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.

Cocina Jaiteca by Larry Yanez
Cocina is Spanish for kitchen. Jaiteca, pronounced “high-tech-a,” is a word the artist invented as a joke. This kitchen, based on the artist’s childhood memories of family kitchens, is not very high-tech at all. Cocina Jaiteca, from the National Chicano Screenprint Taller, 1988 Larry Yanez Born: Yuma, Arizona 1949 Self-Help Graphics (Printer) serigraph on paper sheet: 40 1/4 x 25 3/4 in. (102.2 x 65.4 cm) Smithsonian American Art Museum Gift of the Wight Art Gallery, University of California, Los Angeles Cocina Jaiteca by Larry Yanez Latino Family

Mis Hermanos by Jesse Treviño
This is a painting of the artist (center, in the striped shirt) and his brothers. Treviño has said that the family structure and social organization of the Chicano community provides a reference point for his work. Mis Hermanos 1976 Jesse Treviño Born: Monterrey, Mexico 1946 acrylic on canvas 48 x 70 in. (121.9 x cm.) Smithsonian American Art Museum Gift of Lionel Sosa, Ernest Bromley, Adolfo Aguilar of Sosa, Bromley, Aguilar and Associates Not currently on view Mis Hermanos by Jesse Treviño Latino Family

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 Family

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 Tradition

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 Tradition

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 Tradition

Placa/Rollcall by Charles "Chaz" Bojórquez
Graffiti artists are closely identified by a graphic signature or “tag.” Bojórquez incorporated the tags of many of his friends into this “roll call.” Placa/Rollcall 1980 Charles "Chaz" Bojórquez Born: Los Angeles, California 1949 acrylic on canvas 68 1/4 x 83 1/8 in. (173.4 x cm.) Smithsonian American Art Museum Gift of the artist Placa/Rollcall by Charles "Chaz" Bojórquez Latino Identity

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 Identity

Las Tres Marías by Judith F. Baca
In this provocative reinterpretation of the three Marys of the Crucifixion, Baca explores personal and cultural identity. Two very different Chicano women flank a mirror so that the viewer becomes the third figure in this exploration of identity. Las Tres Marías 1976 Judith F. Baca Born: Los Angeles, California 1946 colored pencil on paper mounted on panel with upholstery backing and mirror overall: 68 1/4 x 50 1/4 x 2 1/4 in. (173.4 x x 5.7 cm.) Smithsonian American Art Museum Museum purchase made possible by William T. Evans A-C Las Tres Marías by Judith F. Baca Latino Identity

The Protagonist of an Endless Story by Angel Rodríguez-Díaz
A portrait of the author Sandra Cisneros as a young woman. The Protagonist of an Endless Story 1993 Angel Rodríguez-Díaz Born: San Juan, Puerto Rico 1955 oil on canvas 72 x 57 7/8 in. (182.9 x cm.) Smithsonian American Art Museum Museum purchase made possible in part by the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program The Protagonist of an Endless Story by Angel Rodríguez-Díaz Latino Heroes

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 Heroes

Sueno (Dream: Eve Before Adam) by Alfredo Arreguin
The face of Frida Kahlo is hidden in each panel of this triptych. Sueno (Dream: Eve Before Adam) 1992 Alfredo Arreguin Born: Morelia, Mexico 1935 oil on canvas overall: 72 1/4 x 144 1/4 in. (183.5 x cm.) Smithsonian American Art Museum Museum purchase through the Luisita L. and Franz H. Denghausen Endowment and the Smithsonian Institution Collections Acquisition Program A-C Sueno (Dream: Eve Before Adam) by Alfredo Arreguin Latino Heroes

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 Conflict

¡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 Conflict

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 Conflict

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 Community

Puerto Rican Flag by Joseph Rodríguez
The brightest element of this rundown street in Spanish Harlem is the sign with the Puerto Rican flag. Puerto Rican Flag 1986 Joseph Rodríguez Born: New York, New York 1951 chromogenic photograph on paper image: 12 x 18 in. (30.5 x 45.7 cm.) Smithsonian American Art Museum Gift of the artist Puerto Rican Flag by Joseph Rodríguez Latino Community

Model for "Fiesta” by Luis Jiménez
A fiesta is an outdoor party and a chance for a community to express and celebrate their culture. When planning a work of outdoor sculpture, Jiménez chose to celebrate the Mexican-American fiesta tradition. Model for "Fiesta" 1986 Luis Jiménez Born: El Paso, Texas 1940 Died: Hondo, New Mexico 2006 cast fiberglass 19 3/4 x 20 1/4 x 13 in. (50.2 x 51.4 x 33.0 cm.) Smithsonian American Art Museum Transfer from the General Services Administration, Public Buildings Service Model for "Fiesta” by Luis Jiménez Latino Community

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 Freedom

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 Freedom

We the People by Carlota D. Espinoza
Symbols of hope and freedom clash with symbols of death and imprisonment in this poster. We the People, from the National Chicano Screenprint Taller, 1988 Carlota D. Espinoza Born: Fraser, Colorado 1943 Self-Help Graphics (Printer) serigraph on paper sheet: 40 x 26 1/8 in. (101.6 x 66.5 cm) Smithsonian American Art Museum Gift of the Wight Art Gallery, University of California, Los Angeles We the People by Carlota D. Espinoza Latino Freedom

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 Family

Wedding Cake Basket by Mary Adams
Mary Adams, an Iroquois Indian, made Wedding Cake Basket in 1986 for the twenty-fifth wedding anniversary of one of her children. Her masterpiece weaves the western European ritual of the wedding cake with splint basket making practiced by the Iroquoian peoples since the late eighteenth century. Wedding Cake Basket 1986 Mary Adams Born: Cornwall Island, Ontario, Canada 1917 Died: Fort Covington, New York 1999 woven sweetgrass and ash splint 25 1/2 x 15 3/4 in. (64.8 x 40.0 cm) diam. Smithsonian American Art Museum Gift of Herbert Waide Hemphill, Jr A-E Wedding Cake Basket by Mary Adams Native American Family

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 Tradition

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 Tradition

Indian Image by Fritz Scholder
Fritz Scholder is an artist that explores Indian stereotypes. This figure, with it’s simple title and anonymous face, represents a common view of Native American identity—as feather clad warriors at one with an animal and surrounded by open land. Indian Image 1972 Fritz Scholder Born: Breckenridge, Minnesota 1937 Died: Phoenix, Arizona 2005 acrylic on canvas stretcher: 68 1/8 x 80 in. (173.0 x cm.) Smithsonian American Art Museum Gift of the artist Indian Image by Fritz Scholder Native American Identity

Shoots Four by R. Lee White
This is an artist’s interpretation of a traditional Native American tunic belonging to the invented character known as Shoots Four. Formal Indian clothing traditionally includes symbols and narrative scenes relating to the identity and accomplish-ments of the wearer. Shoots Four R. Lee White Born: South Dakota 1951 mixed media on cast paper Smithsonian American Art Museum Shoots Four by R. Lee White Native American Identity

The Dying Tecumseh by Ferdinand Pettrich
Tecumseh was admired as a great military leader who died in battle during the War of 1812. Pettrich’s Tecumseh is inspired by the classical “Dying Gaul,” a sculpture famous for showing a defeated chief making a brave death. The Smithsonian American Art Museum collection does not contain any depictions of named Native American figures by Native American artists. The Dying Tecumseh modeled ca , carved 1856 Ferdinand Pettrich Born: Dresden, Germany 1798 Died: Rome, Italy 1872 marble with painted copper alloy tomahawk 36 5/8 x 77 5/8 x 53 3/4 in. (93.1 x x cm.) Smithsonian American Art Museum Transfer from the U.S. Capitol The Dying Tecumseh by Ferdinand Pettrich Native American Heroes

Máh-to-tóh-pa, Four Bears by George Catlin
Four Bears, a Mandan chief, was perhaps the most famous man painted by George Catlin during his journeys west to record Native American life, culture, and leaders. The Smithsonian American Art Museum collection does not contain any depictions of named Native American figures by Native American artists. Máh-to-tóh-pa, Four Bears, Second Chief, in Full Dress 1832 George Catlin Born: Wilkes-Barre, Pennsylvania 1796 Died: Jersey City, New Jersey 1872 oil on canvas 29 x 24 in. (73.7 x 60.9 cm) Smithsonian American Art Museum Gift of Mrs. Joseph Harrison, Jr Máh-to-tóh-pa, Four Bears by George Catlin Native American Heroes

"Joseph” by Olin Levi Warner
Chief Joseph was one of the last leaders of the resistance against the restrictive policies of the federal government. The Smithsonian American Art Museum collection does not contain any depictions of named Native American figures by Native American artists. "Joseph," Hin-Mah-Too-Yah-Lat-Kekht, Chief of the "Nez Percé" Indians 1889 Olin Levi Warner Born: Suffield, Connecticut 1844 Died: New York, New York 1896 bronze 17 5/8 in. (44.8 cm) diam. Smithsonian American Art Museum A Gift of Alison Warner Waterman in memory of her mother, Frances D. Warner "Joseph” by Olin Levi Warner Native American Heroes

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 Conflict

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 Conflict

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 Community

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 Community

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 Freedom

Native American Freedom
The buffalo are an important symbol to many Indian nations because of the sustenance and supplies provided by hunting them. 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 Freedom

Sunlight and Shadow by Allan Rohan Crite
This family scene, set in Boston in 1941, shows many generations of women interacting. The men of the family might simply be at work, but the presence of only one male character, a child, might be a reference to the time. Though the US didn’t enter WWII until December of 1941, the country was already involved through volunteers and lend-lease agreements. Sunlight and Shadow 1941 Allan Rohan Crite Born: Plainfield, New Jersey 1910 Died: Boston, Massachusetts 2007 oil on board 25 1/4 x 39 in. (64.2 x 99.1 cm) Smithsonian American Art Museum Museum purchase Sunlight and Shadow by Allan Rohan Crite African American Family

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 Family

The Harlem Renaissance Party by Faith Ringgold
Faith Ringgold's tumultuous relationship with her two daughters inspired the drama that unfolds in her series entitled The Bitter Nest. In this scene, the flamboyant mother embarrasses her daughter at a dinner party attended by Harlem Renaissance visionaries such as Langston Hughes and Zora Neale Hurston. The Bitter Nest, Part II: The Harlem Renaissance Party 1988 Faith Ringgold Born: New York, New York 1930 acrylic on canvas with printed, dyed and pieced fabric 94 x 83 in. (238.8 x cm.) Smithsonian American Art Museum Museum purchase The Harlem Renaissance Party by Faith Ringgold African American Family

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 Tradition

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 Tradition

Candy Box by Virginia R. Harris
Johnson’s flat patterns recall the story quilts based on African traditions. Survival through faith and family is the clear message from an artist who wanted “to express in a natural way what I feel, what is in me, both rhythmically and spiritually, all that which in time has been saved up in my family of primitiveness and tradition.” Going to Church ca William H. Johnson Born: Florence, South Carolina 1901 Died: Central Islip, New York 1970 oil on burlap 38 1/8 x 45 3/8 in. (96.8 x cm) Smithsonian American Art Museum Gift of the Harmon Foundation Candy Box by Virginia R. Harris African American Tradition

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 Identity

The History of Her Life Written across Her Face by Margo Humphrey
In this self-portrait, the artist’s life is spelled out across her face in a rebus, reflecting the impact that experience has on identity. The History of Her Life Written across Her Face 1991 Margo Humphrey Born: Oakland, California 1942 color lithograph with metallic leaf and chine colle on paper image and sheet: 32 x 29 1/2 in. (81.3 x 74.9 cm) Smithsonian American Art Museum Gift of Norvel and Mary Perry Smith The History of Her Life Written across Her Face by Margo Humphrey African American Identity

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 Identity

Three Great Abolitionists by William H. Johnson
In this painting, Johnson honors three famous abolitionists who played an important role in the struggle against slavery. They are depicted clasping hands, with Frederick Douglass in the middle, John Brown on the left, and Abraham Lincoln on the right. Three Great Abolitionists: A. Lincoln, F. Douglass, J. Brown ca William H. Johnson Born: Florence, South Carolina 1901 Died: Central Islip, New York 1970 oil on paperboard 37 3/8 x 34 1/4 in. (94.9 x 87.0 cm.) Smithsonian American Art Museum Gift of the Harmon Foundation Not currently on view Three Great Abolitionists by William H. Johnson African American Heroes

The Death of Cleopatra by Edmonia Lewis
Cleopatra, (though actually of Greek descent) is shown here as a strong African Queen sacrificing herself to avoid being paraded as a slave in Rome. Lewis, an artist of African American and Native American heritage, chose her as a subject in 1876, the last year of Reconstruction. The Death of Cleopatra carved 1876 Edmonia Lewis Died: Rome, Italy marble 63 x 31 1/4 x 46 in. (160.0 x 79.4 x cm.) Smithsonian American Art Museum Gift of the Historical Society of Forest Park, Illinois The Death of Cleopatra by Edmonia Lewis African American Heroes

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 Heroes

Employment of Negroes in Agriculture by Earle Richardson
Earle Richardson depicted his fellow African Americans working barefooted in a southern cotton field, but the artist denied demeaning stereotypes to stress the dignity of his subjects. Painted in 1934, this image nevertheless alludes to the legacy of slavery. Employment of Negroes in Agriculture 1934 Earle Richardson Born: New York, New York 1912 Died: New York, New York 1935 oil on canvas 48 x 32 1/8 in. (121.8 x 81.6 cm.) Smithsonian American Art Museum Transfer from the U.S. Department of Labor Employment of Negroes in Agriculture by Earle Richardson African American Conflict

April 4 by Sam Gilliam African American Conflict
Gilliam created this work as a tribute to Martin Luther King Jr. on the first anniversary of his assassination on April 4, 1968. The dripped paint and folded canvas create a sense of tearful mourning, punctuated by the violent, dark black, and sickly yellow. April 4 1969 Sam Gilliam Born: Tupelo, Mississippi 1933 acrylic on canvas 110 x 179 3/4 in. (279.4 x cm) Smithsonian American Art Museum Museum purchase Gilliam podcasts: April 4 by Sam Gilliam African American Conflict

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 Conflict

Street Life, Harlem by William H. Johnson
Johnson portrayed an elegant couple dressed “to the nines” for an evening on the town. Style, as much as skin color, was a mark of pride among many African Americans who had come of age during the Harlem Renaissance. 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 Community

GGG Photo Studio at Christmas by James VanDerZee
During the 1920s and 1930s, VanDerZee produced hundreds of photographs recording Harlem's growing middle class. VanDerZee knew the neighborhood and its inhabitants, and shared their dreams and aspirations for self-determination and racial pride. GGG Photo Studio at Christmas 1933 James VanDerZee Born: Lenox, Massachusetts 1886 Died: Washington, District of Columbia 1983 hand-colored gelatin silver print on paper sheet: 8 x 10 in. (20.3 x 25.4 cm.) Smithsonian American Art Museum Museum purchase through the Julia D. Strong Endowment and the Smithsonian Institution Collections Acquisition Program GGG Photo Studio at Christmas by James VanDerZee African American Community

Spring Way by Romare Bearden
Bearden’s collage of a city street evokes the many-layered history of urban architecture, neighborhoods, and communities. Spring Way 1964 Romare Bearden Born: Charlotte, North Carolina 1912 Died: New York, New York 1988 collage on paperboard sheet and image: 6 5/8 x 9 3/8 in. (16.8 x 23.8 cm.) Smithsonian American Art Museum Bequest of Henry Ward Ranger through the National Academy of Design Spring Way by Romare Bearden African American Community

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 Freedom

In a free government… by Jacob Lawrence
Inspired by a James Madison quote from the Federalist Papers, this artwork includes symbols relating to the founding of a free government. The colors red, white, and blue, are dominant. "In a free government, the security of civil rights must be the same as that for religious rights. It consists in the one case in the multiplicity of interests, and in the other, in the multiplicity of sects."--James Madison, The Federalist Papers, From the series Great Ideas. 1976 Jacob Lawrence Born: Atlantic City, New Jersey 1917 Died: Seattle, Washington 2000 opaque watercolor and pencil on paper mounted on fiberboard 30 x 22 1/8 in. (76.2 x 56.2 cm) Smithsonian American Art Museum Gift of Container Corporation of America In a free government… by Jacob Lawrence African American Freedom

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 Freedom

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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About project

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