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Codices
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An arrangement of logograms, presumably a sacrificial ornamentation
title An arrangement of logograms, presumably a sacrificial ornamentationdescription Michael Menchaca, An arrangement of logograms, presumably a sacrificial ornamentation, 2013, screenprint on paper, Smithsonian American Art Museum, Gift of Drs. Harriett and Ricardo Romo, 2019.50.20, © 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 -
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 -
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, 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 -
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 -
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 -
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, 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 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