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Coyolxauhqui (Aztec deity)
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La Llorona Desperately Seeking Coyolxauhqui
title La Llorona Desperately Seeking Coyolxauhquidescriptionartist/creator Lopez, Almasubject Prints Chicana art Feminism Coyolxauhqui (Aztec deity) Visual quotation Coatlicue (Aztec deity)contributor 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 -
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 -
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 -
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 -
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