#LANDBACK Posters

Poster 1

A photo of a Carrizo Comecrudo activist at a protest standing against the detention of Indigenous people on their own land near the U.S.-Mexico border from SOPA images/Getty Images.This photo is layered over an image of the Flint Hills in Kansas taken by William Rowley. The enlarged moon represents people’s work through both day and night as the stand against detention does not stop for sleep.

Poster 2

The center of this poster is a photograph of a Chinook elder taken by Evan James Benally Atwood — a queer Diné photographer who focuses their work on showcasing the joy of BIPOC, as well as placing the intersection of queerness and acestry at the forefront of their work. This photograph interacts with the words “Land Back” mimicking the texture of spray paint — a more harsh demonstration in contrast to the model’s smile in order to highlight the persistence of Native communities through violence and erasure. Lastly, the light-colored words are ones found within the Land Back messsage.The font used for the words “It’s a reclamation” is typeface “Martin,” which is a “non-violent typeface inspired by remnants of the Memphis Sanitation Strike of 1968” (vocaltype.co). 

Poster 3

The last poster in this series works more with graphics elements in order to show the sheer amount of land taken from Indigenous tribes. The U.S. map on the left shows the land during 1492 when all of it was under the agency of Indigenous tribes, which contrasts the map on the right showing the land just a year ago, which is now overwhelmingly not owned by Indigenous people. The large text aims to make the context of the maps easy to understand while allowing the visuals to remain the focus of the poster. Behind all of this is a tree ring over a dull paper texture. The cross-section of the tree is meant to further push the narrative of aging land as well as the destruction of land.