Take yourself on a walk to a weird Fiesta city and Wacha esto Loco to unravel the secret in the spice of San Antonio! Hispanic heritage roots back to the Spanish-speaking Latin America and in this exhibition, we celebrate the contribution of Hispanic Americans, Indigenous, European, and mestizo heritage. We speak Spanglish here, Y que? We draw close to how the background of culture, lifestyles, art, and food preparation give insight into our future through the showcasing of interpretive and interactive material. Through the artworks and artifacts featured, we can recognize the ways in which iconic individuals embraced their own bloodline with colorful accents and honest portrayals of their experiences. Here, there is an appreciation for a spirit of perseverance and accomplishment in the arts and cultural.
San Antonio recognizes that strength in community lies in the differences rather than in the similarities that you and you neighbors share. There is a number of countless opportunities to focus on the natural aspects of symbolism in the contemporary recognition of the habits, actions, and vocal choice displayed through the artworks and objects in this exhibition. Cultural division is an issue which the city of San Antonio faced when it first was being cultivated by a vast number of individual people. The best way to represent cultural division in our intended area is by touching base on how one ethnic group was favored in higher importance than another.
Our mission is to express to you that if we combine the beauty of every ethnic group’s culture, there will be a beautiful story to tell in such a majestic way which displays the true characteristics of San Antonio: A food and drink scene that bursts with flavor and fun at every corner you turn. We can tell that as we walk through the city there are very well preserved, large mansions and colorful pop murals which give a sense of fulfillment in the Western American view. Are you interested in art decorations? If you are familiar with the photographs and painting that are up at the entrance of your home, then the city will make you feel right in the comfort of your rightful home. That is just what is to tell about the history, heritage behind the build up of San Antonio. It is the very heart of such troubling issues like immigration and civil rights development once San Antonio was being established. Violence and turmoil were heavy elsewhere in the South, but for San Antonio, religious leaders took their position in encouraging restaurants and business owners to avoid segregation in those areas. La Virgen de Guadalupe is featured often, as she represents the faith of Jesus Christ in these individual’s lives. During the 1950’s, lower minority groups including Hispanics and colored individuals were segregated to strictly living in overcrowded and tumbledown east side neighborhoods. As we look at the art in the East of San Antonio, there are examples of the desegregation impacts. The theatres and other public transportation experienced acts of segregation. The heritage of the city gives us insight into peaceful desegregation and the involvement of Mexican Americans, military, and the catholic religion. There were also inclusive developments like the lunch counters being integrated in downtown San Antonio restaurants and cafeterias in 1960. This would prevent the loss of business and instead increase inclusiveness in the area. The rapid industrial movements in the city increased political and economic during the Reconstruction era, and it is known to be the most economically unequal in America. The South wall’s Finder Map of Greater San Antonio displays the security levels of each area in San Antonio, there is a more modern, up to date version of this that can be found on the internet. It is accessible to all as conveniency. The best areas to live are worthy of investment while the less desirable areas are declining and not worthy of investment. In modern day, the San Antonio City council has filed a suit to prevent immigration and deportation from becoming a routine.
Social Issues and Struggles
The social issues subsection will envision the San Antonio legacy of advancing Mexican American community civil rights efforts. We are humans and humans deserve respect as they live their lives with dignity. The artists featured identify themselves as participants and transformational leaders for social justice, inclusion, and equity as they focus on spreading these values to the streets of San Antonio. What are civil rights? Civil rights are a set of rights that are expansive and significantly designed to protect every one of us from experiencing unfair treatment. Our focus is the Latino community, civil rights for this community have the rights to also receive equal treatment while being free to education, voting, employment, housing, immigration, public accommodation, and economic opportunities without discrimination. One important thing which can be depicted in public accommodation is that in San Antonio, you will more than often find a sign that offers language translation for the targeted public. To historically preserve the representations of social issues, the city of San Antonio partners up with City of San Antonio Department of Arts & Culture, Humanities Texas, National Trust for Historic Preservation, AARP San Antonio, Mexican American Civil Rights Institute to tell an untold story at a national level about self-identity and Mexican American heroes. With the firsthand account of civil rights and immigration cinematic photographs and artworks, children are too affected, but they are raised to fight through and be part of the brave heroes which motivated the Latino communities during the 1950’s through the 1970’s. There is little to simplify about the experiences and memories lived, there were rough patches these individuals have to tell, migrant workers suffered back in the fields. Farm working and immigration was blood, sweat, and tears with a hint of hope for a fight against suppression and tough conditions.
Trampa Puesta
By, Manuel Alvarez Bravo,1935
Photographed by Manuel Alvarez Bravo in Mexico 1935 “Trampa Puesta” is a Gelatin silver print. Part of a set of 15 photographs showing the streets of Mexico and the like. The image shows two people under a blanket, keep up by sticks most likely to stay out of the sun. They appear to be selling oranges or apples on a street corner, using newspaper to keep them from touching the ground. On the bottom left are many prints of the lady of Guadalupe, a significate figure in Mexican culture. This picture of a random street corner gives the viewer insight on the daily life of these Mexican people and their environment.
Belongs to the UTSA ART COLLECTION
Odas Elementales
By Guillermina Zabála, 2008
A print from the Printmaking Exhibit “25Veinticinco,” artist Guillermina Zabala illustrates the poetry and reads of Odas elemantales and Pablo Neruda’s odes. In the print, there are three children, of different generations and dressed in black and white classic attire. There are two images blended and color contrasted into the image of the children, the first article on the upper left of the print is a poem by Neruda, “The Heights of Macchu Picchu which is an epic long narrative poem touching based on the description of Neruda’s work life balance before he ascended the mountain to represent the exhaustion of modern life.
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Sed pública
By Manuel Alvares Bravo, 1934
The silver print Sed Publica 1934 photographed by artist Manuel Alvares Bravo, presents a young boy, fully clothed, no shoes as he explores through a crumbled block of stone where the stone is worn and nearly at the point of collapse. The photograph’s dimensions are 24.6 x 18.7 cm. The photograph is a single of 15 of the Fifteen Photographs by the artist.
Belongs to the UTSA ART COLLECTION
El Gallito
By Joe López, 2008
Watercolor artwork El Gallito 2008 painted by artist Joe Lopez is inspired by the neighborhood and Latin experiences. Helados Mi Gallito embraced the social influences in El Barrio Escondido familiar to South Texas. The watercolor painting portrays the triumphs and challenges of the barrio childhood. It is a colorful scene based on the last minute essentials, as the people of the Latin neighborhoods passed by on their way to a family event or to home after school, were happy to make a stop at. A Latin man with untied tennis shoes holds and carries the weight of an ice cream freezer, while he stands on the sides of a sidewalk.
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They Were Big, Dad’s Shoe
By Kathy Vargas, 1998
The gelatin silver print They Were Big, Dad’s Shoe hand colored by artist Kathy Vargas 1998 in as image of a white leather men’s shoe which is hidden under vines of brown, green, blue. The past connotation of the title refers to what was once used to be that father’s shoe. The painting illustrates questions such as what happened to the complete pair, the relationship between the artist and the image of the shoe in ivy ground. Is this a celebration of a twisted family history? Dad’s shoe is a symbol of invaluable lessons which dads provide to us, their children in the outdoor settings. There are no signs of worn-out condition in the shoe so this has been well preserved although it has been in dirt and grown out vines, weeds.
Belongs to the UTSA ART COLLECTION
25 Years
By Malaquías Montoya, 1994
The background of work in the fields and culture history of farm laboring is illustrated in 25 years 1994 painted by artist Malaquias Montoya. This is a print of community art that represents the strength of humanity to unite behind the struggle behind labor work. Malaquias Montoy celebrates the 25 years of history and contributions of Hispanics in America. The screen print tells a unique story about the start of a new generation. In the print, the color code is purple with the hands and land signifying that the land belongs to the people. The green color is interpreted as what is important to them. The rest of the image can be depicted with a rich, bright color contrast at the top of the image of the sky.
Belongs to the UTSA ART COLLECTION
What’s Past is Prologue
By Martin C. Rodríguez, 2003
The cinematic photograph What’s Past is Prologue photographed by artist Martin C. Rodriguez 2003, presents a young man who leans on the left side of a car as he patiently waits for something to happen. The presence of body movement of the young man indicates there is a story of developed characterization where the viewers are left to imagine the memory that this photograph is culturally influenced by. In context of the phrase which is used to title the photograph, it can be culturally traced back to its original use of The Tempest play, where Shakespeare used to identify it to how history sets the context for the present moments.
Belongs to the UTSA ART COLLECTION
Object:
Comb
The original owner is Dr. Aureliano Urratia, who was an exile from Mexico during the Mexican Revolution 1910. During the Revolucion, there were many political changes influencing causes of the revolution. Economic development came through commercial agriculture and land was expanded to raise cash crops: sugar, cotton. Farm lands in rural Mexico were rented out to peasants so that profit from food and grain production could be produced. From that, the leader of Mexico at the time was close to the end of four year presidential term, the next in line would be arrested by the prior leader, who would flee from his crime to small towns across the southern U. S. Agricultural workers rebelled against the government because commercial farming did not benefit them during the Diaz term. The revolution was bloody and lasted 10 years until Alvaro Obregon, 1920 became president. Obregon signed the Constitution of 1917, which gave peasants the right to land, a minimum wage, education, and more privileges.
Belongs to the UTSA Institute of Texan Cultures
Object:
Tejanos del Siglo XVIII
Artist J. Cisneros produced a pen ink drawing of Spanish rule through established missions and presidios from 1717-1821. San Antonio was founded in 1718, and the Alamo is a remain of Mission San Antonio Valero. Male settlers dominated the population until the 1730’s when women married into the community, and this is when the potential danger of Anglo Americans led to political conflict since foreigners were not allowed into their newly established Spanish territory. Anglo American immigration led to the southwest of Texas in 1821-1835. The low cost of land inspired settlement in Texas, including 40 cents an acre. Texan and Anglo American culture was in competition because each believed their own cultures were superior to one another. The integration of both cultures began morphing and legal rights increased. Specifically, those of women, who had property rights and inherit rights. In 1821, Mexico declared independence and the Spanish ended rule, but Mexico decided that the rights of women continued and the Spanish occupation is to this day represented in city culture.
Belongs to the UTSA Institute of Texan Cultures
Heritage, Food and Entertainment
The second sub section identified as Heritage gives the viewers an opportunity to look at the Latinx roots of a city formerly part of Spain and Mexico. Heritage involves the entertainment, the food, and the celebrations that make up the legacy of San Antonio and Texas at broad. The city was established around three hundred years ago, history books tell us of how the Spanish claimed the New World to set up missions by Indigenous people. There are heritage displays in historic neighborhoods, festivals all year round for any event such as the events held at The Centro de Artes and Historic Market Square, traditional foods accompanied with music to set the cultural influences of diverse ethnic background to enjoy. Let us take a dive to the history of who San Antonio is. The Spanish encounter brought about the Papaya people; they inhabited the San Antonio River Valley where San Pedro Springs is located. Spanish explorers, including the missionaries located the Papaya settlement on June 13, 1691. This is an important date to mention, as it is recognized as a Holy day of the feast day of St. Anthony of Padua but also where the origin of the city’s name can be traced back to. Anthony can be translated to San Antonio in the Spanish language. Spanish settlements had not created an establishment but in the year 1709, the Father Antonio de Olivarez asked for a formal approval by the viceroy to found a mission and create a civilian settlement and presidio later in 1716. The Papaya people collaborated with Father Antonio de Olivares to build San Antonio de Valera, now recognized as The Alamo. The presidio previously mentioned is located as Presidio San Antonio de Bexar at a bridge which connects to protect the surrounding areas from San Antonio River conditions in 1718. So, families were transported and in 1780, San Antonio became the capital of the Spanish province of Texas with only Native Americans, Spanish Mexicans, African Americans, and Canary Islanders inhabiting the capital. How are missions such an influence in heritage? Spain uses missionaries to manage colonial frontiers, the frontiers make up the American Southwest to develop cultural, political policy making as it creates opportunities for agriculture, commerce, military, and religious developments.
La Rosa
By Juan Miguel Ramos, 2002
Black and white photographic character in “La Rosa” 2002 painted by Juan Miguel Ramos stemming from a print of a Mexican American woman. Juan Miguel Ramos narrates the creation of identity through the painting of a cartoon yet realistic woman. The surreal view of a woman in a complete dark spaced environment where we see she is using her arm to pressure on an out of view action. The artist co constrcuts a narrative to provoke our imagination and begin to ask questions about what the woman may be looking at and doing in the reinterpretation of ”La Rosa”.
Belongs to the UTSA ART COLLECTION
Astrid Hadad in San Francisco
Esther Hernández, 2005
The famous theatre performer sings along with a band as a strong shine of spotlight illuminates the performance. Astrid Hadad is a Mexican icon that follows in Frida Kahlo’s steps. Frida is an artist, and Hadad wants to play the main role of Frida in the new Frida Kahlo movie. The painting is pastel with strong shadows and fierce character, the artist Esther Hernandez creates a symbol of cross culture in music performance.
Belongs to the UTSA ART COLLECTION
Conjunto Restival Player
By Al Rendon, 1988
Photographed by Al Rendon in San Antonio, Texas 1988 “Conjunto Festival Player” in film material that mimics a darkroom print. The image shows San Antonio’s native conjunto, a Conjunto is a group of collection of similar elements of music that is easily recognized. Small musical ensembles play in Latin American musical traditions, featuring a older aged man playing the accordion while standing on a stage. Along with the accordion playing man, there are two other men who in view play the electric guitar. The frontmen is standing in a ready to go position which gives the sense of interaction with the viewers of the image. The image is a portrayal of the sense of community at San Antonio Conjunto Festival.
Belongs to the UTSA ART COLLECTION
Wednesday Afternoon
By Elizabeth Rodríguez, 2005
Contemporary art painting, ”Wednesday Afternoon” 2005 painted by Elizabeth Rodriguez. Intense bold colors to draw on the position of the sun hitting on the vegetables sititng on a wooden table set on top of a blue colored mat. Garlics all around forming a frame around the stone bowls which are particular to a collection of handcrafted artisan Mexican stone serving bowls. The history of Mexican pottery create varying styles from the Mesoamerican 4,500 years ago. Coiled and low fired transformed to contemporary Mexican pottery to reflect the cultural background of Spanish history and techniques as well as culinary practices.
Belongs to the UTSA ART COLLECTION
Con Carin Ester o, Lydia Mendoza
By Ester Hernández, 2001
Pastel visual print Con Carino, Lydia Mendoza 2001 created by Ester Hernandez. The depiction of a Latina or Native woman gently putting a wooden acoustic guitar in a standing position. The faded blue symbol behind the woman is relative to latino culture full of rich traditions and national identity through the unique tradition dress being worn by the woman in the print. This dress is considered a Pollera which is known as a form of Spanish colonial dress attire made between the 16th and 17th centuries in indigenous populations of Andes. This kind of dress is used specifically for festivals and celebrations.
Belongs to the UTSA ART COLLECTION
Dancers Flared Skirt
Al Rendon, 1988
Photographed by Al Rendon in San Antonio, Texas 1988 “Dancers Flared Skirt” in film material that mimics a darkroom print. The image shows couples dance from the Mexican American culture. Behind the couples there is a gathering of tables and chairs where individuals are smiling and looking towards the dancers. The couples and all are older, features a light time of day and swift dance technique.
Belongs to the UTSA ART COLLECTION
Nuestra Señora de las Iguanas
By Graciela Iturbide, 1998
The photograph Nuestra Senora de las Iguanas 1998 was photographed in Juchitan Mexico by artist Graciela Iturbide. A transformative piece of art through the display of a matriarchic society. The photo captures the initiative of a woman in the small town of Oaxaca to demonstrate their control over the fate of their economy. The photograph is gelatin silver material. In the context of the photograph, the woman wears a crown of iguanas as she looks over and past the viewers with a sense of power, assurance, and identity. It is a representation of the communities of Latinx and indigenous heritage.
Belongs to the UTSA ART COLLECTION
La Acordeonista
By Kathy Sosa, 2008
A reinterpretation of traditional folk-art form and an attempt to explore the musical culture of Mexico and Texas mestizaje. Sosa images a bright portrait of the beautiful things that women are, make and do. The oil on canvas painting features a woman playing musical instruments with blue hue eyeshadow and a dark red lip that enhances the femineity of womanhood. Captures play, joy, and a geometric floral background.
Belongs to the UTSA ART COLLECTION
Object:
Mexican Doll
A Latin American woman displayed in a dancing pose. The Hispanic dress she is wearing enhances the kind of style of traditional Mexican folk dance which is used for Baile Folklorico performances. The figurine’s dress is meant to be brightly colored as a long skirt to flare very beautifully through the long skirt flares. The translation for this performance type is ”folk dance.” Folk dances were traditions created by the Latin American people living in Mexico, South and Central America. The purpose of folk-dance performances is to express the lives and culture of impacts from religious, social, and political influences in the Latin American ways. Baile Folklorico is meant to show the people from local communities or neighborhoods the dramatic changes happening around the native heritage and was first created in the 1950’s as a professional Folklorico performing company. The Civil Rights Movement, 1950-1960, led to inspiring pride to assert cultural identity and social issues through Folklorico affirmation.
Belongs to the UTSA Institute of Texan Cultures
Object:
El chico Restaurant Menu
A 1960’s El Chico menu which was a restaurant opened by the Cuellar family in the late 1800’s. Adelaida Cuellar who was born near Matehuala, Nuevo Leon, Mexico and later moved to Texas with Marcario Cuellar and married in Laredo, Texas. Both spoke only Spanish when they began working as sharecroppers but later needed extra money after the birth of her kids in 1926. Adelaida sold house made tamales at the Kaufman County Fair and successfully continued doing that for the following years, she is recognized as a ”Chili Queen” when vendors were not allowed to sell food during 1903 and vendors joined together to sign a petition against the city council. The city council successfully banned vendors but vendors were exceedingly popular that they continued to sell. Mexican food redeemed as a culinary culture and many companies started selling their own versions after the 1893 World Fair in Chicago. After a long struggle, the Cuellar family opened their own restaurant in 1928 which was one of the first establishments to keep Mexican food around in the United States since then.
Belongs to the UTSA Institute of Texan Cultures
Culture, Nature and Religon
The third sub section will contain information and descriptive details on the Mexican Culture, Nature, and Religion influences. Agriculture and production are two factors which evolved the methods that San Antonio uses for farming and ranching. Ranches would raise animals like cattle, sheep, and goats to supply meat, wool, dairy products, and leather. The Europeans switched the role to being upon livestock, rich nutrient vegetables, and fruits. This history explains to us how the American cattle industry is successful in modern day. Irrigation was also introduced which led to the base of foundation for economy in San Antonio as the irrigation systems extend over to the specialized methods used in the San Antonio valley. Religion plays a huge part in how architecture is framed and used. The building seen in present day, were idealized by the Spanish to be built as series of religious structures based on Catholic Dominican, Jesuit, and Catholicism elements. The Alamo exhibits the presence of power, and the design is so impressive as it identifies as a territorial marker for foreign force and the expression of control within an individual. These architectural buildings are influenced by French Neo-classic elements, Victorian, and Beaux arts designs. The fiestas in San Antonio feature drumming and dances specific to a storyline of all three influences, conjunto legends and the exhibits of altars set as public observances along with culinary offerings. Tex Mex culinary creations are a delicious innovation that adopts European recipes to mesh in with Mexican cuisine. Tex Mex foods consists of corn tortillas, yellow cheese combined with casual Texan snacks like chili and hard-shell tacos. The origin of Tex Mex naming traces back to the Texas Mexican Railway where it is recognized as a rail line rather than food. Back in the 1920’s, Tex Mex was no longer the appropriate term, and a hyphen was added to create the term Tex-Mex as it traces Mexican ancestry. San Antonio is home to the best Mexican style restaurants that offers Tex-Mex. How did the first restaurant providing Tex-Mex introduce it to the public? Tejanos could not get enough of the type of food so when the rail lines introduced people to the Chili Queens, who had a stand up at the Military Plaza, chili Tex-Mex style started to populate the area and traces back to two hundred years ago.
Stardust Marfia
By Cristina Sosa Noriega, 2006
The mural of an area attraction which projects feelings of excitement and wonder in Marfa , West Texas. Stardust Marfa 2006 is painted by Cristina Sosa Noriega where she believes in presenting adventures to portrait how life is good. In the western outskirts where the stardust sign is located there are stunning views of the Milkyway and all the wonder.
Belongs to the UTSA ART COLLECTION
Young Frida (Green)
By Raul Caracoza, 2006
Seri graphed, silkscreen painting coined to distinguish from pop art and commercial printing styles. Painted by artist Raul Caracoza Young Frida 2006 work of 4 unique color copies, which is identified as (green). The painting features Young Frida with a facial expression that senses thoughtful, pensive, and reflective thought. The shadows in the face and clothing represent realistic perspective, texture is added to accentuate the movement of Young Frida’s cheekbones and the clothing relate to the Hispanic culture in Early Mexico brought to Texas culture. Wooden colored Beads, fringe textured earring, and Guatemalan coats with concealed European fashions construct the wardrobe of Young Frida painting.
Belongs to the UTSA ART COLLECTION
Atotonilco El Alto
By Joel Salcido, 2015
The photograph Atotonilco El Alto 2015 by artist Joel Salcido captures the landscape to transport the viewers into a world of nature of beauty, identity and history. The image is a three color photograph where there is an emphasis on the glow of one of the largest, prominent cactus relative to the culture of central Western Mexico. El alto is given to those who died in an honor of the regions people.
Belongs to the UTSA ART COLLECTION
Maguey
By Santiago “Chago” Sanchez
Landscape and Western art style painted by artist Santiago ”Chago” Sanchez. Maguey, the title of the artwork can be translated from the Native American term to large leaf plants. The large leaf plant which is featured as the focal point of a natural landscape in front of a large brick bridge structure. The painting is an acrylic on flat canvas panel to create beautiful maguey design. The maguey plant is a symbolistic plant to the Mexican culture where sword like agave plants are abundant in regions of Mexico
Tried by the Desert Sun, I left with Scales for Skin
By Richard Armendariz, 2010
The horizontal artwork can be distinguished through its’ layout and Tried by the Desert Sun, I left with Scales for Skin 2010 painted by Richard Armendariz. The golden outlines at the border of the painting in shaped of knots and being mazed, transformed into a Man with signature hat. This Man hold his hands up to his face, covering only his mouth and chin as it seems he is holding on to a piece of this rope on the bordered gold. Behind these traces of gold is the natural setting of a yellow river reflected by the sun. The mountains are tall and intense brush strokes create a remembrance of the American Indian style with bird feathers falling down from the sky, most likely of an eagle. Fun fact: the thunderbird feathers in the painting signify glory and power, such as what the Native American culture symbolizes.
Virgen de Guadalupe y Other Baggage
By Rupert García, 2005
The creation of folk art and tradition in Latino notable figures. A strong and evocative graphic of the Virgen de Guadalupe illustrated by artist Rupert Garcia in Virgen de Guadalupe y other Baggage 2005.. The image is not a complete portrait, it is a outline of the holiness in the Virgen de Guadlupe's hands. The flower, the rose is smudged and represents the part of our life of faith in Christ Jesus.
Belongs to the UTSA ART COLLECTION
Señor de los Pájaros
By Graciela Iturbide, 1998
The photograph of a native Mexican tribe photo collection, Senor de los Pajaros, 1998 photographed by Graciela Iturbide, represents the indigenous culture and influence of filmmaking. The inspiration to photograph in this style was Graceiella’s want to get to know the worlds that she travels in. In the photograph, the man and the experience is captured in the essence of the scene. There is a poetic touch to the photo as the man looks intensely up to the flock of birds as his mind wanders off to analyze the contemporary moment. There is an open area and tall grasses which are located at the bottom of the right-hand corner of the photograph indicating the man is standing tall while birds pass right at the top of his head, in an eye-catching angle.
Belongs to the UTSA ART COLLECTION
Object:
Mexican branding Iron from La Sirena
Visual identity for this object can be provided through the recognition of its structure as stated below: The branding iron is in the form of a P and slithers into an S shaped letter. The name given to refer to the branding iron can be translated into the word ”mermaid”. Through analysis, the branding iron has been identified to have been forged by hand at the time of manufacture. The original purpose of this product is to brand livestock and ranchers find this tool quick when being used on large livestock herds to make identification a simple task.
Belongs to the UTSA Institute of Texan Cultures
Object:
Mexican Pavilion Pamphlet for Hemisfair ‘68
The city of San Antonio celebrated its 250th anniversary on April 1968 by hosting a 6 month long International Exposition, that featured a theme of Confluence of Civilizations in the Americas. This is a pamphlet of the World Fairs that represent San Antonio's ethnically mixed cultural heritage as it would be the future of international commerce for culture exchanges between Latin America and the U.S. The event was an insult to Mexico as it influenced competition between the HemisFair and Mexico due to the coinciding events of the Olympics being held by Mexico during the time of the event. This led to a rescheduling of the event to April. Mexican pavilion featured the rich history of art, artifacts, and multimedia.
Belongs to the UTSA Institute of Texan Cultures
Object:
Wooden statue of Saint Anthony
Spanish statue refers to bultos and santos since they are depicted to saints in Catholicism. The statue was made in southern Texas or northern Mexico, such figurine styles have been used in home shrines. Santos date back to the Spanish Colonial period, also familiar to the events after the exploration and conquer of the New World by the Spanish. Missionaries in the New World used these santos to teach Native Americans about Christianity. Santos were placed in homes to display as religious treasures and as celebrations in churches. Saint Anthony is recognized as a patron of lost items or people, merchants, ecologists, and animals, including birds. Saint Anthony left his healthy family to lead a simple life of poverty to preach with the Franciscan order. Santos are religious traditions from New Mexico and continue to be produced and practiced.
Belongs to the UTSA Institute of Texan Cultures
Works Cited
AFFILIATE, UTSA INSTITUTE OF TEXAN CULTURES A SMITHSONIAN. COLLECTION BLOG. n.d. 8 DECEMBER 2022. <https://itcdev.lib.utsa.edu/collection-blog/object-menu/>.
Cesario, Vanessa and Valentina Nisa. Designing mobile museum experiences for teenagers.
Vol. ahead of print. 2022. 30 September 2022. <https://www-tandfonline-com.libweb.lib.utsa.edu/doi/full/10.1080/09647775.2022.2111329>.
Foti, Petrina. Collecting and Exhibiting computer based technology:
expert curation at the museums of the Smithsonian Institution. 1. 2018. 30 September 2022. <https://www-taylorfrancis.com.libweb.lib.utsa.edu/books/mono/10.4324/9781351174343/collecting-
Ray, Joyce. Digital curation in museums.
Vol. 35. 2017. 30 September 2022. <https://www-emerald-com.libweb.lib.utsa.edu/insight/content/doi/10.1108/LHT-12-2016-0154/full/html>.
Romo, Dr. Ricardo, Arturo Infante Almeido and Kent Rush. UTSA Arte Art Collection Catalog Veinticinco. San Antonio, n.d. 30 September 2022. <https://utsacloud-my.sharepoint.com/personal/edit_toth_utsa_edu/_layouts/15/onedrive.aspx?id=%2Fpersonal%2Fedit%5Ftoth%5Futsa%5Fedu%2FDocuments%2FVeinticinco%2Epdf&parent=%2Fpersonal%2Fedit%5Ftoth%5Futsa%5Fedu%2FDocuments&ga=1>
Credits:
Created with an image by MarekPhotoDesign.com - "collection of colorful textured paper sheets"