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Mesoamerican infected with smallpox, 1518.

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Mesoamerican infected with smallpox, 1518.

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640 × 494 (213 KB)

This illustration from the Codex of Florentine was made by Indigenous Nahua artists. These artists would depict events of the past, present, and the aftermath using the same image system techniques used by Aztecs before the Spanish invasion.  This image in particular depicts the impact of the colonization in which Mesoamericans were infected with smallpox from the colonizers. Many of the cultural artifacts and practices were destroyed because they did not not align with the religious beliefs of the colonizers. Illustrations from these codices are such vital artifacts because of the historical narrative they provide from a time period in which many artifacts were destroyed. This important work of art helps to tell the stories of Indigenous people who faced genocide and a loss of cultural independence before, during, and after colonization.

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Feathers, gold, wood, pigment.
26 3/4 × 22 1/16 × 7/8 in.

Commissioned for Pope Paul the third, this painting is the oldest surviving feather work in Mexico. This was painted by an indigenous artist which is an important factor to consider because a new kind of Catholicism was forming from Indigenous religious conversion. After a genocide of Indigenous people and their culture, Pope Paul issued a decree to end the enslavement of Indigenous peoples as he now considered them rational after their conversion. For the Indigenous people, converting was a mean of survival. This artwork showcases the conversion of Indigenous people to Catholicism and the stages in which they were "no longer enslaved". This work is important in that is was a significant transition in how Indigenous people were viewed and treated in society a long with their art.

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196 cm x 148 cm.

Los Guandos, painted by Eduardo Kingman focuses on the oppression of the indigenous working class through a marxist lens. Kingman creates a space in which the figures are crowded and coming towards the viewer to enhance the chaos of the suffering. At the top of the painting we see a figure on a horse using a whip. This prominent figure represents the colonization and enslavement Indigenous people. By portraying the struggle and oppression of Indigenous people in the working class, Kingman has created a beautiful but sorrowful depiction of reality for many Indigenous people.

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Gouache painting on paper mounted on canvas 94 1/4 x 90 1/2".
Lam's work is known for its modernist aesthetics and Afro-Cuban imagery. This artwork was an exploration of his Native Cuban culture and a deconstruction of social injustice. La Jungla challenges the limitations in genres of art by blending European cubist and surrealist techniques with Afro-Cuban an African imagery. By exploring and uplifting his Cuban heritage in his imagery, Lam in a way decolonizes a Eurocentric art style and embraces Indigenous aesthetics.

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Abdias Nascimento, Exu Black Power # 2, 1969.

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Abdias Nascimento, Exu Black Power # 2, 1969.

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Acrylic on canvas, 76 x 60 cm.

This painting depicts the deity of communication, Exu, who stands raising a fist to represent Black power. The figure holds a pitchfork which is traditional for the deity as he directs it towards the American flag and patriotism. The pitchfork coming towards Exu is meant to represent the threat that Black power and solidarity had to white America. Inspired by Jacob Lawrence who was a fundamental artist in the Harlem Renaissance and the Black arts movement, Nascimento aims to confront racism in Brazil with his portrayal of Afro Brazilian deities in a sociopolitical manner. With the focus on addressing racism in Brazil and embracing Black power, this work of art is related to Indigenous unity in the way that it rejects the colonizers influence.

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Mujeres Muralistas. Latinoamerica. 1974. 

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Mujeres Muralistas. Latinoamerica. 1974. 

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Paint on concrete. 20’ x 76’. Mission St. bet. 25th & 26th St, San Francisco, California.

This work of art was the first large scale mural commissioned by Mission Model Cities. This mural is meant to celebrate Latina women around the globe and Chicana women in San Francisco. Latina women have been largely excluded from Mexican muralist paintings and this mural embraces their monumental contributions and everyday customs. This mural is significant to the theme in that it embraces the Chicana women and Indigenous culture.

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Yolanda Lopez, Portrait of the Artist as La Virgin de Guadalupe, 1978.

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Yolanda Lopez, Portrait of the Artist as La Virgin de Guadalupe, 1978.

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Oil pastel on rag paper, 30 x 22 inches.

The artist Yolanda Lopez is a contemporary Chicana artist from LA, she depicts herself as La Virgin de Guadalupe with a feminist and decolonized perspective. Lopez is making a critique on imperialism and colonialism with the imagery of stepping on the angel with the colors of the US flag and the snake she holds in her hand is a symbolic of Aztec religion. The figure comes towards the viewer is running away from the halo to bring this idea of female empowerment and identity. This was one of my favorite pieces we studied in this course because the artist so unapologetically embraced her cultural identity and rejected the white washing of La Virgin de Guadalupe. Relating this to my theme of Indigenous unity and erasure, the artist has successfully created a piece that reclaims the iconic figure even though it is viewed as a controversial artwork by some individuals.

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38’x180’

This mural in the mission district of San Francisco is a tribute to activist leader Cesar Chavez and the United Farmworkers Union. The artwork is a beautiful representation of unity and Chicanx pride to serve as an example for the children of this school to live harmoniously. Dolores Huerta is also depicted here holding a pair of wire cutters to let more children through the fence to access education and other resources. The mural is an amazing source of inspiration for many communities of color in the bay area and promotes the significance of the hard work of migrant farmworkers. This mural holds so much power in its imagery and color, it encourages the community to embrace cultural unity and resist injustice against indigenous peoples and their cultures.

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Graphite on paper.

In this artwork we see two men with Luchador masks embracing each other. The artist Hector Silva focuses his work on exploring queer and cultural identity. Silva is a self taught artist from Los Angeles who has mastered drawing portraits with high contrast and a skilled sense of light and shadow. Silva makes political statements in many of his works and strives to make his art accessible. In his artist statement he describes the classism embedded into the fine arts industry, "I feel that “high art” often excludes people, and I am strongly against that. I think art should invite people in, and engage them in a conversation, esthetic, political, philosophical, erotic, even religious, whatever" (Hector Silva 2014). Silva takes his work in many directions but he is always pushing borders and overcoming societal limitations. I think his work is powerful and beautiful in the way that the artist is able to introduce new conversations while embracing his culture and tradition.

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Digital Illustration.

This illustration was made for the Latinx channel of a digital media and entertainment company called Refinary29. This project is meant to focus on inspiring new generations in the Latinx community and giving Latinx women representation in digital media. The artist, Niege Borges is a freelance graphic designer and illustrator from Brazil and based in Brooklyn, New York. Collaborating with many digital media clients, Borges's style is colorful, fun, and one of a kind. The artist wants her work to be inclusive and accessible as she works through a feminist lens. I think her work has power in its simplicity, for creating more diversity and inclusion in media she puts her talent to good use for creating safe spaces with her art. By challenging media standards Borges brings the idea of unity in her work by embracing all races, genders, and cultural identities etc.