Above: Detail of “Los Nadies,” or “The Nobodies,” woodblock print murals by the Colectivo Subterraneos in the Xochimilco barrio of Oaxaca
Existimos, porque resistimos. Por los oprimidos, por los invisibilizados, por aquellos que quisieron enterrar, los subterraneos, existimos.
We exist, because we resist. For the oppressed, for the invisible, for those who wanted to bury, the underground, we exist.
Artist Statement of Colectivo Subterraneos
The one-story building at the corner of Calle Jose Lopez Alavez and Calle Bolanos Cacho, Barrio de Xochimilco, was a deep burnt red color until a team of enthusiastic artists armed with rollers gave it a new coat of deep pink this fall. They quickly papered the rough stucco canvas with a series of large, exquisitely detailed woodblock prints the young artists created as part of Colectivo Subterraneos.
Continue reading “Postcard from Oaxaca, Mexico: ‘Nobodies’ populate walls” →
Above photo from Postcard from Toulouse, France: Falling in love one quirky detail at a time
The year 2022 brought a reshuffling of what blog entries caught your attention. You dove back as far as 2010, an indication of how long I have been blogging.
You politely made one of the stories drawn from research for An Ostrich-Plumed Hat, And Yes, She Shot Him Dead your number one favorite, clearly attracted by Texans’ love of pralines. You continue to support efforts to populate Brackenridge Park with ghosts, and thanks for welcoming a post about my new hometown focusing on the history of Zilker Park. And the quirkiness that is Toulouse sparked your attention. In other words, your interests are as unpredictably wide-ranging as my posts.
Continue reading “Biannual roundup of your favorite posts” →
Above: “Virgin of the Tailors,” Cusco, Peru, circa 1750, on loan from Museo Pedro de Osma, Lima
Late-colonial New Spain was awash with conflicting energies: American-born Spaniards (Creoles), like their North American counterparts, felt a growing desire for independence, yet needed their identification with Europe to cement their sense of superiority over the racialized indigenous, African, and mixed-race lower classes….”
“Casta Painting and the Rhetorical Body,” Christa Olson, Rhetoric Society Quarterly, Fall 2009
And 18th-century fashion statements as recorded in paintings and sculpture became a tool to exhibit the claimed superiority of those with pure, or at least high, percentages of Spanish blood flowing through their veins. On display at the Blanton Museum of Art through January 8, Painted Cloth: Fashion and Ritual in Colonial Latin America focuses on the societal role of textiles in conveying class distinctions.
Continue reading “Caste discrimination woven into Spanish Colonial art of the Americas” →