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A photo of a framed photograph Aunt Sally took of the mural dedicated to her in Hayward. Image shows a clenched fist surrounded by the words "hecho a mano" at top and "HAYWARD, CALIFAS" at bottom. The dedication reads: "In recognition of 'La Mujer', we dedicate this mural to Celia de la Riva who represents the energy & the love for our raza. We also acknowledge our youth--you are the future & our survival." The mural was titled La Mujer and was made by Rogelio Cardenas and "Brocha de Hayward" an |
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Centro de Arte in Long Beach backyard shot, bottom right mandala, finished concrete sculpture; mural upper left was painted on inside walls of the back fence. You can see the furniture Lola made from wooden pallets or repurposed; right building was an old two-car garage. The door painting was made by student workshop participants. |
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Lola de la Riva creating a round concrete sculpture in the backyard of the Centro de Arte in Long Beach. The sculpture is a recreation of the family mandala that was the art center logo. It was used as a raised patio, where people would gather for events, conversation, and performances. She learned this technique from an international political arts organization that travelled creating large and permanent concrete sculptures for children and performing and sharing Shakespeare's work. Around 1976 |
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Contingent of Chican@ filmakers who attended Sundance film festival at the suggestion of Marsha Kinder. Dedication in gold pen (a recurring motif in osa's work) reads: "To Marsha w/ big time thanks Sundanza coaltion 2001" |
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Osa Hidalgo de la Riva (left) with Marsha Kinder (center) and Maria Elena Chavez (right). Marsha Kinder was Osa's dissertation chair person at USC. Marsha was a founder of the Claremont Colleges film school, and was the first at Sundance Film to make a digital media presentation called the Runaways Project--which included part of Osa's Olmeca Rap. Though other people have mentioned, she had a strong professional persona and was extremely patient and supportive of Osa and her work. She painstakin |
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Lili, Osa, Maria Elena Chavez, [relative of Marsha Kinder], Tara McPherson (digital media professor at USC) at the 80th birthday party for Marsha Kinder in the Westside of Los Angeles. Lili and [unknown] woman are sitting at a table withe the other three stand around, posing for the photo. These are connections Osa made while a student at USC. |
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Lola de la Riva with her nephew Roberto Nevarez (left), likely in Long Beach in the early 1980s. Roberto had been imprisoned for defending his sister from a sexual attack. While in prison, he was physically abused by a guard and had learned enough law to defend himself successfully in court. Osa and he corresponded while he was in a few different prisons across California and she was completing her PhD at UC Davis (LETTERS TO BE SCANNED). He and his five children were supportive of the family pr |
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Lola, Osa, Lily de la Riva with Osa's cousin JoAnna Galindo (on her father's side) at the 40th anniversary celebration of Barrios Unidos Santa Cruz held at the Coconut Grove. Daniel "Nane" Alejandres and his wife Jenny started Barrios Unidos and met Lola when they collaborated on a Chicano Art exhibition at UCSC around 1977. It was one of the last events Lola was able to attend publically before her health declined further. JoAnna works for the Catholic Charities of Stockton, does a lot of work |
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Painted glass drawing of a pre-Columbian goddess figure wearing traditional dress and with hands at the bottom center. The paint is brown and black with a veneer of green that comes from the wall behind the glass. Osa made a series of different goddesses of color. Each figure shared an outline, but had a different skin tone representative of the range of ethnicities (red, brown, yellow, and brown). She gave them to different significant people in her life (Angela Davis, and others) |
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Lola de la Riva holding a painting she made of a woman, |
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Lola de la Riva sitting in a wheelchair in front of a bed at Pacific Coast Manner holding a drawing she made of a crying woman, modelled after another resident at Pacific Coast Manor |
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Drawing by Liz Hidalgo of an older native man among trees with a pipe, who looks upset. An illustration of her response to the colonizing of land and space and trees overall because people were talking about that at this time, channeling some of the environmental conversations that aligned environmentalism with Indigenous culture and history. |
