The history of Spanish dominance of indigenous people is seen today in works by Latinx artists.

Toward the end of chapter 2, Cadge Moore begins a discussion of portrait painting, or portraiture, that she continues through the rest of the text. We began the class with the portrait of President Obama painted by Wiley, which is a current example of what chapter 2 discusses. Focus on the discussions in chapter 2 and the first part of chapter 3, not on Wiley. In six or more complete (subject + verb) sentences, describe how syncretism has impacted portraiture across the early histories of the lands that became the U.S. and of the early states of the U.S. Be careful not to copy, not to quote, and not to use any materials that are not assigned for this class. Stay with the subject of this discussion, syncretism in portraiture. Remember that you need to return to the discussion to make comments on posts by two other students; reply in three complete sentences to each of two other posts. You’ll write at least 6+3+3, or twelve complete sentences. When you reply to others’ remarks, be sure you use the vocabulary of the arts of this class

This week we finish chapter 2 in Cadge Moore; the password is syncretism. All of chapter 2 is linked directly to the Week #1 Module. We also begin the first half of chapter 3, which is linked, below. The meaning of syncretism is our focus. Cadge Moore will come back to the idea that all artists borrow ideas from other artists and from what they see around them, regardless of the cultural source. If we have Kim Chee tacos as fusion food, then, we have indigenous artists melding Native techniques and European forms in syncretism. Remember that in the colonial era, the fusion of artistic influences was involuntary; it was forced on oppressed peoples.

If you have any questions, at all, please e-mail me or join Zoom office hours from 12:30 to 1:30 pm on Monday (not July 4), Tuesday, Wednesday, or Thursday. You may join Zoom four days a week, and have all your questions answered! The responsibility to ask about anything for this class rests on you.

All of our web sites feature works by artists from groups of people who have been systematically excluded from the resources and privileges of U.S. society. It is a great irony that some of the poorest people in the U.S. are Native Americans, when, once, this whole country belonged to them. In the video for Maravilla, he tells you that he came to the U.S. as an immigrant. The U.S. does not treat its immigrants well. (understatement)

Look at all you can on the website for the Institute for American Indian Art. Once you reach the home page, scroll down the menu on the left side, and click on ‘Museum,’ or you can find ‘Museum’ in the horizontal menu that runs across the top of the page. There are both visiting artists and special exhibits. Click on ‘Exhibitions’ from the Museum page; once you get into the Exhibitions, click on ‘Past Exhibitions’ in the horizontal menu. Look at the past exhibit by Tom Jones. Jones creates portraits of a different kind. Be ready to discuss how he creates these portraits. Link (Links to an external site.)

The history of Spanish dominance of indigenous people is seen today in works by Latinx artists. For example, look at the works of Guadalupe Maravilla in the exhibit ‘Crossing Borders Through Art’ at the Institute for Contemporary Art in Miami, FL (Aug. 2019). Some of Maravilla’s works are assemblages, works made from a variety of objects that are combined to create a different image. Some of Maravilla’s assemblages use found objects. The closed captions for the video are strange: ‘Colin’ for colon (body part), and ‘my Gration’ for migration. Ask yourself whether Maravilla’s assemblages are or are not portraits, and have a reason why or why not. Link (Links to an external site.)

In chapter 3, Cadge Moore highlights artists who came from groups of people who were excluded from the resources and privileges of the white, wealthy, male dominant group in the U.S. It is ironic that in September, 2020, Google used an image of Henry Ossawa Tanner’s painting ‘The Banjo Lesson’ in its advertising for Google Lens. Cadge Moore explains the prejudice from white people that Tanner faced and their disapproval of his genre paintings of everyday African American life. Cadge Moore mentions the mixture of architectural features in the earliest missions built in what is now the U.S. San Xavier del Bac is one of those very old mission compounds. The mission incorporates Moorish influences in the building, Catholic traditions in the inside, and was built by Indigenous people who incorporated traditional elements, such as a kiva. It is on the Tohono O’oodham Nation (Native American) Reservation lands outside of Tucson, Arizona. These images are actually from Wikipedia, which allows you to enlarge the pictures and view them as a slide show. Look carefully at both the outside and at the religious objects on the inside. This is proof that Wikipedia can be useful! San Xavier del Bac (Links to an external site.)

This is the link to all of chapter 3. This week, we stop at the heading ‘Native American Art in Transition.’ We will read the rest of ch. 3, next week. The password for chapter 3 is banjo. Be sure you know the meanings of all the passwords Cadge Moore uses to open the files for chapters. Again, if you have any questions, e-mail me or join Zoom office hours. The responsibility to ask rests on you. 03chapterCadgeMoore-1.pdf  Download 03chapterCadgeMoore-1.pdf

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