a matter of trust by maria castagliola castagliola constructed this piece out of sealed envelopes,...
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A Matter of Trust by Maria Castagliola
Castagliola constructed
this piece out of sealed
envelopes, each
containing a secret donated
by another member of the
Cuban community in Florida. These
secrets, a symbol of the
trust that binds the immigrant community,
are protected between fiberglass screens.
Latino Migration
Virgen de los Caminos by Consuelo Jiménez Underwood
The central image in this quilt is the Virgin of
Guadalupe, a figure travelers
pray on dangerous journeys.
Barbed wire crosses the
quilt, symbolizing borders and
barriers.
Hidden in the stitching are a running family and the word,
“Caution.”
Latino Migration
Where Tears Can't Stop by Carlos Alfonzo
Alfonzo combines
teardrops and religious
symbols into an artwork
representing the fear and
hardship he experienced
when emigrating from Cuba and suffering from
AIDS.
The piece is constructed of
several pieces of canvas sewn
together, perhaps evoking
an AIDS quilt, and painted roughly as
though in a state of high emotion.
Latino Migration
Our Lady of Guadalupe by Pedro Antonio Fresquís
The Virgin of Guadalupe
represents the essential and unifying force for all Mexican
Americans.
She is ubiquitous: she
appears not only on altars in churches
and in homes across the
Southwest, but also in
restaurants and beauty parlors, on automobile
decals, murals, and tattoos.
Latino Religious Influence
Devoción de Nuevo México by Charles M. Carrillo
This altar is a contemporary adaptation of the type of
decorated altars that have graced the
interiors of small churches in New
Mexico for hundreds of
years.
Dr. Carrillo, an anthropologist,
employed nineteenth-
century carpentry
techniques and pigments made from minerals,
plants, and clays as he revived
the traditions of early New
Mexico religious art.
Latino Religious Influence
El Chandelier by Pepón Osorio
Osorio’s artwork is
often about transformation.
He has covered this chandelier
with objects that relate to
the lives, traditions, and identity of a Latino family including toys and religious
objects.
Latino Religious Influence
¡Guerra! By Arturo Alonzo Sandoval
This artwork, titled War
combines the imagery of the American flag
with a question about the 500
years of conflict in the
Americas since the arrival of Columbus.
Plastic skeletons are
woven into the netting that
makes up the stripes of the
flag.
Latino Hardship
Sun Mad by Ester Hernandez
This poster transforms a recognizable
brand image to protest unfair treatment for farm workers.
Latino Hardship
Political Prisoner by Rupert Garcia
This striking image of a
political prisoner shows a figure whose
mouth is bound—a literal and
metaphorical limitation of
freedom.
Latino Hardship
Camas para Sueños (Beds for Dreams) by Carmen Lomas Garza
Garza painted herself as a
child, sitting on the roof of her house with her sister as they both dream about being
artists.
Latino Hope for the Future
Farm Workers' Altar by Emanuel Martinez
Cesar Chavez, who founded the United
Farm Workers Union in 1963,
marked the end of his 25-day hunger
strike in support of the farm workers'
struggle in Southern
California by celebrating Mass with
Robert Kennedy in front of this
altar.
Latino Hope for the Future
Drawing for Southwest Pieta by Luis Jiménez
This preparatory
drawing for a public
sculpture in Albuquerque is
based on an Aztec myth.
References to Aztec culture
are a common element in Latino art.
Latino Cultural Pride
Vaquero by Luis Jiménez
The origin of the American cowboy is the
Mexican vaquero.
Jimenez modernized
the conventional equestrian
sculpture of a hero to add his own heritage
to public sculpture.
Latino Cultural Pride
Tapestry Weave Rag Jerga by Agueda Martínez
Martínez’ woven designs incorporate the
influence of many cultures,
including Navajo and
Pueblo Indians and Spanish
Settlers.
Latino Cultural Pride
Kiowas Moving Camp by Stephen Mopope
This mural study for the
federal building in Anardarko,
Oklahoma includes a scene of a
Kiowa family organized to move camp.
The Kiowa nation is
historically a nomadic hunter-gatherer culture
that travelled with the buffalo. Today there are
about 14,000 members of the Kiowa Tribe in
Oklahoma.
Native American Migration
Untitled, from the portfolio Indian Self-Rule by Jaune Quick-To-See Smith
The buffalo are an important
symbol to many Indian nations.
Some tribes moved with the buffalo and all took care to preserve the
herds. Westward expansion
endangered the buffalo and moved the
people off those lands.
This print combines
image of the buffalo and the
stars and stripes of the
American flag.
Native American Migration
Kiowa Buffalo Dancer by James Auchiah
Dance is an important part
of Native American
ritual. Some are sacred,
some celebrate victories, and some express
sorrow.
For the Kiowas, the Buffalo
Dance is a war dance. The
buffalo was an important
animal in many Indian cultures
and buffalo dances can
mean different things for
different tribes.
Native American Religious Influence
Yeibichai Dancers with Medicine Man and Patient by Tom Yazzie
This sculpture depicts a
sacred Navajo ceremony
requiring six men, six
women, and two dancers representing ritual figures.
The community
works together through dance
to allow the medicine man
to heal someone in
need.
Native American Religious Influence
Kiowa Year 1849 by N. Scott Momaday
This print is inspired by the
traditional Winter Count
calendar system where symbols are
entered representing
the most significant
event of each year . The
cholera epidemic of
1849, brought by westward travellers, is
still remembered
as the hardest year in Kiowa
history.
Native American Hardship
That Is No Longer Our Smoke Sign by Justino Herrera
Herrera draws a connection
between the stereotypical smoke signal, never a part of Pueblo culture,
and the mushroom cloud
of a nuclear bomb, invented in Los Alamos, New Mexico.
The figures and buildings
represent forces that have tried
to change Pueblo culture, including the church, the
federal government,
and the public schools.
Native American Hardship
Story Teller by Velino Shije Herrera
This image explores the relationship
between tradition and
change in Pueblo Indian
life. Traditions, in the form of
stories, are still passed down
through generations.
The use of gouache,
however, is a European
method that the artist was
taught through classes funded by the federal government.
Native American Hope for the Future
Reservation Scene by Louise Nez
This weaving is a memory
scene of the artist’s life on a reservation
in Arizona.
Native American Cultural Pride
State Names by Jaune Quick-To-See Smith
This map of the Americas
shows only the many place names with origins in
Native American
languages.
The borders, imposed by
other cultures, are blurred and erased by the dripping paint.
Native American Cultural Pride
Street Life, Harlem by William H. Johnson
The Great Migration
created a new urban African
American culture,
centered in Harlem.
African American Migration
Escape by Jacob Lawrence
This archetypal image of
escape depicts a powerful
figure, arms outstretched, guiding a line
of huddled figures through a threatening
landscape past monsters
lurking in the shadows.
Lawrence’s imagery recalls
biblical and historical
struggles for freedom.
African American Migration
Harriet Tubman by William H. Johnson
Johnson included Harriet
Tubman, heroine of the Underground
Railroad, in his series of works dedicated to
African American heroes.
Here she wears a dress
inspired by the American flag.
African American Migration
Angels Appearing before the Shepherds by Henry Ossawa Tanner
Tanner’s religious
subject matter stems from his upbringing in a
devout Christian family and his father,
who was a bishop in the
African Methodist
Episcopalian Church.
As a highly acclaimed
artist, Tanner became a
symbol of hope and inspiration
for African American
leaders and young black
artists.
African American Religious Influence
I Baptize Thee by William H. Johnson
Sunday suits and best
dresses evoke a Baptist
congregation in a rural
community. Nearer the
viewer, however, the
strong profiles, closed eyes,
and exaggerated
hands and feet recall African art and older
rituals of faith.
African American Religious Influence
The Throne of the Third Heaven… by James Hampton
Praised as America's
greatest work of visionary art,
Hampton's Throne reveals one man's faith in God as well as his hope for
salvation.
Hampton worked for more than
fourteen years on his
masterwork in a rented garage. The Throne and
all of its associated
components are made from discarded
materials and found objects.
African American Religious Influence
The Janitor Who Paints by Palmer Hayden
Some of the objects in this room refer to the identity of the man as an
artist and some to his job as a
janitor.
Palmer Hayden took odd jobs and custodial
work while pursing his
artistic career but said that
this scene was a tribute to his friend Cloyde
Boykin, who was never
recognized “because no one
called him a painter; they called him a
janitor.”
African American Hardship
We Shall Overcome by Loïs Mailou Jones
Allusions to positive
aspects of African
American history and
culture greatly overshadow the negative.
Martin Luther King Jr. and
Jesse Jackson are given the
greatest weight in the composition.
African American Hardship
Evening Rendezvous by Norman Lewis
The abstract dabs of white
emerging from a gray twilight
are hooded Klansmen, gathered around a bonfire
suggested by the hot reds at the center of the image.
The combination of red, white, and blue mocks the patriotism that
the Klan claimed in its
defense.
African American Hardship
Landscape with Rainbow by Robert S. Duncanson
This idyllic landscape
shows a couple walking
towards a welcoming
cottage, smoke coming from the chimney,
that sits at the foot of a rainbow.
Painted in 1859 by an artist
whose patrons were
abolitionists, it’s possible
that this painting
represents hope for a
future free from war and slavery.
African American Hope for the Future
Family by Romare Bearden
The colors, patterns, and overlapping
shapes of this collage add to the sense of
family connection. Elements of
the composition,
with the eldest generation
seated at the center, echo recognizable
family pictures from many cultures.
African American Hope for the Future
"Men exist for the sake of one another…” by Jacob Lawrence
This painting was inspired
by the Meditations of
Marcus Aurelius:
“"Men exist for the sake of one another. Teach them then or
bear with them."”
African American Hope for the Future
Les Fétiches by Loïs Mailou Jones
Jones found artistic and intellectual freedom in France.
When her Paris teachers
questioned the African themes
in her paintings,
Jones answered readily: if
masters like Matisse and
Picasso could use them, she
said, "don't you think I should?"
African American Cultural Pride
Empress of the Blues by Romare Bearden
This is Bearden’s portrait of
Bessie Smith, one of the
most famous blues singers of the 1920s.
The origins of blues music
can be traced back to the
music of slaves. What started out as affirmations and prayers
were lengthened
into songs with repetitive choruses.
African American Cultural Pride
Self-Portrait by Malvin Gray Johnson
Like many artists of the
Harlem Renaissance, Malvin Gray
Johnson simplified the forms of his subjects and occasionally emphasized
his African past by including
African imagery in his
paintings.
African American Cultural Pride
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