Selections from the National Hispanic Cultural Center Art Museum’s permanent collection, which contains approximately 2500 artworks created by Hispanic, Chicana/o, and Latina/o, artists from around the globe. Each artwork reflects the diversity of the Latina/o experience in all of its vibrancy, pointed humor, creativity, and social consciousness. Using a variety of approaches and media, the artists illustrate the complex intersections of identity and demonstrate that there is no one way to create art that exemplifies what it means to be Hispanic, Chicana/o, and/or Latina/o.
Ray Martín Abeyta created masterfully elaborate oil paintings in a Spanish Baroque style infused with contemporary subject matter. Abeyta developed this painting to express his frustration over the historically limited expressive and creative opportunities available to women, regardless of their cultural background.
Garcia was frustrated at the small number of ethnic comic book superheroes so he created his own. Initially using Tamale Man in faux comic book covers (such as this print), Garcia later featured him in an actual brief comic strip, stickers, t-shirts and just recently created an actual three-dimensional toy.
Kenny Chavez talks about his creative process in making this piece.
Inspired by the woodcut print The Great Wave Off Kanagawa (19th century), by Japanese artist Katsushika Hokusai (1760-1849), Arreguín adapted Hokusai's image of crashing waves and added salmon swimming upstream to spawn. “Chiwana” is the Chinook name for the Columbia River in the United States Northwest.
The Corazón Sagrado (Sacred Heart) is among the most popular depictions of devotional art. The crown of thorns signifies the suffering of Christ while the heart represents divine love for humanity. Sánchez brings strikingly original and deeply sensual quality to this work while drawing from the essential, organic forms of nature.
Artist Verne Lucero discusses his work, El aquanil de mi Abuela.
Artist Edward Gonzales discusses his piece, Requiem.
Jovial masked characters spring to life with vibrant color in Susan Contreras’ paintings. While her family only remained in México until she was four, she attributes her affinity for liveliness and color to the influence of her country of birth. Her interest in masks reflects the time she spent observing Mexican masked ceremonies.
Patrocinio Barela, from Taos, New Mexico, was the first artist of any ethnicity to be exhibited at the Museum of Modern Art (MOMA) in New York City in 1934. Barela was hired on the Works Progress Administration (WPA) to sculpt works under the New Deal federally funded programs spearheaded by President Franklin D. Roosevelt.
An accelerated view of an exhibit going up in the National Hispanic Cultural Center's museum.