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Barraza, Santa
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Black Madonna
title Black Madonnadescription From the Retablo Series, this painting depicts the Black Madonna emerging from the maguey. The background is the cityscape of Djenné, Mali, known for its adobe architecture. This painting is informed by research conducted in Mexico. Richard Dennis created and signed the metal frame in 1992 (#15), which he fabricated for the artist. Oil on metal with metal frame. Dimensions: 17" x 14" x 1"artist/creator Barraza, Santasubject Black Madonna Mali--Djenné Maguey Serpents in art Chicana art Tejana art Cityscapes Metal Paintings Retabloscontributor Santa C. Barraza -
Coatlicue, A/P
title Coatlicue, A/Pdescription The artist proof print was created at Robert Blackburn Printmaking Workshop in New York City during an artist fellowship. Coatlicue emerges from the maguey. The black ink print allows the artist to approve the image in preparation for the final work. Lithography. Dimensions of image: 17 ¼" x 11 ¼"artist/creator Barraza, Santasubject Prints Coatlicue (Aztec deity) Maguey Production process Artist proofs Chicana art Tejana art Aztecs Serpents in artcontributor Santa C. Barraza -
Coatlicue
title Coatlicuedescription The artist proof print was created at Robert Blackburn Printmaking Workshop in New York City during an artist fellowship. Coatlicue emerges from the maguey. To save costs during production, the artist used the back side of the paper to test the green maguey, and the color bleeds through the image. Lithography. Dimensions of image: 17 ¼" x 11 ¼"artist/creator Barraza, Santasubject Prints Coatlicue (Aztec deity) Maguey Production process Artist proofs Chicana art Tejana art Aztecs Serpents in artcontributor Santa C. Barraza -
Coatlicue con Milagros
title Coatlicue con Milagrosdescription The work depicts Coatlicue and La Adelita, appropriated from a Agustín Víctor Casasola (1874-1938) photograph of the Mexican Revolution. Mixed media with manipulated collagraph. Dimensions: 18 ½” x 13"artist/creator Barraza, Santasubject Multimedia Mixed media Fiber arts Milagros Maguey Coatlicue (Aztec deity) Collagraphs Chicana art Tejana art Adelitas Feminism Aztecs Nepantla Serpents in art Soldaderascontributor Santa C. Barraza -
Codex of Emma Tenayucca
title Codex of Emma Tenayuccadescription From the Codex Series, the painting honors labor activist Emma Tenayuca (1916-1999), who organized pecan shellers, mostly Mexican American women of San Antonio, Texas. Their strike for better labor conditions and higher wages in 1938 was the first successful large-scale action of the community's struggle for justice. The artist used a black and white photograph to create the portrait, and she added a Toltec warrior's pectoral. The labor organizer emerges from the maguey which is rooted to the earth. Coyolxauhqui, the Aztec moon goddess, sits on a half-moon and holds a rabbit. Much of the imagery is appropriated from the codices, including hieroglyphs and iconography. The cut tree in the top right corner is the artist's icon for Aztlan. Acrylic on canvas. Dimensions: 54” x 55”artist/creator Barraza, Santasubject Feminism Chicana art Tejana art Symbols Appropriation Coyolxauhqui (Aztec deity) Calendar art Hieroglyphs Codices Postmodernism Tenayuca, Emma, 1916-1999 Paintings Visual quotation Toltec warrior Borderlands Frontera Maguey Moon Ollin Portraits Serpents in art Tonallicontributor Santa C. Barraza -
Codex de La Llorona de la Diosa de Maize
title Codex de La Llorona de la Diosa de Maizedescription From the Codex Series, the artist visualizes a story that she learned from her mother. La Llorona emerges from the maguey which has a fetus. The diosa stands behind a corn plant, appropriated from a codex. Among the icons associated with La Llorona and the Corn Goddess are corn, cacao, water, a fetus, plants, a fertility symbol, and the sundial. Marble dust sourced from Mexico is used to create texture. Acrylic on canvas. Dimensions: 39 ¾" x 43 ½"artist/creator Barraza, Santasubject Calendar art Feminism Chicana art Tejana art Symbols Appropriation Hieroglyphs Codices Postmodernism La Llorona Maguey Corn goddess Indigeneity Landscapes Maiz Nudes in art Paintings Sun ray Tattoos Tonallicontributor Santa C. Barraza -
Codex de Rigoberta Menchu
title Codex de Rigoberta Menchudescription From the Codex Series, this portrait of Rigoberta Menchú pays homage to her after she was awarded the Nobel Prize for Peace in 1992. She is emerging from the maguey, the artist's symbol of rebirth and resurrection. Behind the Nobel laureate is the Tree of Life from Palenque and Cipactli, a crocodilian earth monster. The red field depicts the Maya earth band, from which Cipactli is born. The blue Maya sky band contains hieroglyphs associated with celestial bodies. The hieroglyphs in the thirteen dual boxes symbolize motifs from Menchú's life, cultural concepts, and ideology. Acrylic on canvas. Dimensions: 54" x 55"artist/creator Barraza, Santasubject Codices Calendar art Portraits Menchú Tum, Rigoberta, 1959- Tree of Life Árbol de la vida Mexico--Chiapas--Palenque Maya Hieroglyphs Sacred codex Aztecs Mesoamerican Feminism Chicana art Tejana art Symbols Appropriation Indigeneity Indigenous people Maguey Ollin Paintings Postmodernism Tonalli Xipe Toteccontributor Santa C. Barraza -
Cihauteteo con Coyolxauhqui y St. Philomena
title Cihauteteo con Coyolxauhqui y St. Philomenadescription From the Mujeres Nobles Series, the artist printed her serigraph onto canvas and attached the image onto another canvas, on which she painted a house and other elements around the collage. The healing tree and cloud locate the artist in South Texas. The ollin hieroglyph appears in the foundation of the shotgun style house, an architectural style well-known in Texas. St. Philomena, the child martyr, appears above the home to safeguard it. Multimedia. Dimensions: 60" x 50”artist/creator Barraza, Santasubject Yellow Rose of Texas Occupied America Oztotl glyph Atlatl dart Coyolxauhqui (Aztec deity) La Llorona Chicana art Tejana art Borderlands Conquest Feminism Frontera Hieroglyphs Maguey Nudes in art Paintings Roses Symbols Tattooscontributor Santa C. Barraza -
Coyolxauhqui como Sirena
title Coyolxauhqui como Sirenadescription From the Codex Series, this painting is a feminist reimagining of Coyolxauhqui as a mermaid in South Texas. She wears Coatlcue's talisman of hearts and hands around her neck and a coral snake as a headdress. Much of the imagery is appropriated from the codices, including hieroglyphs and iconography. The green jay on Coyolxauhqui's shoulder locates the artist's presence in South Texas. Acrylic on canvas. Dimensions: 35 ½" x 35 ½"artist/creator Barraza, Santasubject Feminism Chicana art Tejana art Symbols Appropriation Coyolxauhqui (Aztec deity) Calendar art Hieroglyphs Codices Birds Paintings Nudes in art Postmodernism Tonallicontributor Santa C. Barraza -
Efigie, portador de una alma, I
title Efigie, portador de una alma, Idescription This print is from the Dream Series. The image is influenced by the artist's research on shamanism and recurring dreams of trying to heal her sister. The central image is chacmool. Monoprint on Italia paper. Dimensions of the image: 11 ½" x 16 ¾"artist/creator Barraza, Santasubject Chicana art Chacmool Mystery Dreams Abstraction Prints Tejana art Curanderismo Collective memories Duality Ducks Healing Memories Olmec Suncontributor Santa C. Barraza -
Efigie, portador de una alma, II
title Efigie, portador de una alma, IIdescription This print is from the Dream Series. In the dream the artist saw a curandero holding the chacmool with a duck on its belly, which he will use to retrieve the artist’s sister's lost soul from the Underworld. Later, Santa Barraza learned at the exhibition, The Road to Aztlan: Art of the Mythic Homeland, that the duck of her dreams resembles an ancient Mesoamerican ceramic, likely Olmec. Monoprint. Dimensions of the image: 11 ¾" x 16 ¾"artist/creator Barraza, Santasubject Chacmool Ducks Dreams Healing Collective memories Olmec Sun Duality Tejana art Chicana art Curanderismo Prints Abstraction Mysterycontributor Santa C. Barraza -
Efigie, portador de una alma, III
title Efigie, portador de una alma, IIIdescription This print is from the Dream Series. In the dream the artist saw a curandero holding the chacmool with a duck on its belly, which he will use to retrieve the artist’s sister's lost soul from the Underworld. Later, Santa Barraza learned at the exhibition, The Road to Aztlan: Art of the Mythic Homeland, that the duck of her dreams resembles an ancient Mesoamerican ceramic, likely Olmec. Monoprint. Dimensions of the image: 11 ¾" x 16 ¾"artist/creator Barraza, Santasubject Chacmool Ducks Dreams Healing Collective memories Olmec Sun Duality Tejana art Chicana art Curanderismo Abstraction Mystery Printscontributor Santa C. Barraza -
Figurative Composition
title Figurative Compositiondescription The painting was created as a class project focusing on modular style. Here, the artist used a human figure which was then abstracted. She also used this assignment to challenge her use of color. Acrylic on canvas. Dimensions: 48" x 32"artist/creator Barraza, Santasubject Paintings Figurative art Abstraction Chicana art Tejana art Concentric patterns Nudes in artcontributor Santa C. Barraza -
Iztaccihuatl and Popocatepetl Reversed
title Iztaccihuatl and Popocatepetl Reverseddescription The artist used a posed photograph of Sylvia Orozco and Pio Pulido (1950-2018) as resource material for the serigraph. It depicts the iconic image of Iztaccihuatl and Popocatepetl in reverse roles to convey a feminist perspective. Serigraphy. Dimensions of image: 21 ⅜” x 15 ¼”subject Prints Iztaccíhuatl and Popocatépetl Feminism Chicana art Legends Figurative art Tejana art Couplescontributor Santa C. Barraza -
La Mano Poderosa de Coyolxauhqui
title La Mano Poderosa de Coyolxauhquidescription This painting was created during an artist residency of the Nepantla Project organized by Gloria E. Anzaldúa (1942-2004) in Saratoga, California. The central image is the Almighty Hand reimagined as the hand of Coyolxauhqui that emerges from a maguey and is surrounded by symbols. It is influenced by Anzaldúa's philosophy about Coyolxauhqui and the coming era of women's empowerment. Acrylic on canvas. Dimensions: 39" x 48"artist/creator Barraza, Santasubject Chicana art Feminism Coyolxauhqui (Aztec deity) Nepantla Five Rabbit Symbols Corn Hieroglyphs Hummingbirds Maguey Armadillos Roses Serpents in art Tlaloc (Aztec deity) Huitzilopochtli (Aztec deity) Tonalli Sun ray Flint Guadalupe, Our Lady of Tonantzin Virgen de Guadalupe Calli Paintings Tejana art Calendar art Maiz Eye of God Ojo de Dioscontributor Santa C. Barraza -
La Llorona II
title La Llorona IIdescription The monumental painting depicts La Llorona in occupied America, as indicated by the cave hieroglyph, oztotl, pierced by the atlatl dart. The maguey gives energy and life to La Llorona. The composition of the water in the background is informed by the artist's study of the Mesoamerican codices. Oil on canvas. Dimensions: 48" x 87"artist/creator Barraza, Santasubject La Llorona Maguey Water Landscapes Tattoos Codices Oztotl glyph Sacred Hearts Corazón sagrado Conquest Atlatl dart Symbols Hieroglyphs Nepantla Indigeneity Genesis Nudes in art Chicana art Tejana art Occupied America Borderlands Frontera Paintings Roses Yellow Rose of Texascontributor Santa C. Barraza -
Los Migrantes
title Los Migrantesdescription Drawn from a photograph by Russell Werner Lee (1903-1986), this is a portrait of two migrants, one a child, in a tent city of braceros. Pencil on mat board. Dimensions: 40" x 60"artist/creator Barraza, Santasubject Portraits Chicana art Immigration Immigrants Children Visual quotation Braceros Drawings Photorealism Tejana art Families Restingcontributor Santa C. Barraza -
Mi Duende Teasing Me
title Mi Duende Teasing Medescription This print is from the Dream Series. The nude figure holds the steps to the Underworld on her vulva, and the hair on her head is energized with movement. Monoprint. Dimensions: 22" x 28"artist/creator Barraza, Santacontributor Santa C. Barraza -
Mother Looks on While Vulture Preys on Us, III
title Mother Looks on While Vulture Preys on Us, IIIdescription This print is from the Dream Series. The image depicts the artist and her daughter in bed with a vulture sitting on them. The artist's mother stands near the door, innocently looking on but not assisting. Lithography. Dimensions of the image: 10 ½” x 14 ¾”artist/creator Barraza, Santacontributor Santa C. Barraza -
Las Mujeres de las Americas
title Las Mujeres de las Americasdescription The artist was invited to create a print at Talleres del Centro Cultural Antiguo Colegio Jesuita, in Pátzcuaro, Michoacán, in preparation for the exhibition, Blanco y Negro at the Museo Nacional de la Estampa in Mexico City. She created this image to honor the women in her life. Guadalupe, the central image, represents mestizaje, empowerment, and the Americas. The other figures from left to right are the goddess Coyolxauhqui, the artist's mother, her grandmother, and Petra Vela de Vidal Kenedy (1823-1885), the matriarch of the Kenedy Ranch in Sarita, Texas. Coyolxauhqui wears Coatlicue's necklace of hearts and hands. Nopales and the green jay locate the artist in South Texas. Etching on copper. Dimensions of image: 24" x 38 ¾”artist/creator Barraza, Santasubject Birds Families Symbols Talisman Chicana art Feminism Portraits Coyolxauhqui (Aztec deity) Nepantla Hieroglyphs Maguey Tejana art Codices South Texas Roses Abuelas Mestizaje Artist proofs Tattoos Matriarchy Kenedy, Petra Vela de Vidal (1823-1885) Contreras, Andrea Lopez Barraza, Frances Contreras Doves Holy Spirit Ollin Prints Guadalupe, Our Lady of Tonantzin Virgen de Guadalupecontributor Santa C. Barraza -
Mujeres de Nepantla
title Mujeres de Nepantladescription This painting was created during a residency of the Nepantla Project organized by Gloria E. Anzaldúa (1942-2004) in Saratoga, California. The central image is La Llorona, who emerges from the water and from the cipactli, the crocodile. Shells, fish, and Coyolxauhqui's body parts float in the water, and the profile of her face appears in the moon. The tattoos on the two faces of La Llorona are appropriated from the codices. The soul of the fetus that she carries rises behind her. On the left, Malinche emerges from the maguey, and on the right, the artist's grandmother, Andrea, appears with a javelina, which locates the artist in South Texas. Other symbols are the butterfly, the hummingbirds, and the double-headed horse, appropriated from José Clemente Orozco. Oil on canvas. Dimensions: 63" x 72"artist/creator Barraza, Santasubject Chicana art Feminism Coyolxauhqui (Aztec deity) Nepantla Symbols Hieroglyphs Hummingbirds Maguey Javelina Paintings Tejana art La Llorona Tattoos Codices South Texas Butterflies Visual quotation Abuelas Mestizaje Malinche Moon Duality Indigeneity Nudes in art Portraits Rabbitscontributor Santa C. Barraza -
Retablo Codex Mural, Eye of God design
title Retablo Codex Mural, Eye of God designdescription This drawing of the Eye of God is a design for the Retablo Codex Mural's frame at the University of Texas, San Antonio. Ink on drawing paper. Dimensions: 6" x 11 ⅜"artist/creator Barraza, Santasubject Drawings Eye of God Ojo de Dios Patterns Mural art Retablo Codex Mural Texas--San Antonio Chicana art Tejana art Indigeneity Production processcontributor Santa C. Barraza -
Retablo Codex Mural, frame design
title Retablo Codex Mural, frame designdescription This drawing is the design for Retablo Codex Mural's frame, constructed of metal, at the University of Texas, San Antonio. Each compartment contains a motif of Mesoamerican hieroglyphs. The frame imitates a colonial tin retablo with rounded corners and sacred imagery. The date of the mural is written in Mayan hieroglyphs in the lower right corner. The frame is constructed of aluminum with embossing. Ink on vellum. Dimensions: 11 ¼" x 18"artist/creator Barraza, Santasubject Maya Hieroglyphs Drawings Chicana art Tejana art Retablo Codex Mural Mural art Indigeneity Texas--San Antonio Science Sun raycontributor Santa C. Barraza -
Retablo Codex Mural, rabbit detail
title Retablo Codex Mural, rabbit detaildescription This drawing specifies the design for a section of the frame of the Retablo Codex Mural at the University of Texas, San Antonio. The rabbit represents the moon or Coyolxauhqui, the moon goddess. The concentric circle represents a rain drop. Ink on vellum. Dimensions: 6" x 11 ½"artist/creator Barraza, Santasubject Rabbits Circles Concentric patterns Chicana art Tejana art Drawings Hieroglyphs Retablo Codex Mural Mural art Indigeneity Texas--San Antonio Codices Production processcontributor Santa C. Barraza -
Retablo Codex Mural, star detail
title Retablo Codex Mural, star detaildescription This drawing is the design for a section of the frame for the Retablo Codex Mural at the University of Texas, San Antonio. It combines the star and sun hieroglyphs with the Eye of God, all of which the artist appropriated from codices. Ink on vellum. Dimensions: 6" x 9"artist/creator Barraza, Santasubject Sun Stars Codices Hieroglyphs Chicana art Tejana art Drawings Eye of God Ojo de Dios Retablo Codex Mural Mural art Indigeneity Texas--San Antonio Production processcontributor Santa C. Barraza -
Retablo Codex Mural, working technical and architectural drawing of metal surface for painting
title Retablo Codex Mural, working technical and architectural drawing of metal surface for paintingdescription This working drawing is essential for the modeling of the Retablo Codex Mural and its frame since the selected wall is curved. The mural is located at the University of Texas, San Antonio, Biosciences Building. Created for the fabricator, the drawing details the radius and other measurements critical for the mural. Graphite drafting pencil on Bristol drawing paper. Dimensions: 8 ½" x 11"artist/creator Barraza, Santasubject Drawings Technical drawings Architectural drawings Murals Retablo Codex Mural Chicana art Tejana art Production process Texas--San Antoniocontributor Santa C. Barraza -
Ride in a 50s Pink Cadillac
title Ride in a 50s Pink Cadillacdescription This work is from the Dream Series. It depicts the artist and her daughter traveling in a pink car while curanderos observe their flight. Ribbons are stitched along the edges of the surface. The text in the top left register reads: "Dec. 30, 1982 (Thursday). I dreamt the other day that I had died in a car accident. I was in a 50s pink Ford or a long, huge car (square)." A work of mixed media that includes watercolors, collage, feathers, ribbons, ink, and crayon with the technique of crayon and ink resist. Mixed media. Dimensions: 10 ¾” x 7 ¾”artist/creator Barraza, Santasubject Image and text Cars Curanderos Calaveras Chicana art Fiber arts Tejana art Curanderismo Landscapescontributor Santa C. Barraza -
Presente y pasado
title Presente y pasadodescription The image is a portrait of a grandmother and her granddaughter. It was originally created as an illustration for a bilingual book about the wisdom of abuelitas, heritage, intergenerational storytelling, and families. Pencil on illustration board. Dimensions: 16" x 20"artist/creator Barraza, Santasubject Portraits Chicana art Heritage Families Storytelling Memories Drawings Abuelas Children Grandchilden History Photorealism Tejana artcontributor Santa C. Barraza -
Sacred Heart with Hand of Tlaloc
title Sacred Heart with Hand of Tlalocdescription From the Retablo Series, this painting portrays a maguey, the Sacred Heart, clouds, water, and Tlaloc's hand, which fertilizes the earth. Tlaloc's presence is informed by the Tepantitla murals at Teotihuacan. Richard Dennis created the metal frame, which he fabricated for the artist. Enamel and oil on metal with metal frame. Dimensions: 15 ½" x 16 ½" x 1"artist/creator Barraza, Santasubject Retablos Sacred Hearts Corazón sagrado Tlaloc (Aztec deity) Paintings Landscapes Chicana art Tejana art Maguey Metal Rosescontributor Santa C. Barraza -
Las Soldaderas Jovenes
title Las Soldaderas Jovenesdescription Influenced by Las Adelitas of the Mexican Revolution, the artist created this etching using her daughter as the model. The composition of the figures is a visual quotation of a photograph by Agustín Víctor Casasola (1874-1938). Techniques of burnishing, scrapping, rosin, soft ground, mezzotint, dry point, and aquatint are visible throughout the image. Etching. Dimensions: 23" x 17 ¾”artist/creator Barraza, Santacontributor Santa C. Barraza -
Teotl
title Teotldescription This drawing was created during a residency of the Nepantla Project organized by Gloria E. Anzaldúa (1942-2004) in Saratoga, California. The artist reimagines Michelangelo's representation of the Creation of Man as portrayed in the Sistine Chapel. Rather than God touching Adam to bestow life force, the artist presents a feminist and Indigenous moment of creation. The central image is La Llorona, whose face has tattoos that signify death, and thus infinity, as she emerges from the maguey. Coyolxauhqui's hand reaches down from a cloud and touches the maguey, which animates La Llorona, giving her life. Rain drops depicted as the Eye of God nourish the earth and prepare the soil for harvest. The outer band produced in acrylic paint contains symbols of South Texas, hieroglyphs, and parts of the Moon Goddess's body. Charcoal drawing and acrylic on canvas. Dimensions: 112" x 74"artist/creator Barraza, Santasubject Drawings Tattoos Maguey Coyolxauhqui (Aztec deity) Codices Oztotl glyph Rabbits Moon Eye of God Ojo de Dios Conquest Atlatl dart Symbols Hieroglyphs Nepantla Indigeneity Genesis Nudes in art Landscapes Chicana art Tejana art Borderlands Feminism Flint Frontera Occupied America Ollin Roses Serpents in artcontributor Santa C. Barraza -
Los Tios
title Los Tiosdescription The print is an appropriation of a 1940s family photograph, taken when the artist's aunt and uncle were dating. They are standing on a pier at Loyola Beach in Texas. A/P etching print. Dimensions: 23 ¾” x 17 ½"artist/creator Barraza, Santacontributor Santa C. Barraza -
The Codex of Tlaloc
title The Codex of Tlalocdescription This painting includes thirteen paired boxes, representing night and day. The central panel is the rain god, Tlaloc, emerging from the maguey. Acrylic on canvas. Dimensions: 36 ¾” x 40"artist/creator Barraza, Santasubject Tlaloc (Aztec deity) Chicana art Tejana art Maguey Appropriation Calendar art Hieroglyphs Paintings Landscapes Butterflies Codices Postmodernism Serpents in art Symbols Tonallicontributor Santa C. Barraza -
Torso of La Guadalupana with Holy Spirit
title Torso of La Guadalupana with Holy Spiritdescription From the Torso Series, the artist appropriates her own image of La Virgen Indigena (2016), focusing on the midsection of Guadalupe. The image is extended around the frame, making it appear three-dimensional and sculptural. The painting includes symbols, such as the dove representing peace and the Holy Spirit, and Mesoamerican hieroglyphs, such as the canto icon in the lower left. The gown is adorned with a band found in Mesoamerican codices. Acrylic on canvas. Dimensions: 12" x 12"artist/creator Barraza, Santasubject Chicana art Healing Mesoamerican Visual quotation Guadalupe, Our Lady of Tonantzin Virgen de Guadalupe Guadalupanas Paintings Tejana art Holy Spirit Doves Hieroglyphs Appropriationcontributor Santa C. Barraza -
Una Vida Continua
title Una Vida Continuadescription This artist book was influenced by Mesoamerican codices, designed with thirteen boxes surrounding each of the eight figures. The work honors the women in her life, including Coatlicue, Guadalupe, Barraza’s great-grandmother, grandmothers, mother, and her daughter, Andrea. The veils covering five of the figures indicate that the women are no longer with us. The artist's creative process was inspired by elementary school students whom the artist taught to produce artist books. The students' signatures appear on the first back panel of the book. This is a mixed media work with ribbons, milagros of amate paper, tulle, lace, thread, hair, appropriated family photos, glitter, sequins, safety pins, and hand-colored prints and photocopies. It also includes a self-portrait panel. Artist book. Opened dimensions: 10 ¾” x 80"artist/creator Barraza, Santasubject Artist books Codices Coatlicue (Aztec deity) Garza, Canuta Meza Barraza, Victoria Barraza, Frances Contreras Self-portraits Guadalupe, Our Lady of Tonantzin Virgen de Guadalupe Aztec calendar Mixed media Appropriation Postmodernism Fiber arts Feminism Chicana art Tejana art Calendar art Image and text Matriarchy Portraits Abuelas Milagros Nepantla Tonallicontributor Santa C. Barraza -
Una Vida Continua, back cover
title Una Vida Continua, back coverdescription This artist book was inspired by elementary school students whom the artist taught to produce artist books. The image captures the students' signatures which appear on the first back panel of the book. The artwork honors the women in her life, including Coatlicue, Guadalupe, Barraza’s great-grandmother, grandmothers, mother, and her daughter, Andrea. This is a mixed media work with ribbons, milagros of amate paper, tulle, lace, thread, hair, appropriated family photos, glitter, sequins, safety pins, and hand-colored prints and photocopies. It also includes a self-portrait panel. Artist book. Opened dimensions: 10 ¾” x 80"artist/creator Barraza, Santasubject Artist books Mixed media Appropriation Postmodernism Feminism Chicana art Tejana art Calendar art Image and text Nepantla Una Vida Continuacontributor Santa C. Barraza -
Una Vida Continua, display view
title Una Vida Continua, display viewdescription The documentary photograph captures the accordion construction of this artist book, illuminating how the artist was influenced by Mesoamerican codices. The image also shows the cover of the artist book with Guadalupe/Tonanzin, and a small pouch that contains the students' contributions to the project. The work honors the women in the artist's life, including Coatlicue, Guadalupe, Barraza’s great-grandmother, grandmothers, mother, and her daughter, Andrea, and some of these portraits are visible in the image. The artist's creative process was inspired by elementary school students whom the artist taught to produce artist books. The students' signatures appear on the first back panel of the book. This is a mixed media work with ribbons, milagros of amate paper, tulle, lace, thread, hair, appropriated family photos, glitter, sequins, safety pins, and hand-colored prints and photocopies. Artist book. Opened dimensions: 10 ¾” x 80"artist/creator Barraza, Santasubject Artist books Codices Coatlicue (Aztec deity) Garza, Canuta Meza Barraza, Victoria Barraza, Frances Contreras Self-portraits Guadalupe, Our Lady of Tonantzin Virgen de Guadalupe Aztec calendar Mixed media Appropriation Postmodernism Fiber arts Feminism Chicana art Tejana art Calendar art Image and text Matriarchy Portraits Abuelas Milagros Nepantla Tonalli Una Vida Continuacontributor Santa C. Barraza -
Una Vida Continua, front cover
title Una Vida Continua, front coverdescription The cover of the artist book depicts Guadalupe/Tonanzin. The work honors the women in her life, including Coatlicue, Guadalupe, Barraza’s great-grandmother, grandmothers, mother, and her daughter, Andrea. This is a mixed media work with ribbons, milagros of amate paper, tulle, lace, thread, hair, appropriated family photos, glitter, sequins, safety pins, and hand-colored prints and photocopies. It also includes a self-portrait panel. Artist book. Opened dimensions: 10 ¾” x 80"artist/creator Barraza, Santasubject Artist books Codices Guadalupe, Our Lady of Tonantzin Virgen de Guadalupe Mixed media Appropriation Postmodernism Fiber arts Image and text Feminism Chicana art Tejana art Matriarchy Portraits Milagros Nepantla Una Vida Continuacontributor Santa C. Barraza -
Self-Portrait
title Self-Portraitdescription The self-portrait is one of the artist's first prints, and she blended various techniques, such as rosin, awl, scrapping, burnishing, aquatint, and mezzotint. The combination of techniques create a mysterious tone in the composition. Etching from metal plate, 5/5 edition. Dimensions: 8 ½” x 11 ½”artist/creator Barraza, Santacontributor Santa C. Barraza -
Untitled
title Untitleddescription This self-portrait is composed of multiple media including three-dimensional milagros created of paper and thread. The image of the Guadalupe is appropriated from a serigraph or silkscreen print created at Diseño Studios in Austin, Texas. The self-portrait that covers the bottom portion of Guadalupe is a charcoal drawing. Three images appear on the right side: the top image is a portrait of Popocatépetl and Iztaccíhuatl with an "x" mark of refusal, the middle figure is a dream-image, and the bottom image is inspired by a Mesoamerican goddess. A work of mixed media with pencil, charcoal, ink, embroidery thread, ribbon, tulle, and paper. Dimensions: 20" x 28"artist/creator Barraza, Santasubject Self-portraits Iztaccíhuatl and Popocatépetl Milagros Chicana art Healing Mesoamerican Visual quotation--Aztec sculpture Guadalupe, Our Lady of Tonantzin Virgen de Guadalupe Guadalupanas Mixed media Tejana art Nepantlacontributor Santa C. Barraza -
Retablo Codex Mural, detail 1
title Retablo Codex Mural, detail 1description In this detail of the final section of the Retablo Codex Mural in the Biosciences Building at University of Texas, San Antonio, the artist combines scientific and Mesoamerican symbols. The mural is a codex and read from right to left in the Mixtec style and includes red bars that guide the reader's eye. Industrial paint on metal with aluminum frame. Dimensions: 7' x 11 ½'artist/creator Barraza, Santasubject Chicana art Tejana art Mixtecs Science Mural art Retablo Codex Mural Texas--San Antonio Indigeneity Appropriation Metal Murals Postmodernismcontributor Santa C. Barraza -
Retablo Codex Mural, detail 2
title Retablo Codex Mural, detail 2description This detail of the Retablo Codex Mural in the Biosciences Building at University of Texas, San Antonio, emphasizes motifs appropriated from codices, renderings of the human brain, and medical images created by the scientists working in the building. The mural is a codex and read from right to left in the Mixtec style and includes red bars that guide the reader's eye. This section merges Indigenous iconography with scientific images. Industrial paint on metal without the aluminum frame. Dimensions: 7' x 11 ½'artist/creator Barraza, Santasubject Mural art Chicana art Tejana art Texas--San Antonio Codices Science Mixtecs Indigeneity Retablo Codex Mural Appropriation Metal Murals Postmodernismcontributor Santa C. Barraza -
Retablo Codex Mural
title Retablo Codex Muraldescription This image depicts the Retablo Codex Mural at University of Texas, San Antonio, located on the second floor of a curved wall in the Biosciences Building. The motifs are appropriated from codices, renderings of the human brain, and medical images created by the scientists working in the building. The frame imitates a colonial tin retablo with embossing, rounded corners, and sacred and scientific imagery. The mural is a codex and read from right to left in the Mixtec style and includes red bars that guide the reader's eye. Industrial paint on metal with aluminum frame. Overall dimensions, 7' x 11 ½ ' and dimensions of the painting, 6' x 10 ½'artist/creator Barraza, Santasubject Codices Murals Chicana art Tejana art Mural art Retablos Metal Appropriation Science Texas--San Antonio Indigeneity Mixtecs Postmodernismcontributor Santa C. Barraza -
Ollin Rotunda Mural Prototype I Painting
title Ollin Rotunda Mural Prototype I Paintingdescription This painting is the selected prototype for the Ollin Rotunda Mural at the University of Texas, San Antonio. Satisfying the requirements of the commission, the design conveys three components: Texas history, Indigenous history, and science. The central image is the ollin symbol, an ancient Aztec hieroglyph heralding movement and change. It is surrounded by the seven caves, Chicomoztoc, the place of Aztec origins as depicted in the codices. The composition of the seven caves also resembles an abstracted rendering of the dendrites in the human brain. The blue field contains neurons and engrams of the brain. For the scientists who selected the artist's design, the dotted patterns on the surface of the blue field resemble DNA. The concept for the ochre yellow band is derived from ancient Indigenous pictographs at Monte Albán and Maya disks used in the ball courts. This final outer ring includes symbols that represent the Pecos River area that borders Texas and Mexico. The colors are inspired by multiple sources, including colors of the Maya manuscript known as the Dresden Codex and ceramics from colonial Puebla, Mexico. Acrylic on canvas. Dimensions: 20" x 20"artist/creator Barraza, Santasubject Paintings Chicana art Tejana art Indigeneity Hieroglyphs Ollin Chicomoztoc Science Symbols Borderlands Frontera Texas--Pecos River Human body Abstraction Appropriation Color Production process Mural art Texas--San Antonio Maps Caves Postmodernismcontributor Santa C. Barraza -
Ollin Rotunda Mural Prototype II Painting
title Ollin Rotunda Mural Prototype II Paintingdescription This painting was the second prototype for the Ollin Rotunda Mural at the University of Texas, San Antonio. Tonalli, or spirit, is the central symbol, and the water symbol from Mesoamerican art surrounds the seven caves, Chicomoztoc, the place of Aztec origins as depicted in the codices. Pictographs embellish the outer circle. Acrylic on canvas. Dimensions: 20" x 20"artist/creator Barraza, Santasubject Paintings Chicana art Tejana art Indigeneity Hieroglyphs Ollin Chicomoztoc Science Symbols Borderlands Frontera Texas--Pecos River Human body Abstraction Appropriation Color Production process Mural art Texas--San Antonio Maps Caves Postmodernismcontributor Santa C. Barraza -
Ollin Rotunda Mural, view 1
title Ollin Rotunda Mural, view 1description The Ollin Rotunda Mural, located at the University of Texas, San Antonio, satisfies the requirements of the commission with three components: Texas history, Indigenous history, and science. The central image is the ollin symbol, the Aztec hieroglyph indicating movement and change. It is surrounded by the seven caves, Chicomoztoc, the place of Aztec origins as depicted in the codices. The composition of the seven caves also resembles an abstracted rendering of the dendrites in the human brain. The blue section contains neurons and engrams of the brain. For the scientists who selected the artist's design, the dotted patterns on the surface of the blue field resemble DNA. The concept for the ochre yellow band is derived from ancient Indigenous pictographs at Monte Albán and Maya disks used in the ball courts. This final outer ring includes symbols representing the Pecos River area that borders Texas and Mexico. The colors are inspired by multiple sources, including colors of the Maya manuscript known as the Dresden Codex and ceramics from colonial Puebla, Mexico. Alice Adams (b. 1930) designed the fountain below the mural. Acrylic emulsion on plaster. Dimensions: 43' in diameter.artist/creator Barraza, Santasubject Murals Chicana art Tejana art Indigeneity Hieroglyphs Ollin Chicomoztoc Science Symbols Borderlands Frontera Texas--Pecos River Human body Abstraction Appropriation Color Mural art Texas--San Antonio Caves Maps Postmodernismcontributor Santa C. Barraza -
Ollin Rotunda Mural, view 2
title Ollin Rotunda Mural, view 2description The Ollin Rotunda Mural, located at the University of Texas, San Antonio, satisfies the requirements of the commission with three components: Texas history, Indigenous history, and science. The central image is the ollin symbol, the Aztec hieroglyph indicating movement and change. It is surrounded by the seven caves, Chicomoztoc, the place of Aztec origins as depicted in the codices. The composition of the seven caves also resembles an abstracted rendering of the dendrites in the human brain. The blue section contains neurons and engrams of the brain. For the scientists who selected the artist's design, the dotted patterns on the surface of the blue field resemble DNA. The concept for the ochre yellow band is derived from ancient Indigenous pictographs at Monte Albán and Maya disks used in the ball courts. This final outer ring includes symbols representing the Pecos River area that borders Texas and Mexico. The colors are inspired by multiple sources, including colors of the Maya manuscript known as the Dresden Codex and colonial ceramics from Puebla, Mexico. This photograph conveys the accurate color scheme of the mural. Acrylic emulsion on plaster. Dimensions: 43' in diameter.artist/creator Barraza, Santasubject Murals Chicana art Tejana art Indigeneity Hieroglyphs Ollin Chicomoztoc Science Symbols Borderlands Frontera Texas--Pecos River Human body Abstraction Appropriation Color Mural art Texas--San Antonio Maps Caves Postmodernismcontributor Santa C. Barraza -
Ollin Rotunda Mural Drawing
title Ollin Rotunda Mural Drawingdescription This preparatory drawing for the Ollin Rotunda Mural at the University of Texas, San Antonio conveys each of the requirements noted in the call for proposals: Texas history, Indigenous history, and science. The central image is the ollin symbol, the Aztec hieroglyph indicating movement and change. It is surrounded by the seven caves, Chicomoztoc, the place of Aztec origins as depicted in the codices. The design of the seven caves also resembles an abstracted rendering of the human dendrites. The field surrounding the seven caves contains neurons and engrams of the brains. The final outer ring includes symbols representing the Pecos River area that borders Texas and Mexico. Pencil and ink on paper. Dimensions: 16" x 16"artist/creator Barraza, Santasubject Murals Chicana art Tejana art Indigeneity Hieroglyphs Ollin Chicomoztoc Science Symbols Borderlands Frontera Texas--Pecos River Human body Abstraction Appropriation Production process Mural art Texas--San Antonio Maps Caves Drawings Postmodernismcontributor Santa C. Barraza -
La Virgen Indigena
title La Virgen Indigenadescription Emphasizing her indigenous identity and empowerment, the portrait of Guadalupe gazes directly at the viewer. A Mesoamerican motif appears in the background, likely the sky band. The print includes multiple symbols including, the Eye of God, the Holy Spirit as a dove, and the Indigenous symbol for pregnancy. The lithographic print of Series III is the second of three impressions. Lithography on Rives BFK Buff Color paper. Dimensions of the image: 17 ½" x 15"artist/creator Barraza, Santasubject Prints Guadalupe, Our Lady of Tonantzin Virgen de Guadalupe Sacred Hearts Doves Symbols Feminism Chicana art Tejana art Indigenous people Indígenas Mestizaje Holy Spiritcontributor Santa C. Barraza