, allowed her to meet Chicana women who influenced he work during this era. In El color de la esperanza (1987) a color pencil on paper drawing, drawn on a 22 1/4 by 16 1/4 inch canvas shows a woman sleeping on the ground next to a fence that acts as border. The Virgen de Guadalupe and Tonatiuh, the Aztect sun god, watch over the immigrant woman who is sleeping on the U.S. side of the border after her migration route. The two religious figures are on the Mexican side as they watch over the immigrant woman in a protective way.[11] Gender, Race, and Class Series (1990s)Throughout the 1990s Wilson began to paint themes the speak upon her experiences as a woman of color both in Chile and in the United States. Her work was guided by the lived experiences of systematic and patriarchal oppressions that work against sexuality and gender of women, lesbians, gays, and queer people of color. The Wedding (1995) is an acrylic on 33 1/4 by 23 1/4 inch panel portrait of a newly wedded couple. The groom's head is not in human form, but painted on as a bird. Wilson has commonly used the imagery of man with a birds head, to depict the absurdity and foolishness of men. Furthermore, the groom holds the wife as trophy depicting her as his now claimed possession. Another common feature in Wilson's paintings is a dog. The dog next to the bride is a quiltro, a mixed breed mutt, that represents illegitimacy and disobedience, but is also known for its survival skills. In this painting the dog reveals that something is uneasy about married couple and the union of heterosexual wedding.[12] Niña en el desierto (1999) is an acrylic on a 19 by 25-inch wood painting of a small girl sitting alone with her head down in the desert. The girl is on route to the United States, but seems to be stranded and alone in her journey. In this painting Wilson leaves the viewer with some uncertainty as to why the girl is alone or if she will continue her travels.[13]MediumWilson's most common mediums are color pencil on paper, prismacolor pencil on paper, mixed media, silkscreen on paper, acrylic of canvas, acrylic on panel, pencil on paper, acrylic and pencil on wood panel, and acrylic on illustration board. The canvases she uses range from a medium to large size. She has also been recognized as a surrealist artist or for including a sense of "magical realism" within her work. [14] PublicationsLiliana Wilson Grez has been featured in Mujeres: Selected Prints from the Series Project, an exhibition that showcases prints of women artist from Austin, Texas. She also participated in the Mujeres Art in Residence program.[15] Wilson's autobiography along with a lot of her artworks have been published in Norma E. Cantú's book entitled Ofrenda: Liliana Wilson's Art of Dissidence and Dreams. Wilson's art has been frequently cited within articles, novels, and children's books. She illustrated a children's book called In the Barrio by Alma Flor Ada.[16] Her art has also been cited in Gloria Anzaldúa's novel This Bridge We Call Home.[17] ExhibitionsSolo Exhibitions[1]
Group Exhibitions[1]
References1. ^1 2 {{Cite book|title=Latin American women artists of the United States : the works of 33 twentieth-century women|last=Robert.|first=Henkes|date=1999|publisher=McFarland|isbn=978-0786405190|location=Jefferson, N.C.|oclc=40268446}} 2. ^1 2 3 4 5 6 7 8 {{Cite book|title=Ofrenda: Liliana Wilson's art of dissidence and dreams|last=Cantu|first=Norma E.|publisher=Texas A & M University Press|year=2015|isbn=9781623491918|location=Austin, Texas|pages=13–30}} 3. ^{{Cite web|url=https://womenandtheirwork.org/archive/exhibitions/liliana-wilson/|title=Liliana Wilson|date=2005-05-12|website=Women & Their Work|language=en-US|access-date=2019-02-24}} 4. ^{{Cite book|url=https://books.google.com/?id=2bQ1s7abQWMC&pg=PA90&lpg=PA90&dq=liliana+wilson+grez#v=onepage&q=liliana%20wilson%20grez&f=false|title=Reflexiones 1999: New Directions in Mexican American Studies|last=Flores|first=Richard R.|date=2000|publisher=University of Texas Press|isbn=9780292725171|language=en}} 5. ^{{Cite web|url=http://www.lilianawilson.com/about/|title=About – Liliana Wilson|language=en-US|access-date=2019-03-05}} 6. ^{{Cite web|url=https://www.britannica.com/biography/Salvador-Allende|title=Salvador Allende {{!}} president of Chile|website=Encyclopedia Britannica|language=en|access-date=2019-02-24}} 7. ^{{cite web |title=state of siege |url=https://www.oxfordlearnersdictionaries.com/us/definition/english/state-of-siege |website=Oxford Learner's Dictionaries |publisher=Oxford Advanced Learner's Dictionary |accessdate=3 February 2019}} 8. ^1 {{cite web|url=https://therivardreport.com/liliana-wilsons-gentle-activism/|title=Liliana Wilson's Gentle Activism|last1=Rubin|first1=David S.|website=The Rivard Report|accessdate=3 February 2019}} 9. ^{{Cite book|title=Ofrenda: Liliana Wilson's Art of Dissidence and Dreams|last=Cantu E.|first=Norma|publisher=Texas A&M University Press|year=2015|isbn=9781623492229|location=Austin, Texas|pages=109–168}} 10. ^{{Cite book|title=Ofrenda: Liliana Wilson's Art of Dissidence and Dreams|last=Cantu E.|first=Norma|publisher=Texas A&M University Press|year=2015|isbn=9781623492229|location=Austin, Texas|pages=109–168}} 11. ^{{cite journal |last1=Wilson |first1=Liliana |title=ARTIST'S STATEMENT: Images of Life: Witnessing AtrocitiesARTIST'S STATEMENT: Images of Life: Witnessing Atrocities |journal=Chicana/Latina Studies |date=Spring 2011 |volume=vol. 10 |issue=no. 2 |page=8-13 |url=https://www.jstor.org/stable/pdf/23015147.pdf?refreqid=excelsior%3Aefa828f8a75c29e1d708cde95d32b12f |accessdate=11 March 2019}} 12. ^{{Cite book|title=Ofrenda: Liliana Wilson's Art of Dissidence and Dreams|last=Cantu E.|first=Norma|publisher=Texas A&M University Press|year=2015|isbn=9781623492229|location=Austin, Texas|pages=109–168}} 13. ^{{cite journal |last1=Wilson |first1=Liliana |title=ARTIST'S STATEMENT: Images of Life: Witnessing AtrocitiesARTIST'S STATEMENT: Images of Life: Witnessing Atrocities |journal=Chicana/Latina Studies |date=Spring 2011 |volume=vol. 10 |issue=no. 2 |page=8-13 |url=https://www.jstor.org/stable/pdf/23015147.pdf?refreqid=excelsior%3Aefa828f8a75c29e1d708cde95d32b12f |accessdate=11 March 2019}} 14. ^{{Cite book|title=Ofrenda: Liliana Wilson's Art of Dissidence and Dreams|last=Cantu E.|first=Norma|publisher=Texas A&M University Press|year=2015|isbn=9781623492229|location=Austin, Texas|pages=109–168}} 15. ^{{Cite news|url=http://serieproject.org/events|title=Events - The Serie Project|work=The Serie Project|access-date=2019-03-05|language=en-US}} 16. ^{{Cite web|url=http://www.scholastic.com/teachers/books/in-the-barrio-by-alma-flor-ada/|title=In the Barrio by Alma Flor Ada {{!}} Scholastic|website=www.scholastic.com|access-date=2019-03-05}} 17. ^{{Cite book|url=https://books.google.com/?id=3U-MAQAAQBAJ&printsec=frontcover&dq=this+bridge+we+call+home#v=onepage&q=this%20bridge%20we%20call%20home&f=false|title=this bridge we call home: radical visions for transformation|last=Anzaldúa|first=Gloria|last2=Keating|first2=AnaLouise|date=2013-10-18|publisher=Routledge|isbn=9781135351526|language=en}} Bibliography
External links
1 : 1954 births |
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