All artworks are by artists from the culture in question, not artists representing an outside view of that culture, unless otherwise specified. Not all.

All artworks are by artists from the culture in question, not artists representing an outside view of that culture, unless otherwise specified. Not all artworks are on view in the museum. Migration Religious Influence Hardship Hope for the Future Cultural Pride

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. A Matter of Trust 1994 Maria Castagliola Born: Havana, Cuba 1946 paper on fiberglass screen with cotton thread 72 x 72 x 1/8 in. (183.0 x x .3 cm.) Smithsonian American Art Museum Gift of the artist A Matter of Trust by Maria Castagliola 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.” Virgen de los Caminos 1994 Consuelo Jiménez Underwood Born: Sacramento, California 1949 embroidered and quilted cotton and silk with graphite 58 x 36 in. (147.3 x 91.4 cm.) Smithsonian American Art Museum Museum purchase Virgen de los Caminos by Consuelo Jiménez Underwood 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. Where Tears Can't Stop 1986 Carlos Alfonzo Born: Havana, Cuba 1950 Died: Miami, Florida 1991 acrylic on canvas 95 3/4 x 128 1/4 in. (243.2 x cm.) Smithsonian American Art Museum Museum purchase made possible by the American Art Forum Where Tears Can't Stop by Carlos Alfonzo 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. Our Lady of Guadalupe ca Pedro Antonio Fresquís Born: 1749 Died: 1831 water-based paint on wood 18 5/8 x 10 3/4 x 7/8 in. (47.3 x 27.3 x 2.2 cm.) Smithsonian American Art Museum Gift of Herbert Waide Hemphill, Jr. and museum purchase made possible by Ralph Cross Johnson Our Lady of Guadalupe by Pedro Antonio Fresquís 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. Devoción de Nuevo México/Devotion of New Mexico 1998 Charles M. Carrillo Born: Albuquerque, New Mexico 1956 gesso and natural pigments on pine 96 1/2 x 60 x 21 3/4 in. (245.1 x x 55.3 cm.) A (altar): 90 5/8 x 60 x 21 3/4 in. (230.2 x x 55.3 cm.) B (altar top): 14 3/4 x 50 7/8 x 1 3/8 in. (37.5 x x 3.5 cm.) C (curtain rod): 16 7/8 x 1/4 in. (43.0 x .5 cm.) diam. D (curtain): 43 7/8 x 32 1/2 x 1/8 in. (111.5 x 82.7 x .3 cm.) Smithsonian American Art Museum Museum purchase made possible by William T. Evans and the Smithsonian Institution Collections Acquisition Program A-D Devoción de Nuevo México by Charles M. Carrillo 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. El Chandelier 1988 Pepón Osorio Born: San Juan, Puerto Rico 1955 functional metal and glass chandelier with plastic toys and figurines, glass crystals, and other objects 60 7/8 x 42 in. (154.6 x cm) diam. Smithsonian American Art Museum Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program El Chandelier by Pepón Osorio 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. ¡Guerra! 1993 Arturo Alonzo Sandoval Born: Española, New Mexico 1942 hand and machine stitched flag, fabric, netting, paint, plastic skeletons, cloth letters, colored and monofilament threads, nylon rope, rayon fringe, eyelets and Velcro 58 1/2 x 97 x 1 in. (148.6 x x 2.5 cm) Smithsonian American Art Museum Gift of the James Renwick Alliance ¡Guerra! By Arturo Alonzo Sandoval Latino Hardship

Sun Mad by Ester Hernandez
This poster transforms a recognizable brand image to protest unfair treatment for farm workers. Sun Mad 1982 Ester Hernandez Born: Dinuba, California 1944 serigraph on paper sheet: 22 x 17 in. (55.9 x 43.2 cm) Smithsonian American Art Museum Gift of Tomas Ybarra-Frausto Sun Mad by Ester Hernandez 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. Political Prisoner 1976 Rupert Garcia Born: French Camp, California 1941 pastel on paper sheet: 48 x 36 in. (122.0 x 91.5 cm) Smithsonian American Art Museum Gift of Rupert Garcia and Sammi Madison-Garcia Political Prisoner by Rupert Garcia 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. Camas para Sueños 1985 Carmen Lomas Garza Born: Kingsville, Texas 1948 gouache on paper sheet: 28 1/8 x 20 1/2 in. (71.4 x 52.1 cm) sight: 23 x 17 1/2 in. (58.4 x 44.3 cm) Smithsonian American Art Museum Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program Camas para Sueños (Beds for Dreams) by Carmen Lomas Garza 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. Farm Workers' Altar 1967 Emanuel Martinez Born: Denver, Colorado 1947 acrylic on mahogany and plywood 38 1/8 x 54 1/2 x 36 in. (96.9 x x 91.4 cm.) Smithsonian American Art Museum Gift of the International Bank of Commerce in honor of Antonio R. Sanchez, Sr Farm Workers' Altar by Emanuel Martinez 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. Drawing for Southwest Pieta 1983 Luis Jiménez Born: El Paso, Texas 1940 Died: Hondo, New Mexico 2006 oil stick and oil paint on paper a: 60 1/8 x 119 in. (152.7 x cm.); b: 59 7/8 x 135 in. (152.1 x cm. Remarks: b/bottom: 59 7/8 x 135 in. (152.1 x cm.) Smithsonian American Art Museum Gift of Frank K. Ribelin A-B Drawing for Southwest Pieta by Luis Jiménez 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. Vaquero modeled 1980/cast 1990 Luis Jiménez Born: El Paso, Texas 1940 Died: Hondo, New Mexico 2006 acrylic urethane, fiberglass, steel armature 199 x 114 x 67 in. (505.5 x x cm.) Smithsonian American Art Museum Gift of Judith and Wilbur L. Ross, Jr., Anne and Ronald Abramson, Thelma and Melvin Lenkin Vaquero by Luis Jiménez 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. Tapestry Weave Rag Jerga 1994 Agueda Martínez Born: Chamita, New Mexico 1898 Died: Española, New Mexico 2000 woven cotton cloth on cotton yarn warp 86 1/2 x 52 1/2 in. (219.7 x cm.) Smithsonian American Art Museum Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program Tapestry Weave Rag Jerga by Agueda Martínez 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. Kiowas Moving Camp (mural study, Anadarko, Oklahoma federal building) 1936 Stephen Mopope Born: Anadarko, Oklahoma 1900 Died: Lawton, Oklahoma 1974 gouache and pencil on paper mounted on paperboard overall: 11 5/8 x 34 in. (29.5 x 86.4 cm) Smithsonian American Art Museum Transfer from the General Services Administration Kiowas Moving Camp by Stephen Mopope Native American Migration

Native American Migration
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. Untitled, from the portfolio Indian Self-Rule 1983 Jaune Quick-To-See Smith Born: St. Ignatius, Montana 1940 David W. Wharton (Printer) color lithograph on paper image: 27 1/4 x 19 1/4 in. (69.2 x 48.9 cm) Smithsonian American Art Museum Gift of the Institute of the American West Untitled, from the portfolio Indian Self-Rule by Jaune Quick-To-See Smith 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. Kiowa Buffalo Dancer 1930 James Auchiah Born: Medicine Park, Oklahoma 1906 Died: Carnegie, Oklahoma 1974 gouache on paper mounted on paper sheet: 12 1/2 x 8 in. (31.6 x 20.3 cm) Smithsonian American Art Museum Corbin-Henderson Collection, Gift of Alice H. Rossin Kiowa Buffalo Dancer by James Auchiah 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. Yeibichai Dancers with Medicine Man and Patient ca Tom Yazzie Born: Fort Defiance, Arizona 1930 carved and painted cottonwood, sand overall: 12 7/8 x 51 1/4 x 7 3/4 in. (32.7 x x 19.7 cm.) Smithsonian American Art Museum Gift of Chuck and Jan Rosenak and museum purchase through the Luisita L. and Franz H. Denghausen Endowment A-Q Yeibichai Dancers with Medicine Man and Patient by Tom Yazzie 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. Kiowa Year 1849, from the portfolio Indian Self-Rule 1983 N. Scott Momaday Born: Lawton, Oklahoma 1934 David W. Wharton (Printer) hand-colored etching, aquatint, and embossing on paper plate: 26 x 19 3/4 in. (66.0 x 50.2 cm) Smithsonian American Art Museum Gift of the Institute of the American West Kiowa Year 1849 by N. Scott Momaday 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. That Is No Longer Our Smoke Sign ca. 1950s Justino Herrera Born: 1920 watercolor and pencil on paperboard sheet: 14 x 18 1/8 in. (35.7 x 46.0 cm) Smithsonian American Art Museum Corbin-Henderson Collection, gift of Alice H. Rossin That Is No Longer Our Smoke Sign by Justino Herrera 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. Story Teller ca Velino Shije Herrera Born: Zia Pueblo, New Mexico 1902 Died: Santa Fe, New Mexico 1973 gouache and pencil on paperboard sheet: 10 x 15 in. (25.6 x 38.2 cm) Smithsonian American Art Museum Corbin-Henderson Collection, gift of Alice H. Rossin Story Teller by Velino Shije Herrera 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. Reservation Scene 1992 Louise Nez commercial yarn 41 1/8 x 41 3/4 in. (104.6 x cm) Smithsonian American Art Museum Gift of Chuck and Jan Rosenak and museum purchase made possible by Ralph Cross Johnson Reservation Scene by Louise Nez 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. State Names 2000 Jaune Quick-To-See Smith Born: St. Ignatius, Montana 1940 oil, collage and mixed media on canvas 48 x 72 in. (121.9 x cm) Smithsonian American Art Museum Gift of Elizabeth Ann Dugan and museum purchase State Names by Jaune Quick-To-See Smith Native American Cultural Pride

Street Life, Harlem by William H. Johnson
The Great Migration created a new urban African American culture, centered in Harlem. Street Life, Harlem ca William H. Johnson Born: Florence, South Carolina 1901 Died: Central Islip, New York 1970 oil on plywood 45 5/8 x 38 5/8 in. (116.0 x 98.0 cm) Smithsonian American Art Museum Gift of the Harmon Foundation Street Life, Harlem by William H. Johnson 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. Escape 1967 Jacob Lawrence Born: Atlantic City, New Jersey 1917 Died: Seattle, Washington 2000 brush and ink, pen and ink, crayon, and pencil on paper sheet: 22 x 29 1/2 in. (56.0 x 74.9 cm) Smithsonian American Art Museum Gift of the Sara Roby Foundation Escape by Jacob Lawrence 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. Harriet Tubman ca William H. Johnson Born: Florence, South Carolina 1901 Died: Central Islip, New York 1970 oil on paperboard 28 7/8 x 23 3/8 in. (73.5 x 59.3 cm) Smithsonian American Art Museum Gift of the Harmon Foundation Harriet Tubman by William H. Johnson 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. Angels Appearing before the Shepherds ca Henry Ossawa Tanner Born: Pittsburgh, Pennsylvania 1859 Died: Paris, France 1937 oil on canvas 25 3/4 x 31 7/8 in. (65.3 x 81.1 cm) Smithsonian American Art Museum Gift of Mr. and Mrs. Norman Robbins Angels Appearing before the Shepherds by Henry Ossawa Tanner 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. I Baptize Thee ca William H. Johnson Born: Florence, South Carolina 1901 Died: Central Islip, New York 1970 oil on burlap 38 1/8 x 45 1/2 in. (96.9 x cm) Smithsonian American Art Museum Gift of the Harmon Foundation I Baptize Thee by William H. Johnson 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. The Throne of the Third Heaven of the Nations' Millennium General Assembly ca James Hampton Born: Elloree, South Carolina 1909 Died: Washington, District of Columbia 1964 gold and silver aluminum foil, Kraft paper, and plastic over wood furniture, paperboard, and glass 180 pieces in overall configuration: 10 1/2 x 27 x 14 1/2 ft. Smithsonian American Art Museum Gift of anonymous donors The Throne of the Third Heaven… by James Hampton 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.” The Janitor Who Paints ca Palmer Hayden Born: Widewater, Virginia 1890 Died: New York, New York 1973 oil on canvas 39 1/8 x 32 7/8 in. (99.3 x 83.6 cm.) Smithsonian American Art Museum Gift of the Harmon Foundation The Janitor Who Paints by Palmer Hayden 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. We Shall Overcome 1988 Loïs Mailou Jones Born: Boston, Massachusetts 1905 Died: Washington, District of Columbia 1998 watercolor on paper 23 1/2 x 17 3/4 in. (59.7 x 45.1 cm) Smithsonian American Art Museum Bequest of the artist We Shall Overcome by Loïs Mailou Jones 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. Evening Rendezvous 1962 Norman Lewis Born: New York, New York 1909 Died: New York, New York 1979 oil on linen 50 1/4 x 64 1/4 in. (127.7 x cm.) Smithsonian American Art Museum Museum purchase Evening Rendezvous by Norman Lewis 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. Landscape with Rainbow 1859 Robert S. Duncanson Born: New York 1821 Died: Detroit, Michigan 1872 oil on canvas 30 x 52 1/4 in. (76.3 x cm.) Smithsonian American Art Museum Gift of Leonard and Paula Granoff Landscape with Rainbow by Robert S. Duncanson 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. Family 1986 Romare Bearden Born: Charlotte, North Carolina 1912 Died: New York, New York 1988 collage on wood 28 x 20 in. (71.1 x 50.8 cm) Smithsonian American Art Museum Transfer from the General Services Administration, Art-in-Architecture Program Family by Romare Bearden 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."” "Men exist for the sake of one another. Teach them then or bear with them."--Marcus Aurelius Antoninus, Meditations, VIII:59. From the series Great Ideas of Western Man. 1958 Jacob Lawrence Born: Atlantic City, New Jersey 1917 Died: Seattle, Washington 2000 oil on fiberboard 20 3/4 x 16 3/4 in. (52.6 x 42.4 cm.) Smithsonian American Art Museum Gift of Container Corporation of America "Men exist for the sake of one another…” by Jacob Lawrence 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?" Les Fétiches 1938 Loïs Mailou Jones Born: Boston, Massachusetts 1905 Died: Washington, District of Columbia 1998 oil on linen 25 1/2 x 21 1/4 in. (64.7 x 54.0 cm) Smithsonian American Art Museum Museum purchase made possible by Mrs. Norvin H. Green, Dr. R. Harlan, and Francis Musgrave Les Fétiches by Loïs Mailou Jones 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. Empress of the Blues 1974 Romare Bearden Born: Charlotte, North Carolina 1912 Died: New York, New York 1988 acrylic and pencil on paper and printed paper on paperboard 36 x 48 in. (91.4 x cm.) Smithsonian American Art Museum Museum purchase in part through the Luisita L. and Franz H. Denghausen Endowment Empress of the Blues by Romare Bearden 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. Self-Portrait 1934 Malvin Gray Johnson Born: Greensboro, North Carolina 1896 Died: New York, New York 1934 oil on canvas 38 1/4 x 30 in. (97.2 x 76.2 cm.) Smithsonian American Art Museum Gift of the Harmon Foundation Self-Portrait by Malvin Gray Johnson African American Cultural Pride

All artworks are by artists from the culture in question, not artists representing an outside view of that culture, unless otherwise specified. Not all.

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All artworks are by artists from the culture in question, not artists representing an outside view of that culture, unless otherwise specified. Not all.

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Presentation on theme: "All artworks are by artists from the culture in question, not artists representing an outside view of that culture, unless otherwise specified. Not all."— Presentation transcript:

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