The contemporary Mexican Artist collective known as the Assembly of Revolutionary Artist of Oaxaca (ASARO) use printing and graffiti techniques to diffuse knowledge in their community while challenging dominant political paradigms embedded in Mexican society.  In a localized adaptation of of ASARO's commitment to visual and verbal exchange, "Getting Up P'al Pueblo: Tagging ASAR-Oaxaca Prints and Stencils," invites your participation in the exhibition by labeling or #taggin the images presented. 

The exhibition is curated by Dr. Suzanne M. Schadl, Latin American Collections Curator, College of University Libraries and Learning Sciences, UNM, and Mike Graham de la Rosa, Curatorial Intern, NHCC, a M.A. graduate in Latin American Studies, and is dedicated to the memory of Dr. David Craven (1951-2012), UNM Distinguished Professor of Art History.

The "Getting Up Pa'l Pueblo" exhibit is on view from February 28 through November 8, 2014, at the National Hispanic Cultural Center (1701 4th St. SW) in the Art Museum. The exhibit is open to the public from 10:00 a.m. to 5:00 p.m., Monday through Friday. Admission prices are as follows: $3 adults; $2 seniors; free for children 16 and under; free to all on Sundays.

This research was  funded in part by a Latin American & Iberian Insitute and Tinker Foundation Field Research Grant. For more information about Field Research Grants, visit the LAII's website.

During the summer of 2013, Beau traveled to Peru to assist in preliminary dissertation research and participate in the Achanchi Archaeological Research Project. His work and research will contribute to the incipient body of knowledge regarding the Chanka ethnic group, which existed during the time AD 1000-1400. In addition, he was able to visit and observe many surrounding archaeological sites for assessment of research potential and develop valuable contacts with several Peruvian and American professional and graduate-level researchers.

In this interview, SOLAS speaks to Beau about his experience conducting and assisting field research and provides insight into how studying these lesser known Andean societies, like the Chanka, can give us a more complete understanding of the political and ecological patterns of pre-contact civilization.

This research was supported by a LAII and Tinker Foundation Field Research Grant and a LAII PhD Fellowship.

Corey's research focuses on the effects that cultural relationships have on population structure and interaction during the Postclassic period (AD 900-1520) in Mexico. Using dental morphological features as a proxy for genetic information, his research compares the biological distinctions between sacrificial victims by examining geographic distance, migration history, trade, and political interaction. The research investigates these relationships at the group and individual levels. 

In this video, Corey discusses the archaeobiological information provided by the skulls from the Templo Mayor, located in the Aztec capital city of Tenochtitlan. Using available cranial/dental data among the sacrificial victims, he evaluates how war and status effect the treatment of human remains in the Late Postclassic period (AD 1300-1520) at Tenochtitlan.

This research was funded in part by a LAII and Tinker Foundation Field Research Grant.

Daniel Cozart is a graduate student studying Latin America in the History department at UNM. His research focuses on the social and political history of Afro-descendants in northern Peru and Lima from the abolition of slavery in 1854 through the mid-twentieth century. Inspired by recent activism promoting Afro-Peruvian rights and a renewed emphasis to distinguish their role in the nation's history, Daniel traveled to the northern city of Piura to research the experiences of the region's aristocracy and their African slaves during the process of abolition.

Drawing from the notarial records of the Regional Archive of Piura, this presentation highlights one civil-turned-criminal court case, where in 1855 a Piuran aristocrat was taken to court for “knowingly” selling a former slave under the pretext that she was the legal owner. The former owner denied any knowledge of her slave’s freedom and was pressed for documentation of ownership. Neither the prosecuting attorney nor the defense mentioned President Ramón Castilla’s decree, which effectively abolished the institution of slavery in Peru. These absences as well as the content of the legal battle reveal a great deal about a local reality and practice in contrast to nationally sanctioned legal and economic policy.

Defense of the Eucharist paintings portray an eternal conflict - that between Spanish monarch and non-believers, but more importantly, that between balanced and complementary opponents. Defense paintings ultimately honor the reciprocity between idolatry and orthodox religion, and they owe their inception to the unique circumstances of viceregal Peru. The invention of the iconography can be attributed to an Andean affinity for understanding triumph as the coming together of festive, complementary  opponents. Colonial dictionaries describe tinku (tinkuy) and its many linguistic permutations, both in Quechua and Aymara, as a place of union where two opposing yet complementary forces have come together to form something new and powerful.