Dl alvarez biography of barack
Home / Related Biographies / Dl alvarez biography of barack
Hung on the wall in two deflated halves, however, this 'dead' pantomime horse embodies a sense of sadness and defeat, like the hide of a hunter's kill (or a preserved carcass by Damien Hirst), displayed as a macabre trophy. A series of horse drawings display Alvarez' impressive rendering skills, although he makes sure to include visible erasure marks and often only half-completes the images, overlaying a sketch's raw outline with another.
For one of the projects in this chapter Alvarez is collaborating again with writer Kevin Killian and the San Francisco Poet’s Theater.
2007—2011
Teaching, cooking, and embracing the aesthetics of photo-copied punk flyers from the 80s, as well as the shifts in the cultural scene in New York from 1978 to 1983.
2002—2007
Working on a series of solo and collaborative projects focused on the effects on Los Angeles specifically, and California in general, of the infamous Tate-Labianca murders, which gave the Sixties such a brutally symbolic ending in August 1969.
2002—2004
Under the collaborative name, PP, Alvarez and fellow Berliner Gwenaël Rattke created a series of installations, curated film evenings, launched the first ever Porno Karaoke, did a poster project, produced various printed matter, and co-authored a play about musician and pastry chef Klaus Nomi with Kevin Killian, which was performed by the San Francisco Poets Theater.
1994—2002
A preoccupation with urbanites' relationship with nature, and specifically with how public parks double as gay cruising sites—as well as the history of those relationships (between the non-sexual park goers and the cruisers, the park and its visitors, etc.)—was the muse for many of the drawings and Super-8 films created in this time frame.
EARLY WORK
Alvarez's earliest works were time-based performances going from three hours to three months.
This background continues to inform and resurface throughout the span of his art-making.
Alvarez' series of bird portraits recall traditional Chinese paintings of birds in which artists attempted to capture the essence of a creature rather than its anatomical correctness.
These are rendered in a pixelated style and depict sequential stills from the pivotal closet scene in John Carpenter’s 1978 slasher horror film Halloween. Because Alvarez leaves these drawings unfinished, he also infuses them with a pervasive sense of unrest and unease.
The show includes other unsettling elements: a delicate, folded skeleton of a bird and an outline of a horse, both meticulously hand-cut from paper, as well as fragile cobwebs spun out of granulated sugar and placed under glass on the gallery floor.
We watch, laughing, when it dawns on us how difficult it must be for the costume-wearers to breathe. In an installation a few years ago, What I Was Wearing (1997), he wrapped a balustrade with shreds of his clothes which he had daily ripped from his body, like a live-action, slo-mo performance of Duchamp's Nude Descending a Staircase (1912). Their film work screened in the 48th Venice Biennale, their drawings are in the collections of the Whitney Museum of American Art, the MoMA in New York, and San Francisco MOMA.
Group shows include the San Francisco Museum of Modern Art, San Francisco; The Drawing Center, New York; The Whitney Museum, New York; New Museum, New York; and the Hammer Museum, Los Angeles.
HISTORICAL NARRATIVE AS MEDIUM
2015—through the present
Looking at the shift from the 60s to the 70s in humor stylizations: in network variety shows, stand-up acts, and cartoons and jokes in printed matter.
2011—2014
Examining pedagogy and cinema: in particular the relationship of the two from 1955, the year Sidney Poitier had his first breakthrough role as a student in a Bronx school of juvenile delinquent boys in Blackboard Jungle, through 1967, when that same actor was at the top of his game, playing a teacher in a script that borrowed the same formatting.
The birds are dandified, wearing human accessories such as a brocade vest or a bowler hat; although cartoony, the drawings imply that materialistic references are the only way to understand a creature's 'essence'. He is also known for his elaborate, hand-drawn paint-by-number scenes, in which numbers correspond not to colours but to words such as 'weapon' or 'white lies'.
In this show, which was entitled 'Chorus', Alvarez - using objects, drawings and videos - addressed the absurdity of humankind's attempt to mimic or alter nature simply because we think we can.
Like a refrain or a chorus, two images recur throughout the show: the pantomime horse (a two-part costume worn by a team of actors) and realistic bird portraits, à la Audobon.
One handmade horse costume is titled Patches (all works 1999), the sort of cutesy name a young, horse-crazy girl might call her steed.
In the video Sugar two people wear the costume and flail about with slapstick movements.
Often highly conceptual, Alvarez’ drawings and installation works are intelligently macabre, delving into critical complexities of race, sexuality and social structure.
Articles copied from Draft Namespace on Wikipedia could be seen on the Draft Namespace of Wikipedia and not main one.
D-L Alvarez
Known for ghostly, almost menacing graphite images that use pixilation and intricate hatching to blur the faces of his subjects, the work of artist D-L Alvarez is inspired by queer politics, Bauhaus assemblage and classic “slasher” films.
In general though, his work displays a subversive intellectual rigour and a refreshing attention to technique.
DL Alvarez (born: Darrell-Lynn Alvarez, also known as D-L Alvarez) is a Mexican-American visual artist working in sculpture, prose, performance, film, video, but are best known for their drawings which represent landmark moments in film and history from queer perspectives.
Alvarez' oeuvre often conjures the spirit of his Conceptual predecessors. In one such series, the artist renders elaborate, constructed horse costumes, hung on the wall, adorned in small sweaters, or rendered in anatomically correct plastic.