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  • About
    • Mission
    • Team
    • History
    • Press
  • Events
    • X as Intersection
  • Programs
    • Writing on Latinx Art
      • Previous CFPs
    • Latinx Artist Fellowship
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      • Artist Mentorship Program
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Home Essays Spirituality

Topic: Spirituality

AllAbolitionAbstractionAfro-LatinxartesaníaAssemblageBlack AtlanticBlacknessBorderlandsBuilt EnvironmentCaliforniaCapitalismCaribbeanCeramicsChicanx ArtColombiaColonialismCraftCuban American ArtDecolonialityDiasporaDisplacementDominican American ArtEcologiesEmbodimentEnvironmental JusticeExileFeminismFiber artFilmGender-Based ViolenceGentrificationHairIndigeneityInstallation ArtLaborMaterialityMemoryMigrant ImaginariesMigrationMixed MediaMultidisciplinary artNepantlaNew MexicoNicaraguaNueva YorkNuyorican ArtPaintingPerformancePhotographypostcolonialPrintmakingPublic ArtPuerto Rican ArtPuerto RicoQueernessSacredSalvadoran American ArtSan AntonioSculptureSonoran DesertSoundSpiritualityState ViolenceTexasU.S.-Mexico Bordervideo artwaterWorldmaking
Charo Oquet leads a colorful Rará-inspired procession, wearing a vibrant costume of multicolored fabric and a feathered headdress while carrying a pink flag. Community members gather around her, joining the festive performance through music, movement, and shared participation.

Learning in Procession: Charo Oquet and the School of Rará

Luis Graham Castillo
This image shows the installation of “Babalú-Ayé y La Negra del Hospital” (2022) at the Fridman Gallery in New York. In a dark room, there are three large panoramic projections on adjacent walls surrounding a small sculpture composed of cinder blocks decorated with cowrie shells placed in the off-center right side of the gallery. The video, still on the left side, shows a Black woman with a white headpiece with cowrie shells looking directly at the viewer. In the center there is a figure dancing in the middle of colonial architecture structures. The image to the far right shows three figures dressed in ceremonial attires that display Black diasporic culture. One of the figures is sitting on a rocking chair while the other two people stand facing forward.

Bearing Her to the Present:
Yelaine Rodriguez and the Un-Ghosting of Afro-Dominican Identity

María Elena Ortiz
Two hospital beds form part of an art installation. A video monitor showing a patient telling their story rests on each bed. Behind the bed, a whiteboard displays handwritten notes about each patient’s illness.

Pepón Osorio’s Convalescence: Reimagining the Teaching Hospital

Megan Voeller

Votive Pedagogy: Activating Historical-Spiritual Worlds in Santa Barraza’s retablos

Sonja Elena Gandert
At the center of a rocky, desert landscape two hands appear from behind a large stone as if to embrace it.

New Choreographies with/in the Land: On Spider Woman’s Embrace

Xavier Robles Armas

Our Mother Portable Mural: Yolanda M. López’s Nuestra Madre (1981-1988)

Gabriela Rodriguez-Gomez

The Supernatural Queer: Mystical Ecologies and the Experience of Being Body in Felipe Baeza’s Artistic Practice

Eduardo Carrera R.
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