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Three figures confronting an Eagle deity
title Three figures confronting an Eagle deitydescription Michael Menchaca, Three figures confronting an Eagle deity, 2013, screenprint on paper, Smithsonian American Art Museum, Gift of Drs. Harriett and Ricardo Romo, 2019.50.22, © MMXX, Michael Menchacaartist/creator Menchaca, Michaelcontributor Smithsonian American Art Museum (SAAM) -
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 -
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 -
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 -
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