a matter of trust by maria castagliola castagliola constructed this piece out of sealed envelopes,...

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.


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.


¡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.


Tapestry Weave Rag Jerga by Agueda Martínez

Martínez’ woven designs incorporate the

influence of many cultures,

including Navajo and

Pueblo Indians and Spanish

Settlers.


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.


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.


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.


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.


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.


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.


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.


"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."”


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.


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.


a matter of trust by maria castagliola castagliola constructed this piece out of sealed envelopes,...

Documents

latinohardship slide

latinomigration slide

future slide

latinocultural pride

native americanmigration

buffalo dances

kiowa buffalo dancer

farm workers altar