Candida Alvarez: Circle, Point, Hoop
El Museo del Barrio presents Candida Alvarez: Circle, Point, Hoop, the first large-scale museum survey of artist Candida Alvarez (b. 1955, Brooklyn, New York). This exhibition examines Alvarez鈥檚 artistic practice, bringing together rarely seen works spanning five decades of her career.
Alvarez鈥檚 engagement with painting, drawing, and collage has uniquely advanced a non hierarchical relationship between abstraction and figuration, thoughtfully interweaving formal exploration, personal narrative, and conceptual strategies. Alvarez emerged in the New York art scene of the late 1970s, focusing on figurative artworks that directly referenced her experience as a female Diasporican artist in a predominantly white male art world. By the 1990s, Alvarez starts to incorporate conceptual strategies, which embraced the use of games, language, and other representational systems while also exploring materials and forms.
The sections within the exhibition demonstrate how the artist鈥檚 core formal and conceptual tropes emerged from specific bodies of works and particular moments of her career. The exhibition鈥檚 title, which is drawn from a 1996 artwork, evokes the recurrent theme of circles in her work and the symbolic and literary interplay that shapes Alvarez鈥檚 multidisciplinary practice.
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El Museo del Barrio presents Candida Alvarez: Circle, Point, Hoop, the first large-scale museum survey of artist Candida Alvarez (b. 1955, Brooklyn, New York). This exhibition examines Alvarez鈥檚 artistic practice, bringing together rarely seen works spanning five decades of her career.
Alvarez鈥檚 engagement with painting, drawing, and collage has uniquely advanced a non hierarchical relationship between abstraction and figuration, thoughtfully interweaving formal exploration, personal narrative, and conceptual strategies. Alvarez emerged in the New York art scene of the late 1970s, focusing on figurative artworks that directly referenced her experience as a female Diasporican artist in a predominantly white male art world. By the 1990s, Alvarez starts to incorporate conceptual strategies, which embraced the use of games, language, and other representational systems while also exploring materials and forms.
The sections within the exhibition demonstrate how the artist鈥檚 core formal and conceptual tropes emerged from specific bodies of works and particular moments of her career. The exhibition鈥檚 title, which is drawn from a 1996 artwork, evokes the recurrent theme of circles in her work and the symbolic and literary interplay that shapes Alvarez鈥檚 multidisciplinary practice.
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