Tag Archives: Oaxaca

Photography: Cartier-Bresson Exhibition in Mexico City

The Mexico City exhibition featuring 398 pieces by French photographer-filmmaker Henri Cartier-Bresson closes May 17, 2015 at Palacio Bellas Artes. Please don’t miss it. Considered the founder of photojournalism, this is the first major retrospective since his death in 2004.

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An hour is not long enough to absorb the emotional intensity of Cartier-Bresson’s work. If you love political history, photojournalism, the decades leading up to World War II and the beginning of photography as an important artistic and cultural vehicle for storytelling, you will love this exhibition. I needed more than two hours to do it justice.

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It represents Cartier-Bresson’s interest in painting, drawing, photography and filmmaking. It is an in-depth view of pre and post-World War Europe, of poverty and racism, of what happens on the street among the people. There are also amazing portraits of notables who he was commissioned to photograph.

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Oaxaca Day of the Dead Photography Workshop, October 2015

Chiapas Festivals and Faces Photography Workshop, January 2016

For example, the exhibit features photographs taken during the coronation of King George II of England. But Cartier-Bresson concentrates on the expressions of people in the crowd and not the regal procession. Some are using raised mirrors to watch the parade, and to do so, they must turn their backs to the King.

 

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Cartier-Bresson uses this as a metaphor for how the people must turn away from monarchy and embrace a republican government.

Program Notes: Impressions of Africa. “He took little interest in local customs or ritual feasts, as he did not want to get drawn into “Exoticism” or what he called “detestable local colour.”  In a style very much influenced by the European New Vision (high angle shots, geometrical compositions, repeating motifs) he tended to photograph subjects like children playing in the street, dockers at work or the effort of rowers in a boat: in other words, the rhythm of African life.

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Aligned with the intellectuals and artists of the time, he was a powerful voice in support of Communism, active in the Spanish Civil War and the French Resistance.

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As a contemporary of Diego Rivera and Frida Kahlo, Cartier-Bresson came to Mexico to photograph, and many of the images shown capture the poor and disenfranchised, including children and prostitutes.

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As I moved through the exhibition, I learned more about photography by seeing this work. Cartier-Bresson shunned fiestas and processions, the formalities of organized life. He concentrated on what was messy and spontaneous.

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His technique was to find a backdrop with texture and interest that he liked and then wait for people to pass through the space.

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As we walked from Palacio Bellas Artes to see the Diego Rivera mural Dream of a Sunday Afternoon on the Alameda, I stopped to take photos of young men practicing their skateboard moves a la Henri Cartier-Bresson — perhaps — and a man sitting on a steel post mid-sidewalk, waiting, surrounded by passersby who paid no attention.

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The Decisive Moment, an essay by Cartier-Bresson, describes his philosophical approach to photography and is considered a foundation for all photographers.

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In Teotitlan del Valle, Oaxaca, Only Some Call It Carnaval

The Monday after Easter in Teotitlan del Valle, Oaxaca, Mexico, begins a five-day ritual practice about sustaining community. This is an ancient tradition that pre-dates the Spanish conquest of 1521. Some call it Carnaval (aka Mardi Gras) but it isn’t. It is called Baile de los Viejos or Dance of the Old Men, according to my interviews with local Zapotecs who know the oral history and culture because they live here and learned the ancient lore from their parents and grandparents.

Today and tomorrow in Teotitlan del Valle, the procession starts around 4 p.m. local time (5 p.m. in Oaxaca) followed by the Dance of the Old Men in the Municipio Plaza.

Carnaval is a pre-Lenten celebration that we know all too well from the festivities in New Orleans and Rio de Janeiro. It is rooted in a Roman celebration that extended throughout Europe during the middle ages.

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Dance of the Old Men, the Viejitos, is a way for each of the five sections of the village of Teotitlan del Valle to give anonymous feedback to its elected officials, the president and the committee.  It is a self-governing mechanism that gives voice to each person in the community that is transmitted by the masked actors who represent them. The mime is a ritual about giving feedback, paying honor and tribute to leaders and keeping communication open for honest dialog.

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It’s true that the Dance has taken on a more carnival atmosphere, complete with food and drink and ice cream vendors. Children participate in the masked dancing and there is a frivolity in the air. But, this is a serious practice that ensures cohesion and lets the leaders know how well they are doing, if they are meeting expectations and where they may be falling short. Humility is rewarded here. Arrogance is not. Leaders are reminded that they are in their voluntary and elected roles at the behest of the people.

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This is a self-governing model for Mexico’s Usos y Costumbres villages, many of which are in Oaxaca.

The generation of grandfathers and grandmothers want their children to know that this is not Carnaval. It is an important, ancient Zapotec practice about how to live together peacefully, with self-governance. Let’s do our part to help perpetuate the accurate story.

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2016 Oaxaca Women’s Creative Writing and Yoga Retreat: Lifting Your Creative Voice

This is our 6th annual Oaxaca Women’s Creative Writing and Yoga Retreat and we hope you can join us! Many retreat participants return each year and we limit registration to 10 women. So, if this is something you have always wanted to do, please do not hesitate. Starting at $995 per person.

Arrive by Friday March 4 and depart Saturday, March 12, 2016.  We start Saturday morning, March 5th and end Friday night, March 11, 2016. The workshop fee includes 8 nights lodging, all instruction, daily yoga, personal coaching sessions, daily breakfast and most dinners. Some choose to travel on Thursday to settle in or avoid a late night arrival or a missed connection.

You have options, for an added cost, to take a traditional Oaxaca cooking class, take part in a temescal sweat lodge, schedule a massage, or extend your stay to go to Oaxaca city or the Sunday, March 13, Tlacolula market.

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You are a woman with something to say.

  • You keep journals, notes, drafts of unpublished material.
  • You dream of writing and never have.
  • Ideas percolate, and you want to capture and develop them.
  • Perhaps you have written and/or published a while ago, let the writer’s life lapse and you want renewal and encouragement
  • You may want guidance and support to continue an unfinished piece or publish it.

The Women’s Creative Writing and Yoga Retreat: Lifting Your Creative Voice is your place to learn, express yourself, and be the woman who writes — and keeps writing.

Our workshop leader and coach is published author/poet and university professor Robin Greene. With her help and feedback from the group, you’ll gain knowledge and perspective about the art and craft of writing.  There will be plenty of time to retreat for writing — what you come here for!

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You are encouraged to write in the genre that best suits you:  memoir, journal, poetry, creative nonfiction or fiction.

  • We accommodate novices and experienced writers.
  • We limit enrollment to 10 women to guarantee personal attention in a small group.

WritingWorkshop (71 of 199)Daily yoga sessions with Beth Miller enhance your writing.  We tailor the sessions to fit each person’s physical level and needs. As you flex your body, you stretch your imagination. Yoga develops core strength to find voice and creative center.

This is a perfect combination of the physical and spiritual, says past participant Lee Ann Weigold.

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What Participants Say

  • I learned I am fully capable of being the writer I dreamed of becoming.
  • The location, teaching and program structure creates a truly transcendent experience of enormous value.
  • I was challenged and that turned out to be exactly what I needed.
  • Far exceeded expectations. Got many suggestions for how to write healing stories.
  • It was wonderful!
  • The combination of writing, yoga, meditation and shared sisterhood is transformational.
  • Oaxaca feels safe, safer than my hometown in the USA.
  • I identified a writing project that engages and excites me.
  • The balance of intensive writing workshops, cultural excursions and yoga lead to a powerful experience on all levels.
  • The feedback was so thoughtful.  I honestly can’t think of anything I would change.
  • Beth’s yoga is the best I have ever experienced.  A perfect combo of the physical and spiritual.

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We are based in the Zapotec weaving village of Teotitlan del ValleOaxaca, in a woman owned and operated guesthouse. Accommodations are basic, clean and simple. The food is delicious, home-cooked and organic. Vegetarian options are available.

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Imagine a setting so beautiful that it inspires all the best within you.  Here, amid the flowering Bougainvillea and in the shade of red pomegranates, with the backdrop of 9,000 foot mountain peaks, you will enjoy a rich and rewarding experience. Our workshop is perfect for renewal and self-reflection. 

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From Instructor Robin Greene

“The writing retreat is very relaxed. This year, I am asking each participant to send me a work in progress or writing sample before the workshop. I will distribute these, one to each participant, who I will ask to make editing suggestions. We will all bring these to our first session for discussion on editing. Our goal is to develop craft and we will support each other in this learning process.

I’ll also have plenty of prompts, writing exercises, and suggestions—and, of course, as women write, we energize each other. “As the writing instructor, I like to encourage women to find their voices so that the retreat experience is personally meaningful. In addition to one scheduled conference with each person, I’m available for feedback and coaching throughout our time together.  And, because I teach creative writing, I have a repertoire of techniques and strategies to share with writers at all levels. “While I’m a university professor, this Women’s Creative Writing and Yoga Retreat remains my favorite teaching experience.”

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We cannot promise that you will win a poetry prize, as did one of our participants after writing her winning poem at the retreat, or be published in The Sun Magazine and Minerva Rising literary journals as several past participants have. We CAN promise that you will explore, develop and deepen as a writer if you are open to the experience.

What the Retreat Includes:

  • 21-hours of group workshop and feedback
  • One-hour individual coaching session
  • Focused sessions to hone your skills: grammar, reading in public, publishing, grammar, editing
  • 7 yoga sessions tailored to your skill level
  • Yoga at Yagul archeological site, includes transportation
  • Self-guided map of village
  • 8 nights lodging
  • 8 breakfasts
  • 6 dinners
  • Final Group Reading with Celebratory Fiesta Dinner

Optional Added Fee-based Activities:

  • Shiatsu or Zapotec Massage scheduled during the workshop, $30 per person
  • Zapotec cooking class in Teotitlan, arrive early, spend one additional night, includes lunch, dinner, breakfast, $125 per person  (2 person minimum)
  • Temescal women’s sweat lodge, scheduled during the workshop, $30 per person

*What is Temescal?  The pre-Hispanic temescal of Mexico was used by the Aztecs, the Zapotec, the Mixtec, and the Maya for therapeutic and purification purposes—coming-of-age rites, childbirth, the burial of a relative, and other tribal ceremonies. Temescal comes from the indigenous Nahuatl word temazcalli, meaning “bathhouse.” The temescal is a rectangular or round adobe structure with a vaulted roof. In it volcanic rocks are heated, and steam is produced by throwing herbal teas, such as rosemary and eucalyptus, on the rocks. The bather is gently whipped with ritual or medicinal plants. Curanderas, locally trained folk healers perform the ritual. They say it is important not to bathe for twenty-four hours after!

The Spanish friars fought against this custom during the viceroyalty because they considered mixed-gender bathing inappropriate. Nevertheless, the temescal survived and is still used in certain parts of Mexico, mainly for bathing, for alleviating illness, or for recovery after childbirth. However, there is an increasing interest in reviving the traditional religious aspects of the temescal as part of the country’s heritage.

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2015 Exquisite Corpse Poem

The Exquisite Corpse Poem is a collaboration.  Each writer in the group contributes a random sentence or phrase that then becomes part of a complete poem. The result is surprising and creative!  We do this each year as part of our closing ceremonies for the Oaxaca Women’s Creative Writing and Yoga Retreat. For 2015, our mission was different however.

We adapt the Exquisite Corpse Poem based on the game developed by the Parisian Surrealist Movement.  Professor Robin Greene, our writing instructor and coach, takes liberties with the concept and edits what we have contributed into something more coherent than abstract, but always beautiful!

This year, we dedicated our Exquisite Corpse Poem to honor returning participant Becky, in celebration of her upcoming marriage in North Carolina over Memorial Day Weekend.  Congratulations, Becky.

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To Becky, Upon Her Upcoming Marriage

Becky, it’s spring at last under the beloved fields

in Teotitlan, where the earth is full and steady,

constant and quick as our rushing breath,

constant and slow as the rotating moon;

love, we wish to tell you, is light and dark,

bitter and sweet, rough and smooth. So let

the planet remain round, Becky, let your leaves

open and rustle; let your moments be amazed

and electrified, changed and unchanged—as

marriage is both perfect and imperfect, full

and empty, and light radiates in the star-

filled darkened sky. Becky, we are your sisters

now, braiding your hair with soft ribbons, asking

you to hug the space between all spaces, allow

the romance of cockroach and swallow to matter,

give yourself to the heart-merging of all white

daisies in wind. And in return, we give you

our blessings: for you are so lucky, Al is so lucky,

and so lucky are we.


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 What Women Say . . . “I better learned how to put together a writerly life.  The coaching session will help me stay on track.  I enjoyed listening to and evaluating each others’ work.  What a great group of women.” –Leslie Larson, California

“I came with the hope of being rejuvenated.  I am leaving with a lightness and grounding that is beyond comprehension.”  –Rebecca S. King, North Carolina

“The instruction was excellent and supportive. The personal coaching session offered me a chance to talk about my writing in a way I never had before.  The workshops are especially valuable because the feedback is so thoughtful.” –Susan Lesser, New York

“I discovered that my writing entertains people!  Beth’s yoga is the best I have ever experienced.  A perfect combo of the physical and spiritual.  –LeeAnn Weigold, British Columbia, Canada

“There is amazing resonance between Robin’s and Beth’s teaching — vigorous, solid, and accepting.”  –Deborah Morris, M.D., North Carolina

“It was all perfect. You gave us a beautiful writing workshop in a beautiful village setting and you also gave us a strong community-of-women bond that will far outlast this conference. Mil gracias!” — Katie Kingston, MFA, Trinidad, Colorado

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“The quality of the teachers was stellar and the combination was a perfect fit for me. Robin has a clarity that is lovely, supportive, truth-telling, knowledgeable, superbly skilled. Beth is a beautiful, beautiful teacher. Combining the yoga and sound with writing was profound.” — Nancy Coleman, Portland, Maine

“Robin’s knowledge impressed and guided me throughout the week.  She is one of the most generous people, instructors and writers I have ever met. The week gave me the insight to reinvestigate life and write about it.”  Kathryn Salisbury, North Carolina

“The week helped with my intention to write my book. There were too many valuable parts to list! We experienced an amazing time together, sweating leaves, meditation, chanting, writing, and honoring our lives. This was an awesome experience.” — Susan Florence, MFA, Ojai, California

“We learned from the other women in the group, from the culture, the language and people in the village. It was magical.” –Bridget Price, Mexico City

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Your Workshop Leaders: Robin Greene and Beth Miller

Robin Greene is the McLean Endowed Professor of English and Writing, and Director of the Writing Center at Methodist University in Fayetteville, North Carolina. She is also co-founder and senior editor of Longleaf Press, a literary press that publishes contemporary poetry. Greene is the recipient of a NC Arts Council/NEA Fellowship, a university teaching award, and a visiting professorship in Romania. Her work is widely published in literary journals. Greene has served as a writing consultant and has taught creative writing for over two decades. Her books include Real Birth: Women Share their Stories(nonfiction), Memories of Light and Lateral Drift (collections of poetry), and Augustus: Narrative of a Slave Woman . Greene holds an M.A. in English from SUNY-Binghamton and an M.F.A. in Writing from Vermont College of Fine Arts. See Robin’s website: www.robingreene-writer.com

Beth Miller combines yogic practice and philosophy with meditation, creativity and improvisation. She specializes in Vinyasa-Hatha yogic traditions and employs sonorous yoga practices as an approach to help women of all ages to give voice to their lives. Beth has a background in Holistic-Health Counseling, working primarily with teen girls and young women to inspire healthy lifestyle habits. In addition, Beth is a vocal artist, performer and teacher of Western classical and sacred music. She holds a B.A. in music from Westminster Choir College, is Certified Holistic Health Counselor.

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Preliminary Workshop Outline

  • Friday, March 4, travel day, arrive and check-in (dinner on your own)
  • Saturday, March 5, introductions, orientation, editing session, writing exercises, yoga (breakfast and dinner included)
  • Sunday, March 6, editing, yoga, writing (breakfast and dinner included)
  • Monday, March 7, yoga, writing, coaching, optional temescal and/or massage (breakfast and dinner included)
  • Tuesday, March 8, yoga, writing, coaching, optional temescal and/or massage (breakfast and dinner included)
  • Wednesday, March 9, yoga at Yagul archeological site, writing, coaching, optional temescal and/or massage (breakfast and dinner included)
  • Thursday, March 10, yoga, writing, option to go to Oaxaca city or Mitla archeology site (breakfast and dinner included)
  • Friday, March 11, yoga, writing, group reading and closing dinner (breakfat and dinner included)
  • Saturday, March 12, departure

Note: You may enjoy extra days in Oaxaca at the end of the trip or extend your stay in Teotitlan del Valle to go to the always exciting and wonderful Tlacolula Market.  Added nights in Teotitlan del Valle are $55 per night, which we can add on to your invoice. Added nights in Oaxaca city are $110 per night, which we can add to your invoice.

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Lodging/Accommodations and Cost.  To keep this program affordable, we have selected clean and basic accommodations at family operated guesthouse/posada. Local cooks prepare delicious meals from scratch, including organic, locally grown corn tortillas. Vegetarian options are available.

Cost: 

  • $995 per person double occupancy with shared community bathroom across the courtyard
  • $1,095 per person single occupancy with shared community bathroom across the courtyard
  • $1,295 double room with private bath (sleeps 2)
  • $1,495 single room with private bath (sleeps one)
  • Added nights before or after in Teotitlan, $55 per night (includes breakfast and dinner)
  • Added nights in Oaxaca City before or after retreat, $110 per night (includes breakfast)

There will be a sign-up for massage and temescal appointments after you arrive. You will pay for these services directly to the providers. Estimated cost is $30 per 50-minute session.

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. We reserve the right to substitute instructors and alter the program as needed.

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 10, 2014. We accept payment with PayPal only. We will send you an itemized invoice when you tell us you are ready to register.  After January 10, refunds are not possible.  You may send a substitute in your place.  If you cancel before January 10, 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 Shafer 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 Hawthorne Shafer, Oaxaca Cultural Navigator LLC. We reserve the right to make itinerary changes and substitutions as necessary.

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Red Pottery of San Marcos Tlapazola, Tlacolula, Oaxaca

My dad was a potter and I grew up with a potter’s wheel and an electric kiln in our garage.  Tools were piled on the table, where also sat clay forms drying to the leather hard before he put them into the oven.

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This is where he would go to work when he came home from work.  For him, I think, putting his hands on the clay of earth and forming it into something beautiful or whimsical or functional was his joy, more fun than work.

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I always have a special feeling for people who put their hands on clay.  In San Marcos Tlapazola, just 8 kilometers behind Tlacolula, in the foothills, the Mateo Family women work with an organic low fire clay body that becomes unglazed, utilitarian and decorative pieces for hearth and home.  It is lead-free and safe to eat from and cook with.

We work with our hands. We bring the mud from our fields. It takes a week to dry it.  We wet it. Stir it, strain it and mix it with sand.  Finally, we let it dry under the sun to make it. We are ready to work with it. 

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The vessels are made on a simple turning wheel as the women sit on the floor.  They use pieces of wood, stone, coconut shell, gourds and corn cobs to shape and polish.

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You might recognize them as they sit on their knees, on petate woven grass rugs at the Sunday Tlacolula market. You might notice them as they pass through the restaurants and food stalls calling out their wares for sale. Their dress is distinctive and colorful.  They sell comals of various sizes, bowls and plates, platters and large vessels perfect for cooking soups and stews.

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But, the best, largest and most impressive pieces are in their San Marcos Tlapazola home workshop studio. Here, tall jugs are decorated with chickens and roosters, pot lid handles might be dancing dolphins or turkey heads or pig snouts. You might even come across a national award-winning bowl sitting regal on its clay pedestal throne. The selection is enormous and often you can see the black fire flash in the red clay form, giving it an elemental connection to the earth, wind, fire.

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When we got there, we came into the courtyard filled with smoke.  It was firing day.  The pots were hidden under corrugated metal sheeting, piled with tree branches, dried corn husks, discarded bamboo sticks, twigs, brush, and protected by a ring of broken pots to keep the heat in at ground level. We arrived just in time to add our bundle of brush and branches to the fire.

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Here at Matamoros No. 18, in San Marcos Tlapazola, live the parents, sisters, cousins and nieces of the extended family of Alberta Mateo Sanchez and Macrina Mateo Martinez.  The home phone number is 951-574-4201.  The Cel is 951-245-8207.

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Their mother Ascencion is ninety years old.  Almost as old as my own mother who just turned ninety-nine.

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Call to make an appointment to be sure they will be home.  Maybe you will be lucky enough to come during a firing, as we did.

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As we shopped, the rains came and the wind whipped. It wasn’t a heavy downpour but a light Lady Rain drizzle that causes the smoke to curl through the courtyard and burn our eyes. As we left, the rains made a mist and droplets coated the car window through which I took these ethereal photos below.

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Thanks to Merry Foss, Oaxaca folk art collector and dealer, and Sara Garmon of Sweet Birds Mexican Folk Art, Santa Fe, NM,  and Christopher Hodge for taking me on this adventure.

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How to get there?  Go toward the hills behind Tlacolula, following the road that goes through the center of town.  There will be a crossroads at 4km.  Turn right and continue another 4 km until you get to the village.  You will see the traditional church in the distance as you wind to the right through high desert.  The main street is Matamoros and the sisters’ house is on the left past a couple of blocks past the church.  Look for the sign: Mujeres del Barro Roja.

 

Mexican Impressions: Oaxaca Printmaking Workshop

Sunday to Friday, January 10-15, 2016, 6 workshop days. Starts Sunday morning and ends Friday evening with a gallery show and reception. Anyone with an interest, including beginners as well as emerging and established artists who want to build their portfolio and add a gallery show to their resume, is welcome. $995 per person.

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Oaxaca is a vibrant center for the arts with a rich tradition in the graphic arts. There are more than 20 active printmaking studios here and many more galleries where artists and their work are featured. We invite you to learn more about Oaxaca’s graphic arts scene and take part in an in-depth, hands-on workshop to apply the printmaking traditions of Oaxaca and Mexico. You will make your own carved relief prints using wood and multi-density fiber board (MDF), professional carving tools and a traditional press.

Who Should Attend: Anyone with an arts interest, emerging and established artists, and mixed media artists will want to incorporate this medium into their work.

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Your Workshop Leaders: THREE Amazing Professionals

Complete instructor bios are included below.

Jaguar Feet Stelae

Before we go to work in the studio on Monday, we take you on Sunday to museums, markets and Monte Alban archeological site to examine historical objects, fine art and popular crafts. Take a closer look at indigenous and vernacular design motifs, then use your sketchbook and/or camera to record your impressions and create a starting point from which to develop your relief print – an impression of Mexico.

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Our workshop is held at a fully equipped graphic arts studio located in the historic center of Oaxaca. During the course, you will make an artist’s proof and a small edition of six or more 18″x 24″ black and white prints. Then, you will carve an additional block to introduce color into the print. This is called a two-plate relief system.

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To ensure a quality hands-on experience, this workshop is limited to 10 participants.

During the week, you will receive group and individualized instruction, coaching, constructive feedback and review. Our final day will culminate in a gallery opening and reception with a group exhibition open to the public. You are welcome to invite guests.

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Before the workshop begins, we will send you suggested readings and materials to prepare you, including essays on the artwork of printmakers Jose Guadalupe Posada, the Taller Grafica Popular and artists currently working in Oaxaca. Our packet includes travel and packing tips, restaurants, shopping guide and more!

  • Sunday: Starts 10 a.m. with field trips to Monte Alban, markets and museums (shared taxis to/from Monte Alban)
  • Monday through Friday, 11 a.m. to 6 p.m. Studio workshop time with lunch break) to develop designs, carve and print.
  • Friday Evening: Gala reception and Gallery Exhibition.

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About Kevin McCloskey

Kevin McCloskey, professor of Communication Design, Kutztown University of Pennsylvania, has been visiting Oaxaca for over 30 years. In 2007, he was awarded a National Endowment for the Humanities fellowship to study the visual arts of Oaxaca. He has written extensively about Mexican political prints and has curated eight exhibitions of Mexican prints across the U.S, notably at the Fowler Museum, University of California at Los Angeles (UCLA). In 2012, he was invited to Princeton University to lecture on Mexican prints at the Woodrow Wilson School of International Studies.

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McCloskey holds an MFA in illustration from the School of Visual Arts, New York. His humorous illustrations have appeared in magazines and newspapers, including the Village Voice, New York Times, New York Daily News and Philadelphia Inquirer. His prints and illustrations have been exhibited widely and his has published numerous books.

Articles on the Oaxaca art scene by Kevin McCloskey:

About Miles DeCoster

While Miles DeCoster teaches interactive design in the Communications Design Department at Kutztown University of Pennsylvania, he is also a painter, photographer, printmaker, book artist, web artist and designer. He received formal training at the Washington University School of Fine Arts in St. Louis (BFA 1972) and the Art Institute of Chicago (MFA 1979). His work is in numerous collections, including the Museum of Modern Art, the Art Institute of Chicago, the Museum of Contemporary Art, Chicago, the California Museum of Photography, the Minneapolis Institute of Art, Washington University Rare Books and Special Collections and private collections.

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DeCoster has received grants and fellowships from the National Endowment for the Arts, the Illinois Arts Council, Post-Newsweek Stations, Nexus Press and the Chicago Arts Council. His studio is at the GoggleWorks arts center in Reading, PA, one of the largest facilities of its kind in the USA. His work is included in exhibitions at the Museum of Modern Art, The Museum of Contemporary Art in Chicago, The Walker, and many regional exhibitions.

As a professional designer, DeCoster served as art director for In These Times, a national news magazine published in Chicago, from 1983 to 1993, and has designed many print projects and web sites for clients including the American Heart Association, the School of the Art Institute of Chicago, Freedman Gallery at Albright College, Harcros Pigments, Trattoria Mario in Florence, FESTA, First Books, Yellow Press and others.

About Alan Altamirano

Printmaker/artist Alan Altamirano is one of Oaxaca’s young, up-and-coming artists whose work is collected around the world. His professional nickname is MK Kabrito! You will have to ask him what that means.

Alan is the founder of Taller de Grafica La Chicharra in Oaxaca, Mexico. He attended the Escuela de Bellas Artes, Universidad Autonoma Benito Juarez de Oaxaca (UABJO) and graduated in 2010 in fine and visual arts.

10848710_10206212116119828_1018688424988371677_oAlan has studied with noted printmakers Shinzaburo Takeda, Suzanne Simpson, Tamana Araki, Per Anderson, Raul Herrera. He his work is recognized and exhibited in Mexico, Spain, Italy, The United States of America, Rumania, Brazil and Argentina.

His resume includes a long list of expositions and seasoned printmakers recognize Alan as an important contributor to the Oaxaca art scene. At the end of March 2015, Alan traveled to University of California at Davis where he had an exposition of his work and gave a week-long printmaking workshop. He was in California for three weeks to explore the printmaking and contemporary art scene in the San Francisco Bay Area.

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The workshop includes

  • all instruction, coaching and review sessions
  • personal attention from three practicing, exhibited artists who are also expert teachers,
  • all printmaking materials (except sketchbook, pencils)
  • dedicated use of a professional graphic arts studio
  • gallery exhibition of group work at the end of the week

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The workshop does not include airfare, lodging and meals, taxis and admission to museums and archeological sites, alcoholic beverages, tips, travel insurance, optional transportation and incidentals. When you register, we will send you a list of suggested hotels and B&Bs.

About Suggested Accommodations: We are based in Oaxaca city for this workshop. To keep this workshop affordable, we are not including lodging and meals. We will suggest a range of hotels and B&B’s where you may choose to stay, complete with contact information and estimated pricing. You can also check TripAdvisor and BookingDotCom or other online agencies for best prices. All reservations for lodging are to be made and paid for by you directly with the hotel. You are free to choose any accommodation you prefer, from luxury to basic hostel. We will send you a list of recommended hotels after you register and make your deposit.

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Reservations and Cancellations: A 50% deposit will reserve your space. The final payment for the balance due shall be made on or before November 1, 2015. We accept PayPal for payment only. We will send you an invoice for your deposit to reserve when you tell us by email that you are ready to register.

If cancellation is necessary, please notify us in writing by email. After November 1, 2015, no refunds are possible. However, we will make every effort to fill your reserved space or you may send a substitute. If you cancel before November 1, 2015, we will refund 50% of your deposit.

International Travel Insurance Required. We require that you take out trip cancellation, baggage loss and at least $50,000 of emergency evacuation and medical insurance before you begin your trip. We will ask for documentation. We know unforeseen circumstances are possible.

To register, email us at oaxacaculture@me.com We accept payment with PayPal only. Thank you.

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Ready to register? Send us an email and we’ll send you an invoice to make your $550 deposit. This guarantees your space.