cular 3d mixed media painting sculpture conveys our native San Antonio River and springs ecosystem landscape and habitat representing 1720 and the earliest years prior to our built cultural environment. The exterior is the river with plants and animals and the interior represents an underwater river perspective of a microcosym of native species in Pompa’s contemporary style and form.
1721 Kathleen Baker Pittman
The San Antonio River is the source and support of life and inspiration.
1722 William Zwartjes
A first crude presidio was established near San Pedro creek in May 1718 by the Governor of Coahuila, Don Martin de Alarcon and named San Antonio de Valero in honor of the Marques de Valero, Viceroy of Mexico. However, 1722 was especially important when the Marques de Aguayo returned to San Antonio with General Almazen and moved the primitive presidio to a site between the San Pedro creek and San Antonio de Padua river. A larger, square presidio was placed 30 varas [82.3 ft.] from the creek and 200 varas [548.5 ft.] from the river. The new presidio, located at the opening to the loop in the river, had fortifications, permanent stone buildings and an improved irrigation system. The Plaza de Armas [now Military Plaza] was established as a parade ground for Spanish soldiers.
About 1722 the first mission was moved to the east side of the river near the present-day St. Joseph’s church due to friction between the military and padres over authority. Records show the padre to be Fr. Joseph Gonzales and note the burial of Manuel Maldonado, a soldier of the presidio. The main Indians at the mission were Xarame, with Pauigan, Pamaya, Paquache, and Siguausan among the other tribes represented. [E.W.Heusinger, F.C.Chabot, J.C.Butterfield, J.D.Eaton]
1723 John Tyson
This piece stands to inform the viewer of the Lipan Apache residing in San Antonio and their attempt to keep their culture and lifestyle intact, during the entrance of Spanish and Mexican settlers into south Texas. The information provided sets the tone, the arrows show the Lipan Apache’s will to fight, while the burnt edges symbolize the erasure of their history.
1724 Michele Monseau
The Coahuiltecan were the nomadic indigenous people living in San Antonio and surrounding areas in 1724. That year, a severe storm, possibly a hurricane, destroyed the original Alamo (Mission San Antonio de Valero) at San Pedro Springs, which was simply a series of huts that had been used by the Spanish missionaries to indoctrinate the Coahuiltecan into Christianity. That same year after the storm, construction began on the “new” Alamo at the location where it now sits, and where this process of indoctrination continued. This piece foregrounds the Coahuiltecan wickiup-the impermanent, portable dwellings they constructed out of brush and branches-in a black and white, somewhat removed image that is in the process of being airbrushed/disintegrated into the landscape. Behind the wickiup and bleeding through it is an image of the Alamo on its current site shortly after it was reduced to ruins. The layered structures sit high in a harsh landscape with gathering clouds-a coming storm. A page of text used in the missionaries’ enculturation/indoctrination process entitled “Fallacías del Demonio Que Destruyen lá Caridad (Fallacies of the Demon That Destroys Charity)” hovers over and intrudes on the landscape. The Coahuiltecan hunted javelina and wore coyote skins in winter, thus the appearance of these animals in the motif.
1725 Paul Soupiset
This piece employs the style of 17th century colonial primers-simple, childlike, didactic verses-paired with a visual process that attempts to step humbly into the tradition of papel picado. I explore/appropriate both the colonialist’s catechistic style as well as the indigenous Pueblo-Huixcolotlan cut-paper artform. I explore the top-down-versus-grassroots ambivalences therein that echo the tensions among Catholic missionaries vis-à-vis Spanish officers (and between the larger institutions each represented), and among the Lipan Apaches who had inhabited parts of 