Bethany Collins

Bethany Collins (amuru 1984 Montgomery, Alabama) bu onye omenkà America.  [1] Ọ nzere nzere bachelọ nke Arts na Mahadum Alabama na 2007, yana Master of Fine Arts na Mahadum Georgia State na 2012.  onye isi ya akwụkwọ akwụkwọ ọkọwa okwu, akwụkwọ, akwụkwọ nkà ihe, akwụkwọ , wdg 

  N'asụsụ ya, Collins ụdị ka ntolite ụdị ụdị na ndịda kpalitere mbụ mbụ mbụ ya iji na akwụkwọ ochie ọrụ, iji ihe eji eme ihe.  Ọ na-akọ ndị mmadụ mgbe niile na-eche na ya na akara ya akara njikọ, yana otu nke ahụ si eduga eduga egosi nke ya, n'ihi na ndị ọzọ ụma ike mịra ngwa ngwa na ọnụọgụgụ.  Ọka ọrụ dị ka "mgbara ọzọ ịnya ihe n'ụdị oji/ọcha nke ire na South America".

Collins tolitere na chọọchị Presbyterian nke ga-emesị nwee mmetụta dị ukwuu n'ọrụ ya. Ụka ya ga-enwe ọgụgụ Akwụkwọ Nsọ awa 72, ebe ụmụaka ga-edebanye aha maka oge ma gaa n'ihu na-agụ akwụkwọ ruo mgbe onye na-agụ na-esote ga-apụta iji belata ha. Ihe mara mma nke a nye ya, bụ na ọ dịghị onye na-anọkarị na chọọchị ịnụ ka ha na-agụ, "edemede dị nsọ ka kwesịrị ịgụghachi azụ n'ụwa, ọbụna mgbe ọ dịghị onye na-ege ntị". Echiche ahụ tinyere n'ime ụdị nka ọ na-arụ ugbu a. 

## Ọrụ na ihe ngosi
Collins guzosiri ike wee bụrụ onye amara nke ọma maka ebumnuche ọrụ ya n'oge na-adịbeghị anya, akụkọ ọ bụla na-egosipụta ya na-akọwa ya n'ezie dị ka "onye na-ese ihe dị iche iche nke ọrụ echiche ya na-akwalite site na nyocha dị oke mkpa banyere otú agbụrụ na asụsụ si emekọrịta."  A maara ya maka otu esi etinye usoro okike ya n'ụzọ anụ ahụ, na-arụ ọrụ ruo mgbe ọ na-ewute ya nke ukwuu ịga n'ihu. Ụdị ya pụrụ nnọọ iche, ọ nwetawokwa nkwanye ùgwù dị ukwuu na nkwado maka ya.

Anyere ya na ihe ngosi njem 2019 na-eto eto, ndị nwere ikike, na ndị ojii: mkpokọta Lumpkin-Boccu nke Art Contemporary .  [1] O nyere onyinye America: Hymnal na ihe ngosi 2021 Jacob Lawrence: M gbakọtara America na mkpokọta Phillips na Washington DC

Collins ọrụ, *The Aeneid 1876 / 1990* (2022), gụnyere na Art Dealers Association of America (ADAA) 60th ncheta Art Show na ọdịda nke 2022. 

N'ọgwụgwụ 2022 ruo mmalite 2023, ọrụ Collins gụnyere n'ime ihe ngosi otu na The Print Center nke New York, "Visual Record: The Materiality of Sound in Print," nke Elleree Erdos chepụtara.  

Ọrụ ya bụ nchịkọta nke Studio Museum na Harlem ebe ọ bụ Artist-in-Residence site na 2013 ruo 2014

## Na-arụ ọrụ

* *White Noise* (2010) Series
** Including the works: "*Don't You Think That's a Little Elitist?*", 2010, "*Maybe You Should Make It Into a Slaveship"*, 2010, "*Do People Ever Think You're White?*" III, 2011, "*It Was So Much More Intellectual Before You Told Me That*", 2011, "*(Unrelated)*", 2012, "*I Wish I Was Black*", 2012, and "*(Unrelated)", 2012*
*** Being the only person of color in the MFA program at Georgia State University, Collins often experienced "awkward" conversations whenever discussing race and racial identity. During a critique of her mixed media piece, "*Provin It"*, which consisted of overlapping brown paper bags with single black brushstrokes displayed on each one, Collins was asked "Don't you think that's a little elitist?". This piece was in reference to Brown Paper Bag Test, and her classmates felt that because they had never heard of it before, they were being excluded from its meaning. After this, more questions about Collins work continued to emerge, such as people suggesting "*Maybe You Should Make It Into a Slaveship"* in order for the narrative to be more easily accessible. Eventually, the *White Noise* series continued and questions from outside of Collins' graduate school experience were included. She describes these questions and statements from others to be "made by those attempting to isolate a simple solution to the binary paradigm or race in the U.S. and thus neatly decipher my own racial background".
* *The Odyssey* (2018–present)
** This series consists of differing translations of *Odyssey,* erased to only leave one sentence legible in each, all presented side by side.
*** In this body of work, Collins erased each line by hand using her own saliva. Each phrase comes from the moment in the epic when Odysseus finds himself abandoned onshore but is unable to recognize his homeland.
* *The Star Spangled Banner: A Hymnal* (2020)
** This series consists of three charcoal and acrylic paintings, each featuring lyrics from different versions of The Star-Spangled Banner.
*** This series seeks to bring to light the various forgotten lyrics of past versions of the national anthem. Collins researched 100 different versions of the national anthem, binding each anthem variation into a single book, and used a laser to cut out each musical note. The work itself is a retelling of American history, from varying perspectives, each trying to define its own version of what it means to be American. Collins includes versions that have been used to support different political causes, including the Confederacy, all the way up to the Women's Suffrage movement. In an article from *The Art Newspaper,* Collins describes this series as something that "challenges the notion of a cohesive American Identity". In discussing the process in which Collins made this series and worked with the physical texts, she explains that the smudges, burn marks, and smell are all important parts of her work, and that "the more the book is read and the pages turned, the more complicated and messy the work becomes". As Margaret Carrigan, the author of *The Art Newspaper* article wrote, the work is "fragile - not unlike the democratic ideals every version of the song is meant to celebrate".
* *The Aeneid: 2017 / 2020* (2022)
** This is a continuation of Collins *Odyssey* series.
*** In this work, she compares translations of Aeneid, when Aeneas is lost at sea. She features the same passage from separate translations, the first from 2017, "Violently we're blown off course and wander blindly through boiling waves", and the second from 2020, "Off course, we flail, with nothing left to reckon by". In an article from Patron gallery, these works are analyzed as "a speculative narrative arc analogous to our national political climate, one that denotes a people lost at sea."
* *The Dixie of Our Union* (2022)
** This series consists of ten parts on paper in reference to the song Dixie (song), also known of the anthem of the Confederacy.
*** This work is a re-imagination of Collins' *Dixie's Land* (1859-2001) which she created in 2019-2020. Each version features charcoal drawings of police deploying tear gas onto protesters after the murder of George Floyd, over the sheet music. In this series, Collins only uses versions of the song used by the Union. As analyzed in an article from Patron gallery, "this choice is an attempt to connect *Dixie* not just to the South, but to the rest of the nation." In her interview with Patron, Collins explains, "As for these American songs, the lyrics shifting are an attempt to describe who we are even in its most inherent contradictions, who we are at any given moment."
* *Auld Lang Syne* (2022)
** This is a sound installation accompanying *The Star-Spangled Banner* series and *The Dixie of Our Union* series at Collins exhibition at Patron Gallery.
*** This installation consists of fifty-one versions of Auld Lang Syne being sung at the same time, by five different singers. The focus is on the version that was historically sung by British soldiers during World War I. The melody remains the same, even as the lyrics change, which Collins describes as "familiar chaos".

## Mmetụta
N'etiti 2021, na-esochi ogbugbu nke Breonna Taylor, ewepụtara ihe ngosi *ngosi, akaebe, ncheta* na Speedlọ ihe ngosi nka Speed na Louisville. Collins bụ otu n'ime ndị na-ese ihe ole na ole e gosipụtara. A na-eji ọrụ Collins gosi na ịkụziri ndị mmadụ echiche America, ntọala ya, akụkọ ihe mere eme, na nkwa ndị na-abịa na akara nke ndị ya na-akwado ịbụ ndị nnọchiteanya. A na-ejikwa ọrụ ya na-akpọ ndị mmadụ ka ha hụ ihe na-eme ugbu a na obodo America, nkwa ndị na-emezughị. N'ikpeazụ, ọ bụ cementing oké egwu analysis nke iri afọ ochie ịkpa ókè agbụrụ na-aga n'ihu na-adị n'oge a na-eme ememe iconography na song, imeghe ndị mmadụ anya na hụ na, kasị mma o nwere ike, na ndị dị ka Breonna Taylor agaghị echefu. 

## Ntụaka

{{DEFAULTSORT:Collins, Bethany

## Njikọ mpụga

* Mkparịta ụka nka nka nke cerebral na Bethany Collins
* Njirimara PBS nke ''Nkwa ahụ, Onye akaebe, ihe ngosi ncheta''
* https://patrongallery.com/exhibition/285/cadence Ajụjụ ọnụ Patron Gallery na Bethany Collins

Òtù:Mmadụ ndi di ndụ