Tag Archives: art

El Rebozo Made in Mexico Exhibit, Franz Mayer Museum, Mexico City

Getting to see this exhibit El Rebozo Made in Mexico before it closes Sunday, August 30, 2015, has been a priority for me since I first heard about the planning for it several years ago from British fashion designer-textile artist Hilary Simon. I scheduled this Mexico City stopover of two days before returning to the U.S. just for this purpose.

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The rebozo, or shawl, is a symbol of Mexico’s cultural identity. Textile regions throughout the country have designed and woven these rebozos according to local custom. Some are woven on a back strap loom, others on a pedal loom by women and men who learned at the feet of their parents and grandparents.

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Some are finished off with elaborate macrame hand-tied fringes that can be as longs as twelve or eighteen inches. Some are plain weave and others are Mexican ikat or jaspe from the Tenancingo in the State of Mexico or Santa Maria del Rio in the State of San Luis Potosi. The one above is hand embroidered from the Isthmus of Tehuantepec.

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Fibers vary, too. There is silk, a mix of silk and cotton, rayon or artecel that is called “seda” (silk) here in Mexico, plus wool. The type of material, gauge of the thread and density of weave depends on the climate in each location.

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In pre-Columbian times, indigenous people cultivated coyuchi or wild cotton that is a beautiful caramel color, using it to weave garments, including rebozos. In the mountains above Oaxaca in a village called San Pedro Cajonos, they cultivate a wild silk the color of straw from a local worm, spinning it with a drop spindle. Below is the red silk rebozo dyed with cochineal by Moises Martinez, part of Lila Downs‘ collection.

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Local dyes were derived from indigo, wild marigold, nuts, mosses, tree bark. They used the caracol purpura snail found along the southern coast of Oaxaca to dye purple and the miniscule cochineal beetle, a parasite that lives on the prickly pear cactus paddle, for an intense, color-fast red.  Feathers dyed red with cochineal were often woven into the fibers for embellishments.

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All these techniques and materials are still used today and are part of the exhibition.

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The State of Oaxaca is well-represented in this exhibit. Many of the rebozos on display are part of the personal collections of Oaxaqueños and its institutions: Remigio Mestas Revilla, Mauricio Cervantes, Lila Downs, Trine Ellitsgaaard, Maddalena Forcella and The Museo Textil de Oaxaca.

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A black scented burial rebozo (above) woven in Tenancingo, part of Maurico Cervantes’ collection, displays an ancient Mexican tradition that is at risk of extinction because it is so labor intensive to make. Western fashion is dominating the tastes driven by a young, hip population.

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It is a completely manual process that takes months to complete. When you think of the rarity of the raw materials and the time commitment involved to complete a piece, it is no wonder that many command prices of up to $2,000 USD each.

Rebozo Franz Mayer 53-16 Rebozo Franz Mayer 53-18                 No Mexican exhibition would be complete without a reference to beloved Frida Kahlo. Above, left, is a photograph of a rebozo from her personal collection taken at Casa Azul by Pablo Aguinaco. To the right is a photographic portrait from 1951, just three years before her death at age 47.

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Other iconic images in the exhibition are this Diego Rivera painting, Vendadora de Flores, painted in 1934 (above), and this compelling photograph (below) by Pedro Valtiera taken in Oaxaca, 1974.

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I wanted to see the best of the best in preparation for a textile trip I’m taking to Tenancingo in September to the rebozo fair. Going to the exhibit is part of my continuing education to know even more about Mexico’s textile culture and the importance of garment for cultural identity and continuity.

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In addition to the textiles, the exhibit integrates old and new photographs, paintings, mixed media art work, memorabilia and related folk art.

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Above left is the felted wool and silk rebozo with cochineal stripe by Maddalena Forcella, titled Rebozo de Sangre, made in 2014. Above right is a handmade paper rebozo designed and constructed by Oaxaca textile artist Trine Ellitsgaard.

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Photographer Tom Feher, who lives in Oaxaca with his wife Jo-Ann during the winter months, is represented with photos he took of the Miramar, Oaxaca women’s cooperative (above) for his book, Weaving Cultures, Weaving Lives: A Circle of Women. Oaxaca photographers Antonio Turok and Mari Seder also have pieces in the show.

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I loved Hilary Simon‘s Mi Altar Mexicano (above) and a series of watercolors (below) that Christopher Corr painted in 2000, all capturing the rebozo and the women who wear them.

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Rebozos have so many uses. They carry babies and bundles. They are wrapped like a crown to balance a basket filled with fruit or tamales or flowers. They are folded and put atop the head for sun protection. They protect shoulders from the evening chill. They cover the breast as baby takes nourishment. They are the embodiment of Mexican life.

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El Rebozo Made in Mexico is at the Franz Mayer Museum, Hidalgo 45, Cuauhtemoc, Centrol Historico in Mexico City. Tel: 55 5518 2266. Open daily, 9 a.m. to 5 p.m., except Monday. Hours can change, so call ahead to make sure they are open when you can be there.

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Evoking Frida Kahlo: Workshop to Make a Mixed Media Altar

Mexico is filled with altars that usually include sacred images and a Virgin of Guadalupe retablo. During Day of the Dead a family altar displays photographs of departed loved ones. We are taking this mixed media art workshop, based in Teotitlan del Valle, Oaxaca, Mexico, beyond the norm to create a three-dimensional altar suitable for display. Frida Kahlo is our muse.

4 Days, February 25 – 28, 2016

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e·voke. əˈvōk/. verb

bring or recall to the conscious mind, conjure up, summon up, invoke, elicit, induce, kindle, stimulate, awaken arouse, call forth.

Frida offers us inspiration for constructing an altar about life, womanhood, loved ones, family, health issues, successes and set-backs. We hold up Frida’s image, perhaps in self-reflection, to imagine her life and its challenges and to evoke meaning for our own. We then translate these concepts into an altar or shrine that can be used for wall art, to display on a surface or to design as a shelving unit for collected objects.

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Frida was an avid collector of exvotos and perhaps you would like to merge this simple expression of thanksgiving and devotion in your work, too.

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When we think of Frida Kahlo, we may conjure up many images and words to describe her: a woman of strength, power, frailty, independence, weakness, accomplishment, talent. Biographers say she was fierce, passionate, defiant, innovative, creative, vulnerable. We know she was deformed, in pain, proud.

 

Your personal altar can be based on your own experience. We embrace Frida as a metaphor to jump into a new creative realm. Your altar might be a tribute to someone you love who is living or passed on. Your altar might contain a message to send or include as a gift. It can be about you, friends, family or Frida herself.

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About Hollie Taylor, MFA, Workshop Leader

Hollie Taylor earned the BFA from the University of North Carolina at Chapel Hill focusing on painting and printmaking. She then went on to the University of Georgia and received the MFA with a concentration in printmaking.

Hollie taught drawing, printmaking, painting and ceramics at the college, middle and high school levels. For over 20 years, she has taught adult workshops in handmade paper-making, screen-printing, woodcutting, photo-imaging on clay, ceramic hand-building, mixed media art and art journaling.  

She is a recipient of the North Carolina Museum of Art annual artist scholarship award. Her work is published in Art Voices South and The Village Rambler. She earned the prestigious National Board Certification for Teaching Excellence and her students placed repeatedly in national shows. 

Hollie encourages deep personal exploration, offers demonstrations and samples of finished products.  Art produced at her workshops is highly individualistic, broad ranging in style and expressive of the maker. Participants come to the table with varied past creative experiences and she accommodates fully for this range of novice to accomplished artist. She gives personal feedback and encouragement and holds informal discussions to compare intent with outcome, noting what has been learned. A workshop with Hollie is engaging and fun!

A new project for Hollie involves making a book using found family letters and archival photos from Brazil during World War II. This will become a mixed media art show installation based on composites she is rendering in Photoshop to glean new meaning from the material. 

 

Process and Materials

Using found objects, copies of photographs, paint, paper, memorabilia and embellishments, you will construct either a 8” x 10” three-dimensional sculptural piece or a 12” x 16” flat art wall piece.

Materials We Provide: We provide step-by-step altar-making directions and construction materials, plus selected art supplies such as self-healing cutting mats, box cutters, some acrylic inks, assorted decorative papers, handmade clay medallions and selected ephemera art associated with Frida Kahlo.

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Materials To Bring: A sharp pencil, rubber bands, assorted size small brushes, embellishments such as stamps, charms, shells, milagros, copies of photographs, textiles. Try to imagine what will symbolize the different attribute’s of your altar’s theme and bring what will enhance its meaning. After you register, we will send you a complete list of supplementary supplies to bring. Participants often share for a wider range of choice.

 

Resources: Hollie recommends Crafting Personal SHRINES, Using Photos, Mementos & Treasures to Create Artful Displays, by Carol Owen, Lark Books, 2004.

Our Schedule: Daily, 9:30 a.m. to 3:00 p.m. includes catered lunch  

Day One, Thursday, February 25: We look at images of altars and sacred boxes, visit church and private home altars, and talk about Frida Kahlo – her style and what she valued. You will come with a concept for your creation, and with Hollie’s guidance you will finish the design and begin to build your project.

Day Two, Friday, February 26: Continue to build your altar, wrapping it, painting it, and gluing it together to form a completed container for what will come next. You may also want to add a door and small shadow boxes to display memorabilia reflecting your concept.

Rolling on Matte Medium to seal the foam core.

Rolling on Matte Medium to seal the foam core.

Day Three, Saturday, February 27: Finish altar construction. Begin to decorate and embellish your altar with photos (copies), writing, drawing, found objects and memorabilia you have brought with you.

Day Four, Sunday, February 28: You will add the finishing touches before we hang your finished work for a group show and presentation of your piece, followed by a grand finale mezcal margarita cocktail reception.

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Workshop Cost

Base Cost – Workshop Only: $495 per person, includes all instruction, materials to construct your altar or wall art, hand-outs, guided visits to family homes and churches for altar research, 4 lunches and cocktail reception. This option is designed for people who do not need lodging, and want to travel back and forth daily from Oaxaca city.

Upgrade 1 – Workshop + Share Room: $665 per person shared room with private bath en suite. Includes all of the above plus 4 nights lodging, arriving on Wednesday, February 24 and departing Sunday, February 28 by 6 p.m. Includes 4 continental breakfasts. We assign rooms in order of registrations received. Contact us for availability.

Upgrade 2 — Workshop and Private Room/Bath: $795. Includes all of the above.

How to Register

The workshop does NOT include airfare, taxes, tips, travel insurance, liquor or alcoholic beverages, some meals, and local transportation to and from Oaxaca city.  We can arrange taxi pick-up and return from/to the Oaxaca airport at your own expense (approximately 280 pesos).

Reservations and Cancellations A 50% deposit is required to guarantee your spot. The last payment for the balance due (including any add-ons) shall be paid by January 6, 2016. We accept payment with PayPal only. We will send you an itemized invoice when you tell us you are ready to register.  After January 6, refunds are not possible.  You may send a substitute in your place.  If you cancel before January 6, we will refund 50% of your deposit.

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Required–Travel Health/Accident Insurance:  We require that you carry international accident/health/emergency evacuation insurance. Proof of insurance must be sent at least two weeks before departure.  If you do not wish to do this, we ask you email a PDF of a witnessed waiver of responsibility, holding harmless Norma Hawthorne Schafer and Oaxaca Cultural Navigator LLC. Unforeseen circumstances happen!

Workshop Details and Travel Tips.  Before the workshop begins, we will email you a map, instructions to get to the workshop site from the airport, and documents that includes extensive travel tips and information. To get your questions answered and to register, contact: oaxacaculture@me.com

This retreat is produced by Norma Schafer, Oaxaca Cultural Navigator LLC. We reserve the right to make itinerary changes and substitutions as necessary.

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Brigitte Huet, Kandart Sterling Silver Jewelry Sale

This is a show and sale for 10 pieces of Kandart sterling silver jewelry made in Oaxaca, Mexico, by French silversmith Brigitte Huet and her husband Ivan Campant.

Bracelet, slide clasp, 7" long x 2" wide. $665 USD plus shipping + insurance

Bracelet, slide clasp, 7″ long x 2″ wide. $665 USD plus shipping + insurance

The one-of-a-kind pieces are the last remaining for sale from the Oaxaca collection.

26" pendant, $595 USD plus shipping + insurance

26″ pendant, $595 USD plus shipping + insurance

Many of them were made 15 and 20 years ago and put away as keepsakes that Brigitte and Ivan have now decided to sell. This may be your last opportunity to buy these unique collector pieces.

If you want something, please choose quickly, then contact me by email and include your mailing address with ZIP Code. I will send you a PayPal invoice for the piece plus shipping and insurance at the sale value.

Brigitte and Ivan thank you and send best wishes.

They left Oaxaca in early 2014 to return to southern France. They are living in a small village near Toulouse, creating new wax carved designs that will be made in limited editions with silver casting as soon as they are able to move to a house that will accommodate a working studio. Meanwhile, Brigitte continues to develop new ideas, most recently implemented in wood sculpture, too.

Eagle bracelet, small is 6-1/2" x 2", $550. Longer is 7-5/8" x 2", $600.

Eagle bracelet, small is 6-1/2″ x 2″, $550. Longer is 7-5/8″ x 2″, $600.

Bracelet, 6-7/8" long x 1" wide, $445.

Bracelet, 6-7/8″ long x 1″ wide, $445.

17" long necklace, 1/4-1/2" wide, $295 USD

17″ long necklace, 1/4-1/2″ wide, $295 USD16" necklace, $335  necklace, $335, 16″ long

Eagle pendant, 3-1/2"long x 1-5/8" wide, $245.

Eagle pendant, 3-1/2″long x 1-5/8″ wide, $245.

Pendant, 2-3/4" long x 1-5/8" wide, $250.

Pendant, 2-3/4″ long x 1-5/8″ wide, $275.

Lady Pendant, 3-1/4" long x 2-1/4" wide, $275.

Lady Pendant, 3-1/4″ long x 2-1/4″ wide, $300.

How to order: First send me an email.

  1. Tell me which piece you want.
  2. Tell me your mailing address with ZIP Code
  3. Tell me if you want insurance for the full value of your purchase.
  4. Order and pay by Monday, June 2: I will ship from California.
  5. Order and pay after June 2: I will ship from California after July 9.
  6. I will send you a PayPal invoice for the amount of the piece(s) and add shipping and insurance to the total.
  7. Upon payment, I will ship within one day if order received by June 2, 2015.

P.S. I have no earrings or rings from Brigitte to offer for sale at this time.

Iconic Frida Kahlo: A Look Inside Her Closet

Frida Kahlo is iconic. I have described her as the 20th century’s Virgin of Guadalupe. Her legend endures. The Huffington Post has just published a photographic essay by Ishiuchi Miyako of her personal belongings, along with letters and photographs, first revealed decades after her death.

These clothes and other life’s artifacts — letters, corsets, altered shoes to correct the leg length difference of childhood polio, family photographs — are part of a temporary show at Casa Azul where Frida and Diego shared a life together.  So popular, it will continue and you will see it as part of our fall 2015 educational arts programming.

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Looking for Frida Kahlo + Diego Rivera in Mexico City: 3-Day Art History Tour. Click this link for complete program itinerary. This weekend walking tour also includes visits to Casa Azul and Museo Dolores Olmedo with transportation.

Choose Your Dates:

  1. September 24-27, 2015.
  2. October 22-25, 2015.
  3. November 12-15, 2015.
  4. December 3-6, 2015.

Come solo, with a partner or friend. Norma Hawthorne Shafer accompanies all programs.

Visit for the weekend. Make it a getaway. Make this trip part of your Mexico City travel plans. Stop here with us and then go on to other parts of Mexico or wrap up your Mexico trip and explore Mexico City with us before returning home. This is a great orientation to Mexico’s art, history and culture, and to become more familiar with Mexico City .

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A Glimpse of Dali’s Jewelry: Surreal Glitz and Glam in Figueres, Spain

As you may have guessed, I’m back in the U.S.A. recovering from jet lag in my sister’s NoCal home, though missing my morning cup of Spanish espresso. Fuerte. Muy fuerte. My body is still in the state of “Does anyone know what time it is?”

We love those ruby red lips to wear. Would you?

We love those ruby red lips to wear. Would you?

Memories of Spain are swirling in my brain, especially the glitz and glam of Salvador Dali’s gem encrusted jewelry creations on exhibit at the Dali Theatre-Museum in Figueres, a 15-minute train ride beyond Girona.

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Dali’s relationship with his place of birth is powerful, deep and intense. He rescued and restored the burned out theatre across from the church where he was baptized, and where he held his first exhibition as a painter. The museum is his personal design based on his own aesthetics.  It holds the representative range of all his works created during his lifetime.

The connotation of limp clocks. You guess why.

The connotation of limp clocks. You guess why.

This is why you go to Figueres and then on to Cadaques-Port Lligat, to explore the persona of Salvador Dali as translated through his art and antics.

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The museum brochure advises visitors to take any circuitous path through the museum if they wish — there is no chronological order to a visit. You get to create your own surreal experience, according to Dali’s non-plan.

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Travel Tips, What We Did and Should Have Done

Car Rental: we rented a Europcar online in advance and picked it up at the original downtown Figueres train station knowing we wanted to drive north along the Costa Brava. Fortunately, we arrived at the old station. We didn’t realize Figueres has two train stations, one for the AVE high-speed train and the older downtown station that serves mid-distance (older) trains. So, when we wanted to return to Barcelona on the AVE, we had to return the car to the original station and then take a taxi to the high-speed station. An added expense of 17 euros. Europcar does not serve the Figueres AVE station. To get to Cadaques on public transport is difficult.

Dali Theatre Museum_24-19 Dali Theatre Museum_24-4Sleeping: we booked and pre-paid for a charming bed and breakfast country inn online in advance using Booking.com. We thought, oh, great, a countryside experience. The inn is about 15 minutes beyond Figueres in a small rural village with one pub/eating place. We arrived early evening with the intention to spend two nights, but the inn was located on the curve of a main side road with constant traffic, so with little sleep we decided to leave the next morning, visit the museum and head for the coast.

Dali Theatre Museum_24-9Visiting Dali Theatre-Museum: If you arrive early, parking is plentiful in the adjacent garage. We didn’t need tickets in advance here but you might depending on season and time of day. The main entry is opposite the church on the square. Don’t miss the jewelry exhibit. It’s easy to miss since the metal door is obscure and is through a separate entrance. Your museum ticket includes admission to this part, too.

Dali Theatre Museum_24-11 Dali Theatre Museum_24-22Dali’s wife and muse, Gala, appears in many of his paintings. In this one, above left, is she fragmented or defined as floating eggs? Eggs as Dalian symbolism appear everywhere.

Recommendations: In hindsight, I would stay two nights in Girona, rent a car there, drive to Figueres in the morning and go directly to the Dali Theatre-Museum, and then go on later in the afternoon to Cadaques and spend at least three to five nights there.  It takes about an hour to drive from Figueres to Cadaques and road signs are good, although the road is narrow and curving. Pay attention to the roundabouts. It stays light until well past 8:30 p.m.

Dali Theatre Museum_24-7Salvador Dali is an enigma to me. I see and understand his creative genius. I question his non-political position in the face of two wars that destroyed his country and most of Europe. Surrealism was both an art and political movement. By eschewing politics, did he further his artistic career more than any other contemporary? More than Picasso or Joan Miro?

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Many in the arts world called Dali a fortune seeker, greedy.  In response, he created the Avida Dollars necklace, shown above left, as a snub to the critics.  His jewelry is one more testimony to his creativity and skill to reimagine the ordinary in a spectacular way. And, what can we say about those ubiquitous eggs?

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Let’s just create a Cadillac that rains on the driver and passengers each time the umbrella that floats above opens, to say nothing of the ship that floats alongside in the air. A buxom figurehead adorns the car hood, protecting all who ride.

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Where is your imagination?

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