Dorothy Hood

Dorothy Hood (Agusta 22, 1918 - Oktoba 28, 2000) yar wasan Ba'amurke ce a al'adar zamani. Ana gudanar da aikinta a cikin tarin masu zaman kansu da kuma a gidajen tarihi da yawa, musamman ma Gidan kayan gargajiya na Art Modern da Museum of Fine Arts, Houston .  Abubuwan da ta fi so su ne fentin mai da tawada. 

 Rayuwar farko 
An haifi Hood a Bryan, Texas kuma ta girma a Houston.  Ta kasance yarinya tilo.  Hood yar asalin Jamus ce da yar Sweden, kuma ya ɗanɗana tsantsan tarbiyyar Episcopalian .  Mahaifinta ma'aikacin banki ne  wanda sau da yawa yakan fita daga gari don kasuwanci.  Mahaifiyar Hood ta ƙarfafa Dorothy don neman basirar fasaha,  amma Dorothy ya girma ta hanyar ma'aikatan gida ne saboda ciwon hauka na mahaifiyarta wanda ya haifar da tsawon lokaci na sanitarium .   Hood za ta ziyarci mahaifiyarta a sanitarium a lokacin hutun makaranta.  Mahaifiyar Hood ta riƙe ra'ayin Victoria na mace, duk da haka tana da wani bangare mara kyau wanda ya jagoranci Hood yayi mamakin ko wane bangare ne mahaifiyarta ta gaskiya.  Tun tana ƙarama, ta ɗanɗana jin keɓewa.  A lokacin da ta girma, ana sa ran yara ba za su kasance cikin hanyar manya ba; ba tare da ’yan’uwa ba, an bar Hood sau da yawa a kanta.  Sau da yawa takan yi hutu a wuraren hutu, aikin da aka keɓe don manya.  Sakin iyayenta na gaba ya jagoranci Hood don ɗaukar "mafaka cikin zane." 

 Ilimi da farkon aiki 
A makarantar sakandare, wata malamar fasaha ta gabatar da aikinta ga gasa kuma ta sami lambar yabo ta Makarantar Sakandare ta Kasa.  Hood ya tafi Makarantar Tsara ta Rhode Island akan wannan tallafin karatu na shekaru huɗu a farkon 1930s.  Bayan haka, ta dauki aji a cikin makarantun Art League na New York, kuma sun sami kuɗi da ke aiki a matsayin abin koyi.  Zamanta a matsayin abin koyi ya sa ta ji daɗin saka tufafi masu ban sha'awa da kuma ɗaukar kanta cikin kwanciyar hankali, wanda daga baya aka san ta da ita.  Ba ta jin cewa karatun boko ya ishe ta ci gabanta a matsayinta na mai fasaha face samar mata da gabatarwa ga manyan zane-zane da sauran dalibai. 

Hood ya tafi Mexico a kan abin da aka yi niyya ya zama ɗan gajeren hutu.  Nan da nan ta ƙaunaci ƙasar da yanayin tunaninta da kyan gani,  kuma ta ƙare ta shafe shekaru ashirin a Mexico (1941-1961).  A can, ta yi abokantaka da yawa daga Turai da Mexico masu fasaha da haziƙai. Sun ɗauke ta cikin da'irarsu, kuma Hood, a karon farko, ta haɓaka nau'ikan abokantaka da ta yi sha'awar tun tana yarinya.  A wannan lokacin ta kasance cikin gungun masana masu sha'awar yin suka a duniyar da ke kewaye da su.  Abokanta da abokanta a lokacin sun haɗa da marubuci Ramon Sender, marubucin wasan kwaikwayo Sophie Treadwell, da masu zane Remedios Varo da Leonora Carrington .  An dauke ta a matsayin abokiyar kirki tare da Treadwell .  Ta kuma haɗu da marubuci Luis Buñuel da masu fasaha Miguel Covarrubias, Rufino Tamayo, Diego Rivera, da Frida Kahlo .  Hood ya zauna na wani lokaci tare da Frida Kahlo da Diego Rivera, kuma ya yi karo da su saboda takaddama da Sophie Treadwell ya yi da Rivera, ko da yake Hood daga baya ya yi nadama game da rashin ƙoƙarin isa Rivera.  A Mexico ne Hood ta fara aikinta a matsayin mai fasaha.  Ta zauna a cikin ƙananan yanayi a Mexico, kuma ayyukanta ƙanƙanta ne, saboda wani ɓangare na ƙaramin ɗakin studio . Ta yi gwaji da zane-zanen yaƙi da yaƙi a lokacin Yaƙin basasa na Spain . Mayan da Aztec hieroglyphs sune tsakiyar fasahar Hood a farkon aikinta.  A Mexico, Hood ya sami ƙarin girmamawa a matsayin mace mai fasaha, kuma ana neman zanenta. 

Hood ya nuna a cikin 1941 a Gama Gallery a Mexico City,  wanda aka tuna da shi a cikin waƙar da Pablo Neruda ya rubuta,  wanda ya gabatar da Hood ga mai zane-zane da babban jagoranta, José Clemente Orozco .   Wannan nune-nunen ya nuna tasirin da Mexico ke da shi akan fasaharta kuma ya nuna mai da zanen gouache na dabbobi, yara, da hotuna. Hood ya koma New York don nazarin shekara a shekarar 1945.  Wannan tafiya ta kuma ba ta damar ziyartar wasu abokanta na Mexico waɗanda suka fi ta sanin al'adu fiye da yadda ta yi.  Yayin da yake a New York, an ba Hood kyautar kwafin Bayan Picasso, wani littafi na James Thrall Soby, marubuci, mai zargi, da majiɓinci, ta wani makwabcin Texan na Soby. John McAndrews, mai kula da gine-gine a gidan tarihi na fasahar zamani kuma abokin Hood's, ya nuna ɗaya daga cikin zanenta ga Soby. Soby ya nuna hoton a ofishinsa, kuma ya sanya shi a cikin wani baje kolin balaguro. A cikin shekarar 1950, an ba Hood kyautar solo show a Willard Gallery a New York. Da fatan shiga cikin duniyar fasaha ta New York, Hood ta yi hayar daki kusa da harabar jami'ar Columbia, inda ta gayyaci masu kula da gidan kayan gargajiya don duba fasaharta. Marian Willard ya ziyarci dakin wasan kwaikwayo na Hood a ranar ƙarshe kuma ya burge shi da fasahar Hood, inda ya lashe Hood na solo show a Willard Gallery. Willard ya tabbatar da kasancewa haɗin kai mai mahimmanci, kuma ya gabatar da Hood ga Mark Tobey, mai zane, mai tarawa, kuma majiɓinci wanda Hood ya sha'awar. Tobey ya gayyaci Hood don nunawa a Ahrensberg Atelier, wanda shi ne darekta. A can ta hadu da masu fasaha da masu sana'a na Turai. 

 Sana'a 
An dauki Hood a matsayin "mafarin zamani."   Ayyukanta shine haɗin tarihi tsakanin surealism na synthetic na Mexican da Makarantar Filin Launi na Amurka .  Hood ya kasance ɗaya daga cikin ƴan ta'adda na farko.  Hotunanta, waɗanda sau da yawa suna nuni ga al'amuran halitta, ana lura da su ta wurin manyan wuraren launi.  Sana'arta kuma tana yin nuni ga tushen Texan ɗinta tare da faffadan hotuna da ɗimbin launuka masu nuni ga kudu maso yamma.  Tatsuniyoyi, kimiyya da ruhi sun rinjayi Hood.  Ayyukanta sun sami wahayi musamman daga Taoism da Yogi na Sri Aurobinda,  da kuma ta hanyar binciken sararin samaniya da sararin samaniya, wanda ke nunawa a cikin ayyukanta na baya.  Ta kuma yi nuni da tasirin Max Ernst akan aikinta.  Gorky, Brancusi, Ensor, Matisse, da Rendon, tare da nazarin kimiyya, yanayi, tatsuniyoyi, da ruhi duk sun yi nuni da Hood a matsayin tasiri.  Tafiya kuma ta shafi aikinta, yayin da take tafiya tsakanin Latin Amurka, New York, Turai, Afirka, da Houston tsawon rayuwarta. 

Nunin ta na farko ya faru ne a birnin Mexico a gidan wasan kwaikwayo na Gama a cikin shekarar 1941.  Ayyukanta sun ƙunshi hotuna na gaske da kuma hotunan dabbobi.  Hood yana da nunin mutum ɗaya a gidan wasan kwaikwayo na Marian Williard a birnin New York.  Ɗaya daga cikin zane-zanenta da aka nuna a cikin wani nuni a gidan kayan gargajiya na zamani a shekarar 1945.  A cikin shekarun 1950, fasahar Hood ta samo asali ne daga tushen sa na gaskiya da na gaskiya zuwa na zamani, alamu na launi. An kira salonta "abstract surrealism."  A cikin shekarar 1957, Art a Amurka ya sanya mata suna ɗaya daga cikin sabbin hazaka na shekara.  Hood yana da wasan kwaikwayo na solo a Duveen-Graham Gallery a New York a cikin 1958, kuma ya nuna a Philadelphia Art Alliance a wannan shekarar. 

A shekara ta 1961, yawancin abokanta sun mutu ko kuma sun tafi, kuma Mexico ba ta ji kamar Hood ba.  Bayan ta koma Houston a waccan shekarar, ta nuna a Atelier Chapman Kelley a Dallas. Cummings, Paul. Tun daga 1961, ta koyar a Makarantar Art of the Museum of Fine Arts, Houston.   Ta jagoranci mai zane Ibsen Espada, wanda ya yi aiki a ɗakinta a matsayin mataimaki na sirri.  Hood ta mayar da hankali kan ƙoƙarinta na koyarwa kan biyan bukatun dalibanta, wani abu da ta ji ba shi da ilimi a fannin fasaha.  Shekara daya bayan ta koma Houston, ta fara nuna aikinta a cikin Meredith Long Gallery.  Ta kuma koyar a gidan kayan tarihi na Fine Arts har zuwa shekarar 1976.  A 1976, ta koyar a Jami'ar Jihar Colorado.   . ..  . . .

1970s sun ga aikin Hood ya tashi.  A cikin 1970, an gudanar da baje kolin ayyukanta a gidan kayan gargajiya na zamani a Houston, Texas.  Jami'ar Rice ta nuna aikin Hood a cikin nunin a shekarar 1971.  Tana da nunin mutum guda biyar a cikin manyan gidajen tarihi na Texas ta 1971  kuma ta sami lambar yabo ta Childe Hassam a shekarar 1973.  A shekara mai zuwa, sake fasalin aikinta ya yi balaguro zuwa Amurka, wanda ya fallasa aikinta ga yawancin masu tattarawa da abokan ciniki.  Gidan kayan tarihi na Everson a Syracuse, New York ne ya shirya wannan nunin a shekarar 1974.  A cikin shekarar 1975, an ba Hood alhakin ƙirƙirar saiti don "Allen's Landing" don bikin bicentennial na Houston Ballet.  A wannan shekarar, Hood ya nuna a Gidan kayan gargajiya na Kudancin Texas a Corpus Christi.  A cikin 1976, Gidan Tarihi na Royal Ontario a Toronto ya ba da izini ga Hood don ƙirƙirar jerin abubuwan nunin su na "Farin Royal na Rana".  Wani gallery na Toronto, The Marianne Friedland Gallery, ya nuna aikin Hood a lokacin da Gidan Tarihi na Royal Ontario ya ba ta izini.  A wannan shekarar, an nuna aikin Hood a Kunsthalle a Dusseldorf.  A cikin shekarar 1978, gidan kayan tarihi na McNay Art a San Antonio ya gudanar da nunin ayyukan Hood. 

Hood ya rubuta wani yanki don Art Journal a cikin shekarar 1980. Wanda ake yiwa laƙabi da Gano Iyakoki marasa ganuwa, ya mai da hankali kan ra'ayin banza.  Hood ta kuma bayyana cewa tana jin cewa zane-zane na ba da labari, a cikin riko da tsarin lokaci, sun rasa ainihin batun.  A cikin wannan yanki, ta yaba wa Mark Rothko da Georgia O'Keeffe da sauransu yayin da suke "jarumtaka sun ketare iyakokin da ba a iya gani da ba safai ake magana a tsakanin masu fafutuka ba."  Hood ya yaba wa O'Keeffe musamman don haɗawa da wofi da yanayi tare a cikin ayyukanta.  A cikin 1982, an haɗa ta a cikin wani shirin gaskiya game da mata masu fasaha da ake kira Daga Zuciya .  A cikin shekarar 1983, an nuna aikin Hood a Kunstverein a Salzburg.  A cikin shekarar 1985, wani takardun shaida mai nasara game da aikinta, Launi na Rayuwa, Carolyn Farb, wanda ya kasance aboki na dogon lokaci da goyon bayan Hood.   A wannan shekarar, aikin Hood ya yi tafiya zuwa Kenya inda aka nuna shi a baje kolin Majalisar Dinkin Duniya na Focus International.  Aikinta ya haskaka a National Museum of Women in Arts a Washington, DC, da kuma a Laguna Gloria Art Museum a Austin a shekarar 1989.  A cikin 1990, an ba ta digiri na girmamawa daga Makarantar Zane ta Rhode Island . 

 Zane-zane 
Dabarar balagagge ta Hood ta ƙunshi fenti da aka zubar da bambanci da kaifi, adadi na geometric.  Waɗannan balagaggen zane-zane suna da aura na tatsuniya, kuma suna nuna alamun damuwa daga baya game da zane-zane.  Haɗin zanen atomatik da zub da rance zuwa ƙaya na musamman na Hood.  Sa hannu na aikin Hood sune launi, rubutu, tsari, layi, da sikelin.  Ba kasafai ake bayyana goge goge ba a cikin zanen Hood, maimakon haka, motsin fenti ya haifar da hotunan.  Hankalinta na launi ya samo asali akan lokaci. Ta fara da ƙayyadaddun palette kuma daga baya ta fara gwadawa tare da madaidaitan launuka masu haske.  Hood matafiyi ne, na zahiri da na ruhi.  Sakamakon haka, fasaharta ta haɗa da abubuwan ban mamaki da ban mamaki.  Waɗannan suna nuni ga al'amuran halitta.  An ja hankalin Hood zuwa yanayin wuri da mutanen da ke zaune a wannan wuri wanda ke taimakawa wajen sanar da zabin launuka da hotuna.  Ta kira aikinta " shimfidar wuri na psyche na."  Yana da mahimmanci ga Hood cewa fasaharta ta sa masu kallo su ji "abin da ta ji."  Hotunan Hood suna haifar da "rashin hankali na sararin samaniya" kuma aikinta na baya, musamman bayan mutuwar mijinta, ya mayar da hankali kan rashin amfani.  A cikin 1960s zane-zanen Hood ya zama mafi girma kuma ya fi dacewa, halayen da aka haɓaka a cikin shekarar 1970s.  A Houston, ɗakin studio na Hood ya fi girma fiye da ɗakinta a Mexico wanda ya ba ta damar ƙirƙirar manyan ayyuka.  A cikin 1980s, aikinta ya sami wahayi musamman daga 2001: A Space Odyssey da balaguron sararin samaniya.  Wurin ya zama mafi mahimmanci ga Hood, kuma ayyuka irin su Centrifugal Orbit sun haɗa da baƙar fata da bambanci da fari. 

 Zane 
An kuma san Hood da zane-zane. An yi tunanin zane-zane nata "suna nuna zurfin kusanci na [Hood's] girma na ruhaniya da tunani sama da shekaru 30."  An yi amfani da abubuwa masu layi da alamomin halitta a cikin zane-zane na Hood don ƙirƙirar sararin samaniya mai yawa. Daga shekarar 1941 zuwa 1948, zane-zanen Hood galibi yana nuna hotunan kai tare da wani abin tunani, danginta, 'ya'yanta, da dabbobi. Wasu sun nuna yara marasa farin ciki da matalauta a Mexico. Hood ta kasance mai tausayi ga samarin kaɗaici yayin da ta gano tare da su bayan tasowarta kaɗai. Babu iyayenta, ko horar da ita a Makarantar Zane ta Rhode Island da ke da wani tasiri na dogon lokaci akan zanenta.  Ana iya ganin tasirin duka José Clemente Orozco da Edvard Munch a cikin rukunin siffa na zane-zane daga wannan lokacin. Mexiko da surrealism suma sun kasance manyan tasiri akan zanen Hood. Daga shekarar 1949 zuwa 1960, zane-zanen Hood ya haɗa da ƙarin yanayi, yana nuna shuke-shuke da dabbobi, kuma ya zama ƙarami tare da shirye-shiryen sararin samaniya. Waɗannan zane-zanen sun kasance ƙasa da ƙasashen yamma kuma suna yin ishara da al'adun ƴan asalin Amirka na ruhaniya. 

 Ƙungiyoyin 
Hood ta fara haɗin gwiwa a cikin shekarar 1983, shekaru 40 a cikin aikin fasaha.  Yawanci kamar zane-zanen Hood sun ƙunshi tsarin sararin samaniya da yawa,  Ƙungiyoyin ta na amfani da sifofi na musamman na sarari da girma. Ƙungiyoyin Hood suna mayar da hankali kan shekarun sararin samaniya da kuma cybernetics, wanda Hood ya ji ya bar filin sararin samaniya ba tare da daki ga mutane ba. Ta hanyar jituwa, da Kiristanci da Hindu, Hood ya nemi maganin mutane tare da cybernetics.  Yin amfani da kayan rubutu, littattafai da misalai na mujallu, zane-zanenta, taswirori, takarda nade, da jarida, Hood ta binciko tunani da ruhin ɗan adam ta hanyar bayyana gaskiya da ruɗi a cikin rukuninta. 

 Gado 
A cikin shekarar 2015, Texas A&M sun ƙaddamar da nunin da aka yi niyya don zama farkon zurfin bayyani na fasaha da rayuwar Hood.  Baje kolin ya ƙunshi zane-zane 65, da zane-zane 35 da haɗin gwiwa.  Susie Kalil, masanin tarihi na fasaha da ya mayar da hankali kan fasahar Texan na zamani, yana rubuta littafi na farko akan Hood.  A ƙarshen 2016, Gidan kayan gargajiya na Kudancin Texas ya juya yawancin gidan kayan gargajiya zuwa nunin ayyukanta: Dorothy Hood: Launi na Kasancewa / El Color Del Sur.  . 

Hood ya ƙirƙira tarin tarin tarin, kamar waɗanda aka nuna a nunin "Dorothy Hood Collages: Connecting Change" nuni a Wallace Wentworth Gallery a 1988.  Ta sami lambar yabo ta Nasarar Rayuwa daga Ƙungiyar Mata ta Fasaha a cikin 1988.  . .

Hood ya zama ɗaya daga cikin mashahuran masu fasaha na Texas, sananne kamar yadda aka san Texas kafin zane-zane da ke nuna wuraren shakatawa da kaboyi .

 Bayan shekaru da mutuwa 
A ƙarshen shekarar 1990s Hood ta gano cewa tana da ciwon nono kuma ta mutu a cikin Oktoba 2000.  Yawancin fasaharta da ephemera an ba su zuwa Gidan Tarihi na Art na Kudancin Texas a cikin 2000.  Ana gudanar da Takardun Dorothy Hood a Jami'ar Houston Tari na Musamman na Littattafai a Houston, Texas.  Yawancin takardunta, ciki har da litattafai guda takwas da takardu masu yawa na aikinta, suma suna kan microfilm a Archives of American Art a Cibiyar Smithsonian .  An gano wasiƙu da yawa a cikin kayanta, gami da wasiƙun da aka yi musayar su tare da Meredith Long wanda ya gano Hood a Mexico, da Clement Greenberg .  Fayil ɗin mai zane da ke rubuta aikinta ana gudanar da ita a Gidan Tarihi na Fasaha na Amurka na Smithsonian / Laburaren Hoto na Ƙasa na ɗakunan karatu na Smithsonian . 

 Rayuwa ta sirri 
Hood ya auri Bolivian mawaki, José María Velasco Maidana a 1946. Sun yi tafiya tare suna bin ayyukan Maidana tsakanin Mexico City, New York City da Houston har zuwa farkon 1960s.  Maidana ya haɓaka ilimin Hood game da al'adun ƴan asali da na Latin Amurka ta hanyar tafiya.  A wannan lokacin mijinta ya fara nuna alamun cutar Parkinson kuma ba zai iya yin wani abu ba. Sun zaɓi ƙaura zuwa Houston inda za su sami damar samun ingantacciyar kulawar likita. Har ila yau Houston ya ba Hood kasuwar fasaha mafi dacewa don samun abin rayuwa. Hood ta tallafa wa kanta da mijinta har zuwa rasuwarsa a 1989.  Bayan mutuwar Maidana, Hood ta yi kewar mijinta, kuma ta ɗauki zanen "rabo" da zafi. 

 Tari 
Ana wakilta aikin mai zane a cikin manyan tarin kayan tarihi, gami da: 

 Addison Gallery of American Art a Philips Academy, Andover, Massachusetts
 Gidan kayan gargajiya na Kudancin Texas, Corpus Christi, Texas
 Gidan kayan gargajiya na Kudu maso Gabas Texas, Beaumont, Texas
 Jami'ar Baylor, Waco, Texas
 Blanton Museum of Art, Jami'ar Texas a Austin, Texas
 Brooklyn Museum, New York, New York
 Dallas Museum of Art, Dallas, Texas
 Everson Museum of Art, Syracuse, New York
 Maier Museum of Art, Kwalejin Randolph, Lynchburg, Virginia
 McNay Art Museum, San Antonio, Texas
 Gidan kayan gargajiya na zamani, Fort Worth, Texas
 Museo Moderne Arte, Mexico City, Mexico
 Museum of Fine Arts, Houston, Texas
 Museum of Modern Art, New York, New York
 Neuberger Museum of Art ; Sayi Kwalejin Gabas, Siyayya, New York
 Ogden Museum of Southern Art, Louisiana
 Makarantar Gidan kayan gargajiya ta Rhode Island, Providence, Rhode Island
 Philadelphia Museum of Art, Philadelphia, Pennsylvania
 Jami'ar Rice, Fondren Library, Houston, Texas
 San Antonio Museum of Art, San Antonio, Texas
 San Diego Museum of Contemporary Art, San Diego, California
 San Francisco Museum of Modern Art, San Francisco, California
 Santa Barbara Museum of Art, Santa Barbara, California
 Texas A&M Art Galleres, Kwalejin Kwalejin, Texas
 Jami'ar Houston, Houston, Texas
 Jami'ar Mary Washington Galleries, Fredericksburg, Virginia
 Whitney Museum of American Art, New York, New York
 Gidan kayan gargajiya na Worcester, Massachusetts

 Manazarta 

 Hanyoyin haɗi na waje 

Rukuni:Mutuwan 2000
Rukuni:Haihuwan 1919
Rukuni:Shafuka masu fassarorin da ba'a duba ba