阿曼达-威廉姆斯 艺术家和建筑师

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阿曼达-威廉姆斯
艺术家和建筑师 - 2022级
重新想象公共空间，揭示文化和经济价值与种族在建筑环境中交织的复杂方式。


阿曼达-威廉姆斯的肖像
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标题
艺术家和建筑师
隶属关系
无隶属关系
地点
芝加哥，伊利诺伊州
年龄
获奖时为48岁
重点领域
三维视觉艺术, 建筑和环境设计, 二维视觉艺术
网站
awstudioart.com
罗纳-霍夫曼画廊。阿曼达-威廉姆斯
社交网络
画廊
发表于2022年10月12日
关于阿曼达的作品
阿曼达-威廉姆斯是一位艺术家，她使用围绕颜色和建筑的想法来探索种族和建筑环境的交叉点。她的作品将城市规划、分区、发展和撤资影响日常居民生活的方式可视化，特别是在非裔美国人社区。

威廉姆斯的系列作品Color(ed) Theory（2014-2015）体现了一种既是个人又是对当前时刻的回应的艺术创作实践。威廉姆斯与家人和朋友一起，在芝加哥的恩格尔伍德社区秘密地绘制了准备拆除的空房子。他们用一种鲜艳的颜色涂抹每个建筑，这种颜色对于附近以黑人为主的居民来说，有明显的文化关联。Harold's Chicken Shack红色，Ultrasheen conditioner蓝色，Safe Passage黄色。这样做，威廉姆斯创造了社区生活的大胆视觉化，尽管忽视和投资不足导致了这些结构的恶化。这个系列也提出了关于如何确定一个物体或社区的经济、文化和审美价值的问题。威廉姆斯对颜色的调查在她于2020年发起的一个项目中继续进行，该项目名为 "你说这是什么黑？它开始时是一系列Instagram上不同色调的黑色帖子，伴有幽默地评论黑人文化的多样性的文字。该项目发展到包括绘画和一个公共装置。总的来说，这个系列的作品挑战了统一的黑人概念。

威廉姆斯的实践也延伸到了特定场地的装置。在2018年威尼斯建筑双年展上，她与其他两位艺术家合作创作了Thrival Geographies（在我心中我看到了一条线）。数千英尺的编织绳由一个钢架形式支撑和编织，形成一个足以容纳几个人的围墙。该作品唤起了与生活在非洲散居地的黑人妇女有关的庇护所和场所建设的主题。通过《感觉》（2021），威廉姆斯探索了博物馆大厅环境中的空间使用。这个参与性艺术作品在COVID-19大流行期间占据了现代艺术博物馆的主中庭。由于社会疏远协议，通常充斥在中庭的黑色现代主义家具已经被移除。在她的作品中，威廉姆斯把椅子、沙发和长凳带回了空间，但她没有像以前那样放置它们，而是把它们堆成两堆。虽然不再作为座位使用，但新的安排邀请参观者想象空间的其他可能的社会用途。例如，作为工作的一部分，威廉姆斯准备了小型表演的说明，参观者可以在新配置的中庭进行表演。通过多样化和跨学科的实践，将建筑和美学理论应用于真实的社会问题，威廉姆斯正在澄清艺术家在重新想象公共空间方面的作用。

个人简历
阿曼达-威廉姆斯获得了康奈尔大学的建筑学学士学位（1997年）。她的作品曾在纽约现代艺术博物馆、芝加哥当代艺术博物馆、纽约史密森尼设计博物馆库珀-休伊特、芝加哥艺术学院、纽约艺术与建筑店面以及威尼斯建筑双年展等国内和国际场所举办过个展和联展。




Amanda Williams
Artist and Architect | Class of 2022
Reimagining public space to expose the complex ways that value, both cultural and economic, intersects with race in the built environment.


Portrait of Amanda Williams
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Title
Artist and Architect
Affiliation
Unaffiliated
Location
Chicago, Illinois
Age
48 at time of award
Area of Focus
3-D Visual Art, Architecture and Environmental Design, 2-D Visual Art
Website
awstudioart.com
Rhona Hoffman Gallery: Amanda Williams
Social
Instagram
Published October 12, 2022
ABOUT AMANDA’S WORK
Amanda Williams is an artist who uses ideas around color and architecture to explore the intersection of race and the built environment. Her works visualize the ways urban planning, zoning, development, and disinvestment impact the lives of everyday residents, particularly in African American communities.

Williams’s series Color(ed) Theory (2014–2015) exemplifies an artmaking practice that is both personal and responsive to the current moment. Williams, along with family and friends, covertly painted empty houses slated for demolition in Chicago’s Englewood neighborhood. They painted each structure in one vibrant color with cultural associations immediately apparent to the neighborhood's predominantly Black residents: Harold’s Chicken Shack red, Ultrasheen conditioner blue, Safe Passage yellow. In so doing, Williams created bold visualizations of community life in the neighborhood, despite the neglect and disinvestment that contributed to the structures’ deterioration. The series also poses questions about how economic, cultural, and aesthetic value of an object or community is determined. Williams’s investigation of color continued in a project she initiated in 2020 entitled What black is this you say? It began as a series of Instagram posts of different hues of black accompanied by text that humorously comments on the variedness of Black culture. The project evolved to include paintings and a public installation. Taken together, the works in this series challenge notions of a uniform Blackness.

Williams’s practice also extends to site-specific installations. For the 2018 Venice Architecture Biennale, she created Thrival Geographies (In My Mind I See a Line) in collaboration with two other artists. Thousands of feet of braided cord are supported by and woven around a steel frame form, creating an enclosure large enough to accommodate several people. The work evokes themes of shelter and placemaking as they pertain to Black women living in the African diaspora. With Embodied Sensations (2021), Williams explores the use of space in a museum lobby setting. This participatory artwork occupied the main atrium of the Museum of Modern Art during the COVID-19 pandemic. Due to social distancing protocols, the black modernist furniture that typically fills the atrium had been removed. For her work, Williams brought the chairs, sofas, and benches back to the space, but instead of positioning them as they had been, she stacked them into two piles. While no longer useful as seating, the new arrangement invited visitors to imagine other possible social uses for the space. For example, as part of the work, Williams prepared instructions for mini performances that visitors could enact in the newly configured atrium. Through a diverse and interdisciplinary practice that brings architectural and aesthetic theory to bear on real social problems, Williams is clarifying the role of the artist in reimagining public space.

BIOGRAPHY
Amanda Williams received a BArch (1997) from Cornell University. Her work has been exhibited in solo and group exhibitions at such national and international venues as the Museum of Modern Art, New York; the Museum of Contemporary Art, Chicago; Cooper Hewitt, Smithsonian Design Museum, New York; the Art Institute of Chicago; Storefront for Art and Architecture, New York; and the Venice Architecture Biennale.