What is Latin American identity built on? 'Diego Rivera's America' at SFMOMA and 'Reinventing the Américas' at the Getty Center seek answers
,” which looks at how Indigenous iconography has been deployed in the U.S. But the Getty’s show takes it a step further, inviting contemporary Indigenous artists into the gallery and giving them the space to react to the material on view., a Brazilian artist of the Baniwa ethnicity, who was born on the Rio Negro, an Amazon River tributary about 200 miles northwest of Manaus.
Denilson Baniwa’s “No More America” is a digital intervention on a colonial-era image by Flemish printmaker Philippe Galle. Look closely and you’ll find flashes of this Indigenous defiance throughout the exhibition. A 19th century British print shows a pair of Native people from the South American Pampas lounging casually on a street corner, wrapped in brilliant geometric textiles. A watercolor created that same century by the formative Peruvian painter Pancho Fierro shows a Christian religious procession peopled by Indigenous women in traditional dress.
Shortly after returning to Mexico from Europe, Rivera took a trip to the isthmus of Tehuantepec, where the dress and artistic traditions of the region’s Zapotec culture influenced him profoundly. In fact, a pair of dancers in clothing typical of the region appeared in “H.P.”
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