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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 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 -
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