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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.

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Presentation on theme: "A Matter of Trust by Maria Castagliola Castagliola constructed this piece out of sealed envelopes, each containing a secret donated by another member."— Presentation transcript:


2 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. LatinoMigration

3 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. LatinoMigration

4 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. LatinoMigration

5 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. LatinoReligious Influence

6 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. LatinoReligious Influence

7 El Chandelier by Pepón Osorio Osorios 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. LatinoReligious Influence

8 ¡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. LatinoHardship

9 Sun Mad by Ester Hernandez This poster transforms a recognizable brand image to protest unfair treatment for farm workers. LatinoHardship

10 Political Prisoner by Rupert Garcia This striking image of a political prisoner shows a figure whose mouth is bounda literal and metaphorical limitation of freedom. LatinoHardship

11 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. LatinoHope for the Future

12 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. LatinoHope for the Future

13 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. LatinoCultural Pride

14 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. LatinoCultural Pride

15 Tapestry Weave Rag Jerga by Agueda Martínez Martínez woven designs incorporate the influence of many cultures, including Navajo and Pueblo Indians and Spanish Settlers. LatinoCultural Pride

16 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 AmericanMigration

17 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 AmericanMigration

18 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 AmericanReligious Influence

19 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 AmericanReligious Influence

20 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 AmericanHardship

21 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 AmericanHardship

22 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 AmericanHope for the Future

23 Reservation Scene by Louise Nez This weaving is a memory scene of the artists life on a reservation in Arizona. Native AmericanCultural Pride

24 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 AmericanCultural Pride

25 Street Life, Harlem by William H. Johnson The Great Migration created a new urban African American culture, centered in Harlem. African AmericanMigration

26 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. Lawrences imagery recalls biblical and historical struggles for freedom. African AmericanMigration

27 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 AmericanMigration

28 Angels Appearing before the Shepherds by Henry Ossawa Tanner Tanners 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 AmericanReligious Influence

29 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 AmericanReligious Influence

30 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 AmericanReligious Influence

31 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 AmericanHardship

32 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 AmericanHardship

33 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 AmericanHardship

34 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, its possible that this painting represents hope for a future free from war and slavery. African AmericanHope for the Future

35 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 AmericanHope for the Future

36 "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 AmericanHope for the Future

37 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 AmericanCultural Pride

38 Empress of the Blues by Romare Bearden This is Beardens 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 AmericanCultural Pride

39 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 AmericanCultural Pride

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