Tag Archives: painting

Arte Walk Oaxaca: Graphic Arts + Painting Studios

Thursday nights are Arte Walk Oaxaca. There’s a nice little black and white map that pinpoints the independent art spaces and workshops. My favorites (plus one not listed on the map) are clustered in the neighborhood just a few blocks from the Zocalo, bounded by Hidalgo, Doblado, Xicotencatl and Colon. It’s becoming Oaxaca’s SOHO (south of Hidalgo) arts district.

David, Carol and Gabo in the textured courtyard wall glow

David, Carol and Gabo in the textured courtyard wall glow

While you can find the artists, a coterie of Oaxaca local art lovers spilling out onto the sidewalk outside postage stamp galleries, along with shots of mezcal, beers and bowls of spicy peanuts, Thursdays aren’t the only time to enjoy what Oaxaca is known for: GREAT GRAPHIC ART.

Black and white print at La Chicharra

Black and white print at La Chicharra Taller de Grafica

Most galleries are open Monday through Sunday, though often it’s catch as catch can. As is the case with many small, locally owned and/or operated shops here. Many of the galleries are cooperatives, so they are staffed by rotating volunteer artists who need a venue to show and sell their work directly. THERE IS A LOT OF TALENT HERE.

A subtle wall mural of overlapping faces, faces in the crowd?

A subtle wall mural of overlapping faces, faces in the crowd? Gabo Mendoza studio.

Last night, Friday, Gabriel Gabo Mendoza (tel: 951-142-7508) held an open studio where he lives and works at Xicotencatl #303. He isn’t on the map. Carol, David and I meandered in around 7 p.m. just as night was falling and the promise of a new moon hung in the sky.

 

Gabo’s courtyard was lit with purple twinkle lights. There were new murals on the wall. The large space will become a studio workshop for many. A table-top display held recycled Ixtlan wood mezcal boxes hand-painted with agave varieties of 750 liter bottles contained within. The mezcal is sourced locally by some of the best mezcaleros in Oaxaca and private labeled. Organic and artisanal. A great gift!

Agave painted mezcal boxes, containing artisanal juice -- for sale at Gabo Mendoza

Agave painted mezcal boxes, containing artisanal juice — for sale at Gabo Mendoza

We looked through Gabo’s newest work. Talked about how artists develop and evolve over time, and how this reflects in their work along with life experiences, tragedies and joy. It was interesting to talk about the transitions from then to now, sharing life stories, sipping Agua de Jamaica (hibiscus water) and feeling the glow of the space.

Moon coming up over purple twinkle lights

Moon coming up over purple twinkle lights at festive art opening

Then, we moved on to Taller de Grafica La Chicharra at Xicotencatl #317. This is a cooperative workshop studio where you can also take classes. Tonight, Saturday, March 19, there is a new show opening and they were readying for it. Spectacular work here, too, by MK Kabrito (Alan Altamirano) plus many others, much of it affordable! Check out the T-Shirts.

Great graphic T-shirts at La Chicarra graphic workshop

Great graphic T-shirts at La Chicarra graphic workshop

After a stop into Proyecto 30-30, Hidalgo #1208, where a graphic arts show of humorous political images hang.  By now, it was close to 8 p.m. and I knew Cooperativa Grafica Oaxaca at Manuel Doblado #210 closed at 7 p.m.  I had stopped in there earlier in the afternoon to get some great prints on fabric buttons that I will give as gifts. Agave, calavera skulls and animal images make great hat adornment.

Wall murals highlight artist work space

Wall murals highlight artist work space at Gabo Mendoza studios

We decided it was time to get a bite to eat, so walked a few blocks north on Xicotencatl that changes name to Pino Suarez when it crosses Independencia.  El Sol y La Luna Restaurante Bar, Pino Suarez #304 was our destination. Open 7 p.m. t0 midnight. Artisanal beer on tap, mezcal and sueros are featured beverages. I watched as thin crusted pizzas a la the best of Italy came out of the kitchen. We ordered cheese stuffed calzones — each crusty deliciousness. Next time, maybe a hamburger. They looked good, too.

Some tools of the artist craft

Some tools of the artist craft

Evenings this time of year are delightful. A wind comes up. Chills the hot air. Takes the edge off the beginning of the hot, spring rainy season (the rains haven’t come yet, though). Everything is in bloom. Purple Jacaranda line the avenues. A perfect time for an evening stroll to enjoy this city’s art scene and support the young artists who have so much to say through their work.

Contact: walkoaxaca@gmail.com or Facebook: artewalkoaxaca

At La Chicharra graphic arts studio and gallery

At La Chicharra graphic arts studio and gallery

 

Oaxaca Artist Gabriel Mendoza Lives Here

Oaxaca artist Gabriel Mendoza Rodriguez lives obscurely and paints large. His works are filled with color, humor, sadness, political and social commentary. They are playful and grotesque, childlike and sophisticated, simple and complex.

Two large paintings in Gabo's studio

Two large paintings in Gabo’s studio

Look into Gabo’s eyes and you know that he feels what he paints — street children, prostitutes, farm animals. These are interpretations of life as he knew it growing up in Mexico City and what he sees here in Oaxaca.

Gabriel "Gabo" Mendoza Rodriguez in front of colonial adobe wall

Gabriel “Gabo” Mendoza Rodriguez in front of colonial adobe wall

I look at Gabo’s work and think back to Mexico’s political satirical movement started by Jose Guadalupe Posada. Diego Rivera revered Posada. So did his contemporaries David Alfaro Siquieros and Jose Clemente Orozco. Many of their paintings seem like a cartoon.  The satirical cartoon is a hallmark of Mexican art and I see it, especially, in Gabriel Mendoza‘s work.

Expansive courtyard where Gabo works

Expansive courtyard where Gabo works

Gabo lives and works within the second courtyard of a vintage colonial adobe home in the historic center of Oaxaca. The front door is now metal with only the street number visible. Inside, the first courtyard is filled with old restaurant equipment and surrounded by vacant rooms.

Three calaveras -- skeletons -- a common theme, a different approach

Three calaveras — skeletons — a common theme, a different approach

Walk further back and you enter an expansive brick patio where Gabo works. Here are easels, a printing press, a table saw for building frames for paintings and doors, murals and drawings on the crumbling stucco walls. Beyond are abandoned rooms where only debris and termite eaten timbers lay waiting for rehabilitation or burial. Work is in progress.

Decades of disuse in a building with great bones

Decades of disuse in a building with great bones

This is studio space that is used by several artists and Gabo hopes that more will come here to create and collaborate.

 

Please feel free to go and knock on the door. This is a part of Oaxaca worth exploring and a talented young man you will want to meet. With thanks to Dumpster Diver Diva Ellen Benson for the introductions!

Layers of acrylic paint on woven paper, texture and color

Layers of acrylic paint on woven paper, texture and color

Gabriel “Gabo” Mendoza Rodriguez, Xicotencatl #303 (between Guerrero and Colon).  Knock loudly and ring the bell several times! You say the street: She-Koh-Ten-Caht-L

 

Above left, my artist friend Hollie Taylor visiting from North Carolina. Above right, a painted kitchen cupboard.

Portraits of women, in progress, with cut-out paper doll

Portraits of women, in progress, with cut-out paper doll

 

 

 

 

Evoking Frida Kahlo: Making Memory Altars and Shrines

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.

Consider making this a self-portrait altar!

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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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Artist Salvador Dali at Port Lligat, Girona, Spain

Port Lligat on Spain’s Costa Brava, is a niche in the rock wall coast line of the Mediterranean Sea, just around the bend from Cadaques. This tiny fishing village is where surrealist artist Salvador Dali lived and painted for most of his adult life.

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We ended up here more or less by accident, since we had booked no hotels in advance between our visit to the Dali Theatre-Museum in Figueres and our last three nights in Barcelona before returning to San Francisco. Our only plan was to rent a car and go.

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This was both wonderful and a mistake. Wonderful because our path took us to Cadaques and Port Lligat, two glorious, sun bathed Mediterranean villages hugging two coastline coves.  The mistake was, without planning, we hadn’t bought advanced tickets for the Dali house admission, so we didn’t get in.

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No matter! The gardens and views are amazing and there are plenty of surreal sculpture installations to capture the imagination, including a baby grand piano spilling its guts.

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The house is perched on a rock hill overlooking the sea. It is studded with olive trees, outbuildings, patios and flowers planted in teacup pots. Videos give visitors a complete art history into Dali and his wife Gala’s life here, along with all the idiosyncracies of his controversial life, politics and religious views.

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In front of the swimming pool, designed a la a surrealist’s view of the Alhambra palace complete with lion fountains, a Pirelli tire sculpture frames the famous Mae West lips sofa. All visitors take their turn posing on the sofa for a photo.

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Dali and his wife Gala bought the small fisherman’s cottage in Port Lligat from his childhood nursemaid. He developed and expanded it over the years, and it became the place he retreated to. The rock outcroppings of place take on surrealistic forms in his paintings.

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Lips are a Dali icon. In the 60’s he made ruby studded gold lips worn as a pin. If you want, you can buy a glass knock-off in any of the affiliated museum shops along with moustache adorned t-shirts and Dali-designed perfume bottles. The man was definitely an entrepreneur who capitalized on his reputation and his talent.

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The surrealists discredited him. Leftists disowned him. Priests embraced him. Socialites basked in his aura. Hollywood gave him entrée. He appeared on the cover of Time Magazine at age 32. Sigmund Freud was his hero.

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Art critics weigh in about his apolitical position of the Spanish Civil War. Some say everything he did was sexually and psychologically motivated. Others say he was an exploiter and showman. He was said to have applauded Franco’s assassination of his good friend, poet Federico Garcia Lorca as a surreal moment of life.

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Whatever you think of Salvador Dali, his work is astounding and a visit to his birth place of Figueres and the Dali Theatre Museum is a must if you go to Barcelona. It’s only an hour north by AVE fast train going 200 km/hour.

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We hadn’t planned on going to the beach because we are no longer sun worshippers. But, we needed a respite from visiting so many cities (Barcelona, Bilbao, Granada, Girona, Figueres) and historical/architectural points of interest.

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Cadeques turned out to be the perfect place to settle for three nights. I would recommend longer. Five days wouldn’t be too long! More on Cadaques to come. Everything about being in a white-washed Mediterranean village is true. In Spain, it’s even more true because of the food and the people, to say nothing of the leisurely strolling and shopping.

Dali_27-23 It’s a dog’s life, too. Not just for Salvador Dali.

Dali_27-7 Dali_27-22And to know and feel the Mediterranean, I took off my shoes and put my feet in the beautiful, clean, clear water and walked the curve of the shoreline.

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Mexican Muralist Orozco’s Prometheus at Pomona College, California

Last week while I was visiting my son in Southern California, I decided to make a pilgrimage to see Jose Clemente Orozco’s famed mural at Pomona College. Orozco, along with Diego Rivera and David Alfaro Siquieros, is one of the Three Grand Masters of Mexican Muralism.  Like a three-legged stool, the study of one balances and informs the work of the others as they shaped and reflected post-revolutionary (1910-1920) Mexico art and politics.

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During our Looking for Diego Rivera and Frida Kahlo Art History Tour in Mexico City (coming up November 13-17), Orozco and Siquieros figure predominantly in what we see since they all painted frescoes in Mexico City’s public spaces.

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We compare and contrast the styles of these three  to better understand how they interpreted social and political change within the context of their personal beliefs and values.

Orozco’s work is powerful, compelling and monumental. So, I take art historian Valeria’s advice to see this work in Frary Dining Hall at Pomona College.

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It’s summer and I call ahead to make sure of the dining hall hours to be certain I can enter (breakfast is served 8-9:30 p.m. and lunch is 11:30 a.m. to 1 p.m.), then prepare my route from the beach to the foothills of the San Gabriel Mountains, navigating a series of freeways. This is the land I grew up in and I’m completely at home.

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The trip takes about an hour and I arrive a bit after ten in the morning.  A good time to travel since I am going in the opposite direction from morning rush-hour traffic heading toward downtown Los Angeles.

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Pomona College is private, liberal arts and part of the Claremont Colleges Consortium. The grounds are carefully manicured and the buildings convey the ambience of of classic California architecture, combining southwest colonial Spanish influences with art deco style.

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I loved walking the park-like, tree-lined pedestrian avenues filled with talented young people representing every multicultural mix in the world.

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Orozco painted and completed his mural in 1930, at the start of the Great Depression.  There is an extensive art history discussion of the mural so I won’t go into much detail here, other than to say that Prometheus incurred the wrath of Zeus when he gifted humankind with fire — a symbol of learning, enlightenment and innovation — a perfect metaphor for a relatively new institution of higher education.

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I decided to stay and have brunch in the richly paneled dining hall that students call Hogwarts, bought a meal ticket for $7.50, and settled in for the next hour-and-a-half to take photos, people watch, and gaze at the ironwork, paneled walls, and the play of light on Orozco’s masterpiece.

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Note: If you arrive before or after the scheduled dining hall opening hours, you will be able to view the Orozco mural in natural light.  Incandescent lights illuminate the mural during the hours when the dining hall is open.  In my opinion this distorts the mural and the light casts an unwelcome glare. So, my recommendation is to enter the dining hall either between breakfast and lunch or between lunch and dinner.

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Best time to travel there:  Between 9:30 a.m. and 1:30 p.m. I left campus at 1:30 p.m. and had an easy return to the south coast, again circumventing Los Angeles’ famed clogged freeways.

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