Barbara Mauldin is a native Californian who began to appreciate Mexican folk art as a young girl when her family made annual trips to Tijuana to shop in the mercados. Later as a student at UC Santa Barbara she was drawn to the Art History department and received a BA in 1971 with a focus in the arts of Africa, Oceania, and the Americas. In the fall of 1973 Barbara took a driving trip through the Southwest and when she got to Santa Fe, New Mexico she decided to stay. She had always had an interest in working in museums and for a small town, Santa Fe had many possibilities. One of the first she visited was the Museum of International Folk Art, but when she inquired about job openings she was told there weren’t any. So she went next door to the Laboratory of Anthropology and was hired to assist with archaeological excavations and analysis of materials. Within a year she had moved into a curatorial position and began working with Native American arts of the southwest. Over the next several years she conducted field work among the Pueblo, Navajo, and Apache groups, curated six exhibitions, and wrote articles and a book.

In 1984 Barbara left the Lab and went back to school to get a master’s degree in Native American Art History at the University of New Mexico. She was in the final stage of writing her master’s thesis when she got a call from the curator of Latin American collections at the Museum of International Folk Art who asked if she would assist with an upcoming exhibit – Behind the Mask in Mexico. Barbara readily agreed and worked part time for the next year helping with that project. Then she became an assistant for the inaugural exhibit in MOIFA’s new Hispanic Heritage Wing – Familia y Fé. In 1990 the curator of Latin American collections took a position at another museum and Barbara was hired as the new curator. She was encouraged to go on with her graduate education and, along with her full-time job, she went back to UNM and got a doctoral degree in Spanish Colonial Art History.

Over the past twenty two years Barbara has studied, traveled, and learned a great deal about the folk arts of Mexico and other regions of Latin America. She has curated a number of exhibitions including Folk Art of Brazil’s Northeast, Recycled, Re-Seen: Folk Art from the Global Scrap Heap, ¡CARNAVAL!, Dichos: Words to Live, Love and Laugh by in Latin America, and Folk Art of the Andes. Barbara has also written articles and books on various topics. Those related to Mexican folk art include her 1999 publication, Mexican Masks: Tigers, Devils, and the Dance of Life. In 2003 she wrote an article entitled The Revival of Puebla Mayolica in the Twentieth Century, published in MOIFA’s book Cerámica y Cultura. Barbara was title editor for the 2004 ¡CARNAVAL!publication where she contributed an article on Carnival in Tlaxcala, Mexico.  She also wrote the introduction and provided photographs to Living Art: Designs and Crafts of the Otomí of San Pablito published by Pomegranate in 2009. Most recently she wrote and supervised the production of the 2011 Folk Art of the Andesbook that accompanies that exhibition.

Throughout her life, Barbara has also been collecting Mexican folk art for herself, as seen in this photograph taken in her kitchen.

Angelica Cruz was born September 20, 1958 in the municipality of Santa Maria Atzompa, on Los Valles Centrales just outside of Oaxaca, Mexico. At the age of 7, Angelica began playing with her parent’s tools sculpting small clay figurines such as bowls, animals, and jars. Around the age of 10 she began helping her father with more difficult tasks and the pieces were being sold for money. When Angelica was 16 she was married but continued to sculpt. Her father-in-law would sell her pieces as his own and accept awards that she would have been given.

It wasn’t until 1990 that she stopped working for her father-in-law and began to mold her own trajectory. In 1998, she was offered a scholarship to attend the La Mano Magica y Eyes Gallery in Philadelphia, PA.

To date, she has been invited to festivals, fairs, expos, universities, and museums in Mexico City, Monterrey, Oaxaca, New York, Chicago, Los Angeles, Canada and Wales in the United Kingdom.

Most recently, Angelica has been awarded: Distinguished Citizen of Oaxaca, Mexico, the Award in Excellence of Popular Art 2009, the National Award of Science and Art 2008, and a number of others. Angelica’s objective is, “To help Mexican art and in that also promote and help art from my Oaxaca be known nationally and internationally.”

SECOND QUARTER – SECOND ISSUE
May 2012

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

May President’s Message

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

A warm welcome to our new members and a heartfelt thank you for all the Amigos who have chosen to continue their membership with LOS AMIGOS DEL ARTE POPULAR.

We all lead busy lives with dramatic upturns and bouts of “what do I do now” feelings.

I chose Los Amigos membership because it helps me live a life that’s fuller, with varied experiences in the company of like minded dear friends that have enriched my life every day. I enjoy the challenge, to be more physically active, continuously learning and steadily working to ensure all members enjoy this exhilarating feeling.  As LADAP’s mission is to provide support and recognition of artisans, scholars and researchers, all members can take pride in extending a hand to educate others about Mexico’s talented artisans, with our support of exhibitions, ferias and providing travel opportunities to further our knowledge of the history, culture and peoples of Mexico.

Each one of us has to make the time for what matters to us.  Many Amigos are retired, semi-retired while others are still working to make the world a better place.  Staying connected with the world, continuously renewing and making friends are the ingredients of a life well lived. When we started Los Amigos, back in l997, the joy was in finding and sharing friendships with others who shared this strong love and passion for the folk art, artisans and people of Mexico. That joy continues to grow with each visit to Mexico, to LADAP activities, exhibitionss, fairs and best of all, for the wonderful friendships that we have made all over the US and in Mexico.

Last month, the Board voted on a grant to provide “Brilliant Soil”, a moving and compelling but factual film that gives voice to the spirit and aspirations of a Purepecha artisan from Michoacán, Herlinda Morales. The context of the story is a public health and economic problem affecting thousands of artisans in Mexico, the use of lead-based glaze in their pottery. The LADAP Grant of $2,000 was awarded to continue the campaign in different pottery regions of Mexico via DVD’s to support and guide artisans into making the switch over to lead free glaze for their health. In the spring of 2012, “Brilliant Soil” was awarded the Grand Prix – Ateliers d’Art de France for best film at the 8th International Film Festival on Clay and Glass held in Montpellier, France, honoring the voice of Purepecha artisan Herlinda Morales, her work and the role of women in improving their communities by leading and supporting artisans to the use of lead-free glaze pottery.

This year’s Van Deren Coke Achievement Award Recipient is Barbara Mauldin of the Santa Fe International Fork Art Museum for her life time of dedicated research and leadership in folk art. Barbara will be speaking and sharing some of her thoughts with us at our coming Amigos visit to Santa Fe and the International Folk Art Market.

I feel so lucky and so blessed to be your President. I so appreciate Amigos who volunteer to serve as officers on the board and to help us to continue to provide membership with a quality opportunity to learn, to enjoy and benefit from formed friendships and LADAP activities.

Join me as we continue to explore, seek adventures and challenge ourselves to support our Mexican folk art talented artisans and continue to learn more and more about topics that give special meaning in our lives.

Alma Foncerrada Pirazzini

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

BILL BEEZLEY of Tucson, Arizona

I grew up with serapes and other Mexican items around the house, and I enjoyed going to to the Denver art museum to see southwestern and Mexican folklore. It was a general interest until I started traveling to Mexico regularly as a graduate student and then as a professor of Mexican history.

I have collected judas figures and other papier mache images and game boards and cards for loteria and juego de oca. I have a passion for tiles and  for paintings by Gerardo Navarro. As an academic, I can’t help myself; I collect books about Mexican folkart.

Exchanging emails with Angela Villalba about calendar girls, I learned about Los Amigos and joined.

I am a Mexican cultural historian and have published books and articles on this topic. These include Judas at the Jockey Club, the Oxford History of Mexico, A Companion to Mexican history and Culture, A History of Greater Mexico, Mexican National Identity (that includes discussion of loteria, almanacs, fiestas, and puppetry related to the rise of national identity). Most recently I published Mexico in World History. I am currently writing about cultural nationalism in Mexico that include discussion of the efforts to revitalize and popularize folk art during the 1920s and 1930s.      

—————————————————————————-

BETH SZESCILA of Houston, Texas

Beth’s first exposure to Mexico and its folk art was as a teenager when her family vacationed there several times. After driving from their home in Mississippi to Nuevo Laredo, they would hire a Mexican guide to drive them throughout Mexico. Her parents loved Mexico, its people and its decorative arts, wanting to retire there someday. Unfortunately, her father died before he could retire, so that that dream was never realized.

She moved to Houston, Texas in 1977 and vacationed in Mexico with her own family once or twice each year.   It wasn’t until she bought a second home in Santa Fe, New Mexico that she really became interested in Mexican folk art. Beth had always owned and enjoyed a number of Mexican decorative items, but her exposure to New Mexico really piqued her desire for more of them. She collects Mexican pottery and folk art, being particularly focused on the paintings of Agapito Labios.

As a professional appraiser Beth decided to join LADAP in 2005 to learn more about the folk and decorative arts of Mexico, since most of her education had been focused on American and European items. According to Beth the camaraderie she has enjoyed with the members of LADAP has been an unexpected bonus in that quest. She encourages anyone with a interest in Mexico and its art to join LADAP.

Beth is the owner of Szescila Appraisal Service in Houston, Texas. She is a certified appraiser of personal property, one of less than 25 members of the International Society of Appraisers (ISA) around the world who are certified in 2 different disciplines, those being Antiques and Residential Contents, as well as Fine Arts. She has served as the Vice President and Secretary of the Board of Directors of that organization, which is headquartered in Chicago, Illinois and has served as the President of the Gulf Coast Chapter of ISA. For 5 years she was the lead instructor of ISA’s specialty course, “The Appraisal of Antiques and Residential Contents”, taught nationwide. She is currently serving as President of the Foundation for Appraisal Education, a not-for-profit organization formed to promote the advancement of education related to personal property appraising.

Beth has been an appraiser on the nationally syndicated television show, “The Antiques Roadshow”, since its first season and has made guest appearances on A & E’s “The Incurable Collector” and on Houston PBS’s “Bayou City Treasures”. “Appraisal Tips for the Savvy Collector”, the class she taught at RiceUniversity, has been featured on “Antiques Roadshow FYI”. She frequently speaks on antique and appraisal related topics.   More information about Ms. Szescila can be found at www.houstonappraiser.net.

—————————————————————————-

DEL & TERESA BARRETT of Long Beach, California

New members, Del and Teresa Barrett have been married for 14 years. When they met, Del, an optometrist and a small plane pilot, was traveling to a remote village in Baja California to volunteer his services with a fantastic group called “The Flying Samaritans”. Soon thereafter Teresa joined the group as an interpreter. Eventually, they began to fly to another clinic located in El Fuerte, in the state of Sinaloa with the group “LIGA Flying Doctors of Mercy”. Teresa was born and raised in Mexico and taught Spanish as a second language in Cuernavaca, Morelos. She moved to the United States in 1974 and now holds dual citizenship. She attended interpreting school in Southern California.

As a result of Del’s love and appreciation for the Mexican culture and its people, Teresa introduced him to Colonial México. They have been traveling throughout the country ever since. They enjoy visiting and meeting Folk Art artists in their shops wherever they go.

For more information on how they are currently involved supporting Mexican folk art, see story below about the International Folk Art Market and Berta Servin.

—————————————————————————-

BONNIE HARDWICK of Santa Fe, New Mexico

Becoming a member of Los Amigos del Arte Popular was, given the unfolding of my life and professional career, inevitable. I grew up in Denver, but made a foray to the East Coast to pursue a doctorate in American Literature from the University of Pennsylvania, writing a dissertation on “The Art and Travel Writings of the Great Surveys of the American West after the Civil War.” My husband Doug was with the U.S. Geological Survey and a great resource for that study. When I returned to Denver, I decided to be a research librarian and so took a Masters in Library and Information Science degree at the University of Denver. All this evolved into becoming Manuscripts Librarian for the Western History Department of the Denver Public Library for ten years, as well as being in charge of the Western Art Collection and the Rare Books Room of the library.

In 1985 life took me further west when I joined the University of California, Berkeley, as Head of the Manuscripts Division and then Curator of the Bancroft Collection of Western Americana at The Bancroft Library. In the mid-1990s, with time on my hands after my husband’s death, I studied for a Masters in Theological Studies from the Franciscan School of Theology at the Graduate Theological Union, located just blocks from the UC campus. Again, this evolved into my becoming Director of the Graduate Theological Union Library, where as a faculty member of GTU, I was also the convener of the doctoral faculty in Art and Religion. By that time I had moved to our home in Santa Fe, New Mexico and, thanks to Southwest Airlines, I commuted between Berkeley and Santa Fe for seven years.

I have now been full-time in Santa Fe for six years, able to indulge my interest in the religious art of the American Southwest and Mexico by both building a satisfying collection of the traditional arts of New Mexico and serving as a docent at the Museum of Spanish Colonial Arts and a board member of the of the Spanish Colonial Arts Society. I also continue my Berkeley connection by serving on the Board of Regents of the Franciscan School of Theology. My other avocation is painting religious icons in the Byzantine tradition. A recent trip to study the icons of Ethiopia has expanded that pursuit.

Being one of the two organizers for the Los Amigos rendezvous in Santa Fe in July for the International Folk Art Market, enables me to offer a personal invitation to all members.  I am making my historic adobe home ready to receive you.

Hope to see you in Santa Fe!

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

RENDEZVOUS IN SANTA FE, NM – JULY 13-15 

AT THE INTERNATIONAL FOLK ART MARKET

The International Folk Art Market

We hope all Amigos will come to the International Folk Art Market!

REGISTRATION: To register, please send a check for $75.00 made out to LADAP – mail to Macon McCrossen, 420 15th Street SW, Albuquerque, NM 87104 – include your email address with your check to receive details. 

Hotel information and additional details will be emailed directly to all registrants.  You will be glad you registered!

COOPERATIVA VASCO DE QUIROGA/TEXTILES BORDADOS - One of the artisans invited from Mexico 

Berta Servin Barriga

The Purépecha Indians flourished in Mexico from 1100 A.D. to 1530 A.D. with their empire and capital city located in the town of Tzintzuntzan near lakePátzcuaro in the state of Michoacán.

The majority of the Purépecha Indians still speaks their native tongue and adheres to many of their ancient customs intertwined with Catholicism, resulting in a fascinating array of celebrations and rituals. The Purépecha Empire had no written language and their traditions have been transmitted throughout generations by the collective memory of their culture.

The Purépechas are excellent craftsmen in all forms of art and materials.  The women the of the small town of Santa Cruz in Tzintzuntzan are producing magnificent textiles categorized as embroideries, representing their traditions, rituals, fairs, religious fiestas, customs and dances. These works of art include wall hangings, tablecloths, rebozos, accent pieces for bed and couch, pillows and clothing.

Most of the women in this village have been embroidering for many years. Some started as young as 10 years of age and have passed their skills to their children, as it is a major family activity. Each artist creates their own work.

This form of artwork is a way of representing their culture, religious and ceremonial celebrations. Most families are farmers, raise a few cows and chickens and generate income from selling milk, cheese, and eggs. They devote their spare time to their embroidery activities and submit their artwork for judging at various events throughout the year. This encourages the community to continue developing their skills for this is one of the ways to keep their culture alive and generate extra income.

BERTA SERVIN BARRIGA , pictured above with a piece she made and sold at the Feria Maestros in Chapala last 2010, will be participating as one of the artists in the Santa Fe International Folk Art Market. She is president of her co op and this will be her first time at the event. “We are in the process of assisting Berta. I will be serving as her interpreter and helping in the booth,” says new Amigos member Teresa Barrett of Long Beach, CA. “We are looking forward to having the Los Amigos Group visit us at our booth in July.” 

###

SECOND QUARTER – FIRST ISSUE
April 2012

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

April President’s Message

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Wishing you a blooming and full of energy Spring.

What unites us as Amigos?   Some of us live in areas where many Amigos also live, for instance in southern California, Houston, Santa Fe and Albuquerque. Others live in wonderful cities with perhaps only a few Amigos.

This was the original premise for creating the group.   As a collector or dealer of Mexican folk art, of travelers who wish to know more about Mexico, of interested people who enjoy sharing their passion with others. We realized that gathering together enriched our knowledge, broadened our interests as we increased our friendships and collections.

As the group grew, it was because we could come together in different cities or states, learn more, visit others with collections or see special exhibits, all the while learning, appreciating and sharing as a group. From the auspicious beginnings, we have met wonderful people with same or varied interests, who enjoy Mexican folk art, travel and enjoy the” hunt”, the history and culture that is reflected in the folk art.

For those members who live in areas where few Amigos live, what better reason to join, to represent your area, learn of others with similar interests and enjoy some of the benefits of being members. The monthly newsletter highlights different artisans, profiles of Amigos, calendar of events, including exhibitions and shows throughout the country and in Mexico. Many of us are arm chair travelers while others are lucky enough to travel and visit now, still others wait for the time or freedom to travel. The point of membership is to enjoy with others, your collecting interests, and to learn more about the artists, the culture, the regional specialties in a welcoming atmosphere.

The point of being an Amigo is the joining of interests with others, of making new friends, of learning more and knowing that you are not alone in your collecting passion.  Of course, many of us don’t collect, but have a passion for Mexico, the people, and the culture, that means you are a LOS AMIGOS!

Because we are all volunteers, with full lives and responsibilities, we ask each member to contribute personal interests in their profile which in turn, makes us aware of your existence and the kinds of activities which are of interest to you. You have opportunities to provide input of exhibitions in your area, to propose a visit to your community with scheduled museum exhibits or home tours. More importantly, you have the choice of participation, of providing voluntary support and ideas to keep this organization vital and growing.

Our national and international trips are created to learn about others who collect, to visit Amigos homes and to visit special exhibits which broaden our interests, increase our understanding and see first hand, the artisans who make the whimsical, the practical or religious art which we enjoy having in our homes. Everyone enjoys souvenirs of special places they visit. As collectors, the artifacts purchased, bartered or traded represent a love of art, in diverse manifestations of Mexico, of happy memories and evoke in us, a personal satisfaction, and joy to be surrounded by our treasures and to be able to share them with others.

In addition, we provide grants to private museums, ferias, exhibitions that promote and foster support to Mexican artisans, recognition of academic scholars or researchers whose life’s work brings increased knowledge and understanding of the role of art in enriching our daily lives.

As President for the past year and half almost, I have learned and benefited from the previous Amigo Presidents’ dedication and tireless efforts. I am extremely grateful for the members who find the time and energy to volunteer their time, creative ideas and take responsibilities to serve on the Board, to serve as Officers, to be Coordinators of Events and to be active members. The success of this organization lies with its membership and the willingness to volunteer. As you participate, you will feel a greater personal satisfaction with a sense of partnership and caring for the members of Los Amigos del Arte Popular.

I know that I have; and along the way, I have made dear life long friends (Amigos) that have greatly enriched my life with their friendship, generosity and caring.   For these reasons, I have volunteered many hours to pay forward all the blessings of friendships, travel adventures with many opportunities for learning with an ever developing appreciation for the art, culture and history of Mexico. What treasures we find every time we visit and learn from museum exhibitions; meet collectors and visit their homes and meet gallery owners; we enjoy the hunt at fairs and flea markets and enjoy dealers’ markets/shows and most of all, meet the artisans themselves.   It truly is “A wonderful life.”

Thank you for sharing your interests and volunteering your time with Los Amigos!

Your Amiga,
Alma Foncerrada Pirazzini

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

SPOTLIGHTING LOS AMIGOS MEMBERS

RICHARD & ROSALIND PERRY – Santa Barbara, CA

For over 40 years Richard and Rosalind Perry have traveled along the highways and back roads of Mexico exploring its vast and varied colonial heritage. Time after time they have experienced the satisfaction of finally arriving at some long awaited church or monastery, or the thrill of discovering some country chapel, gilded altarpiece or painting and sharing it with our readers and friends.

They first visited Mexico in 1966, and as they journeyed, they became more and more intrigued by the Spanish churches, chapels and monasteries found in almost every town and village. On later trips they continued to investigate these old colonial buildings but were unable to find much information about them for the English speaking visitor.

Following a subsequent tour of Yucatán in 1982, they decided to produce their own traveler’s guide to the colonial churches of that area. After much research and several more field trips they published their first book, Maya Missions, in 1988, illustrated with Richard’s drawings.

Subsequent guide books, under the Espadaña Press imprint, describe and illustrate the colonial churches and monasteries of the Mexican heartland, Chiapas, western Mexico, and most recently Oaxaca. Richard also edited a collection of classic travel writings on Yucatan to accompany his second edition of Maya Missions in 2002.

Richard is currently working on several other projects on colonial Mexico, including a pictorial guide to Mexican carved stone crosses and a monograph on the 18th century Mexican architect and designer Felipe de Ureña. He is also working with well known photographers on special exhibits featuring the folk baroque missions of Michoacán and the Sierra Gorda de Querétaro.

Rosalind has other interests apart from Mexican missions. She is also a quilt writer and lecturer, publishing several books on her celebrated grandmother, Marie Webster. She was also instrumental in the restoration of the Webster house in Indiana, now open as the Quilters Hall of Fame.

In addition to writing and drawing, Richard also guides mission tours to Oaxaca and Yucatan, and maintains an extensive web site with regular features on Mexican colonial buildings and artworks of note.  Open this link to get more details:  www.colonial-mexico.com
———————————————————————————————————————————–

ROCKY BEHR – Pasadena, CA

Owner of The Folk Tree

Rocky’s grandmother had a cousin, Simon, who traveled the world. Rocky remembers him vividly from her childhood – almost 75 years ago, he whetted her appetite for travel. He sent her postcards and brought her dolls back from places as exotic (remember, this was ¾ of a century ago) as India, Scotland, and Australia.

Her first personal experience with travel was driving from New York to Florida with her family when she was nine years old. They stopped in D.C., and Rocky boarded a trolley by herself and spent the day at the Smithsonian, where she was amazed by everything she saw.

Her love of Mexico emerged later in life while she was working as a psychologist in the public school system. She was at a dinner party in South Pasadena, and a doctor friend started talking about his trip to Oaxaca, enthusiastically describing his encounters with local artisans and the color and beauty of their work and the Mexican landscape. She was almost instantly hooked and in 1977 signed up to go on a CAFAM (Craft and FolkArt Museum, Los Angeles) tour to Oaxaca led by Raoul de la Sota, a faculty member at Los AngelesCityCollege. The tour was such a captivating experience that she signed up to go again the following year, and the rest is history.

During these trips she met and established lasting friendships with many Oaxacan artists. She came home laden with their folk art creations, which she first sold from her home, then from a building she had constructed in her backyard specifically to house her collection. By this time, Rocky was supplying folk art to a number of museum stores and folk art stores throughout the southwest and California. Finally, the interest in these objects became so great so that she opened The Folk Tree in a historic building in Pasadena in April 1986.

The Folk Tree remains unique among folk art galleries in that Behr travels to visit folk artists, and whenever possible, buys directly from them. Entering The Folk Tree, one can vicariously experience some of Rocky’s journeys. The store is literally filled from floor to ceiling with thousands of decorative, utilitarian, and ceremonial folk objects. A book section helps to add to the understanding of the pieces on view.

And, says Rocky, “What I really enjoy about the store is that I get to invite artisans from Mexico to come, and I like sharing knowledge with other folks, particularly those interested in Mexico folk art.”

Besides the regular offerings, over the years The Folk Tree gallery has presented annual temporary exhibits related to the store’s missions – Hearts & Flowers; Saints & Sinners, International Nativities, and Day of the Dead Altars & Ephemera.

Behr developed and has directed two folk art and culture tours to Mexico, one to Oaxaca and the other to Michoacan and Jalisco.

For about twenty-five years, Behr wrote and published “Las Noticias”, a newsletter for Latin American folk arts enthusiasts and those who enjoy travel that involves visits with traditional artisans in communities throughout Mexico, Guatemala, and other world craft meccas. Informal in tone, the newsletter contained information and travel suggestions about artists, historic and otherwise interesting sites, markets, books, restaurants, and accommodations. Though she no longer publishes “Las Noticias”, her comments, travel stories and tips, are still offered in The Folk Tree’s bi-monthly emails. To sign up, please go to: Las Noticias

To this day, Rocky, now 83 years young, travels extensively in Latin America and throughout the world to learn about indigenous people, their culture, and their folk art. Over the last several years, she has traversed the globe, stopping in places as far flung as South Africa, India, Nepal, Turkey, Transylvania, the Galapagos Islands, and Alaska. She has upcoming trips planned to Peru, Germany, Hungary, Poland, and the Czech Republic.

Through the folk arts she presents at The Folk Tree and in her tours, Rocky hopes to increase knowledge and appreciation of the artists who create them. She also wants to share her enthusiasm for and introduce people to the joy of collecting in this genre. After close to forty years of avid collecting herself, she knows about what she speaks.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

SPOTLIGHTING MEXICAN ARTISANS

Though Los Amigos del Arte Popular had much reason to cheer for the film entry of Troy Lanier’s documentary entitled TREES OF LIFE: IZUCAR DE MATAMOROS, ACATLAN, METEPEC, we are sincerely happy that since the entry we sponsored didn’t win at least another fine film about Mexican artisans won.  BRILLIANT SOIL won the Grand Prix – Ateliers d’Art de France award at the 8th International Film Festival on Clay and Glass, held in Montpellier, France.

A jury composed of ceramists, filmmakers, film critics and heads of art and culture insitutions in Europe, unanimously awarded the Grand Prix – Ateliers d’Art de France for best film at the 8th International Film Festival on Clay and Glass, held from March 30 to April 1, 2012.

David Cameo, jury chairman and CEO of Sèvres-Cité de la Ceramique (Sevres – City of Ceramics), praised the award to Brilliant Soil because the film talks about a remarkable woman, deals with a public health issue that is relevant to ceramic professionals and acknowledges the cultural heritage of the indigenous Purepecha people.

The International Film Festival on Clay and Glass (FIFAV) stands out among other film festivals, since it brings together a selection of films that address issues related to ceramics, and also the jury watches the 25 competing films with the audience, in the theater. This detail allows the jury to assess the content, the technical and artistic quality with the response from the audience, in its final opinion.

The Grand Prize – Ateliers d’Art de France awarded to Brilliant Soil honors the voice of Purepecha artisan Herlinda Morales, her work and the role of women in improving their communities. It is also a strong impulse towards eliminating the use of lead-glazed pottery in Mexico.

For more information and to view a small clip of the video, open this link:  Brilliant Soil

###

Modern Mayos, perhaps 60,000 of them, live in more than twenty scattered settlements lying dispersed along the lower reaches of the Rio Mayo in Sonora and the lower Rio Fuerte in the state of Sinaloa. A few also live near Alamos, Sonora.

Blankets woven from homespun wool rank high on the list of Mayo craft arts. It is estimated there are still about fifty Mayo women who know how to weave in the traditional fashion — almost all of them in Sonoran communities. About twenty of these women weave on a regular basis.

Mayo wool textiles are of two types: cobijas and sarapes. Both are blankets, but the designs are distinctively different and, in some cases, so is the quality of the weave. Cobijas are made by Mayos chiefly for their own use. Serapes are made chiefly for sale to others.

Serape blankets are usually woven more tightly and with finer thread than cobijas blankets and they always have border designs at the ends and often down the sides. The background is usually of solid colors with small designs in other colors being dotted about. A large diamond-shaped design is often found in the center. There are zigzag lines, isosceles triangles and rarely used floral designs. If any of the wool yarn to be dyed, it is more likely to occur in serapes than in cobijas

The traditional Mayo loom is of a type common throughout Northwest Mexico. It was formerly in use as far north as the Gila River in Arizona where Pima Indians made white cotton blankets until about a hundred years ago. As a side note, the Navajo loom is, in fact, very similar.

The loom is strung so that each of the warp threads forms an oval loop. The loom is made of four posts set upright in the ground. The warp is wrapped around two crosspieces fastened between pairs of posts. Tension is increased on the warp by pushing one crosspiece further down than the other, giving a tilt to the horizontal plane of the weaving surface.

The weaver never has to move. When the weft threads get beyond her reach, she can remain seated on her mat in front of the lower of the two bars and skid simply slide the warp around the crosspieces.

It is usual to weave the weft threads in sections rather than across the entire width of the blanket. Each section is advanced about four to eight inches before adjoining ones are woven. The resulting appearance is similar to the Navajo “lazy line.” When the blanket is cut off the loom, some six inches of warp thread are left at either end of the blanket. These are generally tied rather than braided or twisted, making loose fringes.

Mayo wool blankets are by far the most outstanding blankets woven in the Mexican Northwest by Indians.

FIRST QUARTER – THIRD ISSUE
March 2012

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

March President’s Message 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Each year, membership announcements go out to all prior year Amigos in January to renew their annual membership. Costs are minimal and having access to the latest Mexican folk art activities is a bonus. Learning about others who collect folk art and the member dealers who specialize in Mexican folk art makes learning, buying, selling and enjoying our passion so much more rewarding.   There is no price for the friendships and contacts made as a member.

Arrived home yesterday from a fun filled educational adventure exploring Veracruz with 40 AMIGOS for l4 days.   Seeing Veracruz with the uniqueness of its music, traditions, unique cuisine and different folk art was a gift being unwrapped every day. Meeting the people in Veracruz, Xalapa and Catemaco had the group learning about the area’s history, vital coffee and vanilla bean production, dancing and music styles which reflect in the folk art and traditions of the region.

As we visited its towns or cities, we were amazed, sometimes enchanted but always impressed with the kindness of its citizens, the distinct flavor of their rich coffee, of the many versions of fresh fish with so many unique sauces. Of course, witnessing the music and the dancing of Veracruz was a memory delight and a photo worth taking. As our group visited artisan shops, plaza stalls and side walk vendors, there was always much to see, to buy and to admire. Our suitcases were heavier on the return with unique tokens of our happy time visiting Veracruz.

Many thanks to our tour designer extraordinaire, Tom Pirazzini. Tom spends months, doing research, making contacts, checking and finally choosing the variety of experiences which will enhance participants lives. Tom’s trips are always filled with different experiences, which inter-connect the history, culture, geography, music and dance which impact the region’s folk art and traditions.

Tom and I are grateful for the participating Amigos who trust in us to keep them safe and entertained as we explore another beautiful region of Mexico. The trips are our biggest fund raisers to provide support, promote and educate others about Mexican artisans and the traditions of folk art. Next time, hope you can join us too!

This summer, LOS AMIGOS is sponsoring a trip to Santa Fe, New Mexico, which has many exhibits, ethnic/folk/Indian shows and attractions almost all year long of interest to all collectors and discerning travelers. New Mexico has always been a very special place to visit for me, with the many pueblos, its wonderful food, the charm and generosity of its people and the architecture reflecting its past. It is a land of enchantment for sure.

Los Amigos del Arte Popular is an organization of adults, interested collectors and dealers, of people who enjoy traveling to Mexico and enjoying the friendships cultivated as a member.   As a member, you play an important part in the future of the group. All the officers and board, plus all the trip and activity coordinators do so voluntarily to keep Los Amigos thriving and fulfilling its mission of education, of support and promotion of Mexican artisans and folk art.

We thank you for joining LOS AMIGOS and becoming involved in the leadership and participation of a special group of friends.

Your Amiga,
Alma Pirazzini

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ROUND TOP – WARRENTON ANTIQUE WEEK

by Suzy Kirchberg

Folk art fans, antiques buffs and collectors of curious finds will want to make plans to follow the blue bonnet trail to Fayette County this spring for the fabulous Texas’ Antiques Week event. The show runs roughly March 28th – April 8th (some venues open slightly earlier, others later) in the towns of Warrenton, Round Top, Carmine, Fayetteville, Shelby and Burton – mainly along Highway 237 in Texas.

Thousands of vendors set up with treasures from across the world. It is one of the largest antiques shows in the country. Warrenton / Round Top is located half way between Austin and Houston (about an hour from either city). For more information, please visit

Show Daily or call 979-966-7820.

Watch the video clips at: Show Daily Magazine

Pick up a free copy of the Round Top – Warrenton Show Daily Magazine for show information, maps, buyer’s guide and more in the show area.

Lovers of Mexican folk art and antiques will want to make a special stop at the Collectors Club, in the small town of Rutersville, Texas (half way between La Grange and Warrenton, just a few miles off Hwy 71). For directions and information, call 979-249-4149. The gallery is located at 6231 Hwy 159, Rutersville, TX 78945.

Come join the fun!

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

SPOTLIGHTING LOS AMIGOS MEMBERS

Mariann Schick
By Bert Vorchheimer of the Philadelphian Voice

Mariann Schick is a model of professionalism when she describes her role as an arbitrator. Ask her about her lifelong involvement with Mexico, its people and more recently, its folk art, and her intensity will melt as she breaks into a smile. It quickly becomes evident that Mariann is torn between affection for her native Philadelphia, her profession and the less stressful, more family-oriented culture among our southern neighbors.

Every room in her apartment is a mini-museum of Mexican folk art, ranging from delicately illustrated plates, to laboriously formed pottery of many different shapes, to intricate, whimsical ceramics. After a brief visit, you can almost hear the happy sounds of a Mariachi band.

It all began when her father, Dave, visited a friend’s vacation home near the little fishing village of Ajijic. The friend, Ted Heitner, a counselor at John Bartram High School, had built a vacation cottage facing Lake Chapala in the late 1940′s. Mariann’s father, a long-time labor leader who co-founded the American Newspaper Guild, was administrative officer of the Philadelphia Newspaper Guild. He also became a contract negotiator for other guilds in his later years. Dave Schick died in 1970 at age 64 after he was mugged in the Broad Street subway concourse under Arch Street on his way to handle a grievance at The Inquirer.

Ajijic and its environs proved so delightful and relaxing to Dave and wife Bessie that they finally bought a small bungalow a few blocks from the Heitners in 1961. The previous year, ten year old Mariann had come down for the first time. She refused to go back after 1964 because the English speaking playmate she had met two years earlier had left Ajijic.

She finally returned with her mother after graduating from Penn Law School in 1974, then continued to go back periodically. She was now fluent in Spanish, her childhood exposure having been augmented by studying the language for four years at Girls’ High and one year at Penn.

By the time Mariann sold the Ajijic home two years ago, what had been a small village had transformed into one of the largest communities of Canadian and American expatriates in Mexico, with enough Jews among them to justify a synagogue and yes, the occasional presence of a Klezmer band. Despite the dramatic change, Mariann returns to Ajijic every year or two. “It’s still home,” she says, “It still feels like home.”

Mariann’s interest in local pottery, which began in 1979, became an obsession about ten years ago after she read a sumptuously-illustrated coffee-table book titled, “The Great Masters of Mexican Folk Art.” Around the same time, she had signed on for tours to Mexico led by Julia Zagar, owner of the Eyes Gallery at 4th and South Streets. About 20 women from among Julia’s fellow travelers, some from as far away as California, bonded. Calling themselves “Muchachas”, the group has since paid frequent visits to buy objects in Mexican villages, each renowned for producing different forms of art ranging from various colors and textures of clay pottery to silver and tin, to copper, to ceramics and re-purposed plastic.

Mindful of the many South Jersey residents who originally came from Oaxaca, Mariann has donated some of the art she purchased in Mexico to the Wheaton Arts Down Jersey Folklife Center in Millville.

Meanwhile, Mariann continues in her arbitration practice, dealing with cases across the country and in Puerto Rico. But her heart remains in Mexico among the many talented folk artists she has met and befriended and whose works she has brought back. “One of the greatest things my parents ever did for me was to expose me to Mexico, its culture and its people. I resonate to them.”

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

AMIGOS IN VERACRUZ

by Mary & Jerry Mohr

The magic of the State of Veracruz came alive for over 40 Amigos. With our knowledgeable coordinators, Alma and Tom Pirazzini, we experienced the region’s unique people, history, culture, music, cuisine, art and more.

Beginning in the historical port city of Veracruz, Amigos had an opportunity to experience several museums, the Fort of San Juan de Ulua, the Zocalo with its Danzon couples, folkloric dancers, jarocho music and daily flag ceremony.  Many ventured to Boca del Rio, the Aquarium, the artisan markets and historical churches. The local chile relleno tacos and seafood Veracruzana as well as the “lechera” (Veracruz coffee with steamed milk poured into one’s glass from two feet above) were enjoyed by all.

From Veracruz, we headed northwest toward Xalapa. Our first stop was La Antiqua, where we walked the grounds of Cortez’ home and first established village in the New World. Our lunch stop provided savory fresh seafood from the region. Once in Xalapa, the State Capitol, we encountered a bustling historic district to explore on foot. Side trips by bus from Xalapa included a guided tour through the Jardine Botanico in Coatepec, the Museo del Café (coffee plantation), Cascada del Texolo and the Museo del Vestido de la Patrona del pueblo all in Xico. Two amazing haciendas welcomed Los Amigos the next day. The first, Hacienda del Lencero, is the restored home of General Antonio Santa Anna. At the second, Hacienda Pacho, a present-day working hacienda, we were hosted to lunch and touring by the fourth generation owner. Back in Xalapa, the group visited the notable Museo de Anthropologica de Xalapa. The lush gardens, handsome installations and contemporary architecture are the perfect setting for experiencing Pre-Colombian Mexico.

From Xalapa, our next destination was the magical Lake Catemaco. On the way we visited the UNESCO World Heritage Site of Tlacotalpan where colorfully painted homes reminded us of the fusion of Spanish and Caribbean influences. After arriving at our resort hotel in Catemaco, many Amigos headed to town to enjoy the “Festival de los Brujos”. Two lancha trips were enjoyed; the first one exploring the mangroves of the freshwater lagoon that connects with the Gulf of Mexico with lunch under the shade of palapas; the other boat trip took us out on Lake Cotemaco in view of several inactive volcanos, lush tropical slopes, a variety of birds and even monkeys. We toured the mystical Nanciyaga where we learned of ancient healing practices.

Heading back to Veracruz brought an end to our wonderful adventure. Flights and busses were waiting to bring Los Amigos home again. Saying “good-bye” is always difficult as we’ve met new Amigos and re-connected with old Amigos while making memories in Mexico. Veracruz and its magic truly came alive for all of us thanks to all the research and planning by our caring leaders, Alma and Tom. Those of us who experienced Veracruz and the numerous other amazing Los Amigos adventures coordinated by Alma and Tom are eternally grateful to you both for your passion, hard work and dear friendship.

To view the photos, click on this link:  Veracruz Rendezvous 2012

###

Herlinda Morales works with her parents, Guadalupe and Gilberto in their family workshop in Santa Fe de la Laguna, Michoacan. She was taught the craft by her mother since she was a child. The Morales family creates black glazed candelabras which are used in important holidays and celebrations such as Day of the Dead and Holy Week in Santa Fe de la Laguna. The candelabras are an expression of the contemporary indigenous spirituality that continues to combine both Purepecha and religious symbols.

Herlinda Morales forms part of the Purepecha womens’ organization, Uarhi. It was difficult for Morales to convince her mother that lead posed a significant health threat and that production and cooking areas could not be shared.

But it’s been 15 years now since they switched to alternative glazes, as pioneers in their community.

For the past ten years, with help from organizations like Barro Sin Plomo, she has struggled to find a place for her lead-free pieces in the international market. Herlinda’s work has entitled her as one of the Great Masters of Mexican Folk Art by Fomento Cultural Banamex.

In 2010, Herlinda collaborated with Galatea audio/visual to create the documentary film “Brilliant Soil” (Tierra Brillante), in hope that her story will help inspire other families of artisans to stop using lead-based glaze in their pottery.

The process:

Herlinda and her parents mine the clay in Santa Fe de la Laguna. They grind the clay and mix it with water, and then let if rest for 2-3 days under plastic. They create the ceramic bodies of the candelabras using clay molds.

When a piece is taken out of the mold, and has the appropriate consistency, the remaining details are added. All of the figures (small separate clay pieces) are attached by hand in the most tedious step in creating a candelabra.

Once completed it goes into the kiln for a six hour first firing. The piece is removed, glazed, and loaded back into the kiln for the four hour final firing. When a candelabra is taken out of the firing it has a staggering black shine.

Tierra Brillante – Trailer de Documental from Galatea | bulbo on Vimeo.

The first weekend in August, Bazaar del Mundo of San Diego will hold its annual festival and Herlinda will be one of the guest artisans.  Other guest artisans include Jacobo and Maria Angeles from Oaxaca, Joel Garcia from Mexico City, Olayda Perez Ruiz from Oaxaca and Gerardo Ortega from Santa Cruz de las Huertas.  Plan now to attend.

FIRST QUARTER – SECOND ISSUE
February 2012

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

February President’s Message 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

What does Los Amigos mean to you? To me, it means friendships, knowledge, travel opportunities to share with Amigos, and a chance to “pay back” and “pay forward” all the past achievements of the organization to promote folk art of Mexico and to support the efforts of artisans in various beneficial venues. The organization is only as important as its members. So, plan to stick around with us, to be tempted to become more involved, write articles, share folk art news, open your home or lead an activity to increase our experiences and knowledge about different cities, collections, while meeting in person the artisans, curators of museums and making more Amigos. You will be glad you did.I know I have sincerely appreciated the friendship, the constant learning and the traveling with like minded Amigos. Being an active member of Los Amigos del Arte Popular has provided stimulation, social interaction and mental challenges that guarantee us to have healthy and happy lives. So, send in your membership and recruit more Amigos so that every region has a group of enthusiastic Amigos to share the joy while promoting and supporting Mexican folk art.

Membership is nominal, while providing you with many activities and friendships of people interested in Mexican art, traditions and travel.

Our newsletter is filled with articles showcasing artisans, Amigo members who have contributed in our mission to spread the word about the richness of the history and traditions of folk art and of the talented people that create the treasures that we enjoy and collect in addition to featuring profiles of our members so that once a member, always an Amigo in the truest sense of the word.

Membership fees are due this month, easy to do via PayPal or you can print out the membership application on-line via our web page, then follow the directions for mailing it in.  Make it for two or three years so you won’t have to worry about it for awhile. If you let your membership lapse, this may be your last newsletter. Now, that would be a shame.

Since this is February, Happy Valentines Day to you and your families. May each day be filled with happiness, good health and friendships.

Alma Pirazzini

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

SPOTLIGHTING ARTISANS OF TONALA

by Chuck Plosky

Interview of JESUS DELGADO NAVARRO  

Chuck Plosky, Professor in Art at New Jersey City University and a member of Los Amigos, received a 2011 Fulbright Fellowship to document the life and work of Tonala ceramic artisans.  He is currently in Tonala interviewing artisans and sharing his work with Los Amigos.  Many thanks to you, Chuck, your interviews are the next best thing to being there.

To watch the video, click on the arrow below:

OBRAS por ARTESANOS DE TONALÁ y 7 minutos con JESÚS DELGADO NAVARRO from CHUCK PLOSKY on Vimeo.

According to the study by the Secretary of Tourism of the Government of México “Profile and Degree of Satisfaction of Tourists” from the fourth trimester of 2006, the quality of the work of craftsmen was rated second in the index of satisfaction of international tourists who travel by cruise, with a rating of 8.7 when the global index was 8.1. And for international tourists who travel by airplane the rating of satisfaction of quality of craftwork was 8.6 when the global index was 8.3. The creation and sales of the art and the craft works is a strategic link in the economic tourist chain in Mexico.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

JORGE WILMOT 

We received word of the death of Jorge Wilmot just hours after the last newsletter was emailed.  Chuck Plosky furnished us with the following report.

“Here in Tonala we had an emotional service for Jorge Wilmot.  We met in the center section of the house he built. There was an altar with a bronze bust and a large painting of him, many photos and lots of flowers and candles.

Terry Duran read the following piece. She translated to Spanish as she read.  Many people were very grateful to hear it.  I think it encapsulates the feelings many people have for Jorge.”

KARL GAGNON on JORGE WILMOT, translated and redacted by MELVYN DRAG from a recording of an October 9, 2011 interview with CHUCK PLOSKY

Jorge Wilmot and Ken Edwards are essentially responsible for all of the fame Tonalá has achieved recently for its art.

Jorge Wilmot as a young man, was a frequent traveler and he picked up influences from all over the world during his travels. As a young boy, he studied art inSan Carlos, and then later blended everything that he learned there to the knowledge he received during his frequent trips.

The only trouble with working with this experienced man, many would confess, is that he has 20 new ideas a day and each and every one of them are fantastic! It is never clear exactly where or when to start working, with such a surplus of potential. Still, when his work is done, it sells. The man’s art is so wonderful, his shop is always full – and when he is closed, there is a long line outside!

But apart from being a great artist, he was a great man. As an example, he would give great gifts to his workers when they retired or decided to move on to another job. Though he never had money and thus, little to give in the way of severance, he would always give some recipes for clay or other ceramic materials, along with some molds; this way, the departee could continue his work wherever he might go after his stay in the Wilmot business. And of course, surrendering his recipes and molds was never a great disservice to him – he was such an innovator, he would always have a new mold, or a new recipe that he wanted to try.

Jorge Wilmot is a name that will be linked to “Tonalá” for many years to come.

KARL GAGNON is a Canadian who arrived in Tonalá in 1978. He worked for Jorge Wilmot for 11 months during which he learned to use the potters’ wheel, to calculate glazes and run a ceramic business. After leaving Jorge Wilmot Karl opened his own shop. After a very difficult year he found regular international buyers for his work. Karl Gagnon continues to live in Tonalá where he runs a blown-glass factory.

The following article from Facebook was sent to us by several Amigos:

Jorge Wilmot died Thursday, January 12, 2012 around 4:00 am.  The well-known ceramicist, who among other recognitions has been awarded the National Prize of Arts and Sciences in 1995, in the category of popular art.

Multi-disciplinary designer, assiduous lecturer and extraordinary conversationalist.  His legacy includes the National Museum of Ceramics and the “Casa Wilmot,” in which he carried out the architectural design.  In addition, are countless pieces in various public and private collections.  The quality of his work and the importance of it was recognized in “Arts and Crafts of Jorge Wilmot,” an exhibition curated and coordinated by the Museum of Popular Art (MAP), travelling between 2009 and 2010 in Mexico City, Oaxaca and Guadalajara. Wilmot also appears as a protagonist of the creative work in various publications, which include: “Arts de Mexico” dedicated to ceramics of Tonalá in 1991. “Nagual in the Garden” written by Leonore Hoag Mulryan, published in the year of 1996, and “Great Masters of Mexican Folk Art,” Fomento Cultural Banamex A.C. in 1998. Born inMonterrey, he lived in Tonalá since his arrival in 1958.

###

Librería Madero

Avenida Madero 12

Tel 011-52-55-10-20-68 / Fax 55-21-01-91

(On Madero down same block, same side as Sanborn’s House of Tiles towards Zócalo.)

Librería Gandhi

Several locations but easiest is on Juárez diagonally across from Sanborn’s and across from Bellas Artes.

Bookshop at Bellas Artes

Victor Aguila

Rio Danubio 69

Col. Cuauhtemoc.

Mexico D.F. C.P. 06500

Tel. 011-52-55-55-33-26-45  – vaguila@avantel.net

Private dealer specializing in Mexican art books with important Mexican art book library.  Please call in advance for an appointment to either use the library or to purchase books.

Ceramica de Tlaquepaque 1920-1945

Artes de Mexico – Vol 87, 2007

From the 1920s to the 1950s, the glazed earthenware of Tlaquepaque underwent a revival thanks in part to the presence of artists like Roberto Montenegro, Doctor Atl, Ixca Farías and Adolfo Best Maugard. The ceramicists of Tlaquepaque invented a decorative style that reaffirmed the legacy of their past while becoming a precursor to the movement to re-evaluate Mexican folk art. This issue was published in cooperation with Los Amigos del Arte Popular and Artes de Mexico & is available for purchase within the USA in our on-line gift shop and through Artes de Mexico in Mexico.

Arte en Barro: Tlaquepaque, Jalisco – Bancentro 1994 (Spanish)

Homenaje a Fernando Gamboa. Great photos from famed collection of Fernando Gamboa

Cerámica: Mexican Pottery of the 20th Century

Amanda Thompson, Schiffer Books, 2001.ISBN-0764312480

Excellent overview of major areas of pottery production.

Beautifully illustrated with many fine examples.

Ceraminic Museum Dolores Olmedo Patiño, 1994. (Spanish) ISBN 968-7516-01-1

Ten pages 4 with text on her collection of Mexican popular art.

Book is for Diego & Frida fans.

Nagual in the Garden: Fantastic Animals in Mexican Ceramics

Lenore Hoag Mulryan, Fowler Museum, 1996.

Deals with the socio-cultural implications of imagery depicted on Mexican pottery.

Loza Blanca y Azulejo de Puebla (2 Vol.)

Enrique Cervantes, 1939.

Best book on classical talavera pottery.

Oaxacan Ceramics – Traditional Folk Art by Oaxacan Women

Lois Wasserspring, Chronicle Books, San Francisco, 2000

ISBN: 0-8118-2358-X (softcover)

Showcases the lives and art of six Oaxacan women:

4 from Ocotlan de Morelos (the Aguilar sisters: Josefina, Guillermina,Irene,Concepcion) and 2 from Santa Maria Atzompa (Dolores Porras and Angelica Vasquez)

The Pottery of Acatlan. A Changing Mexican Tradition

Louana M. Lackey, University of Oklahoma Press, Norman, 1978

ISBN: 0-8061-2301-X (softcover)

The story of a potter, Mario Martinez Espinosa, and his family and how they make and market the wares they produce. It is also the story of a town and its pottery tradition.

Tonalá: Sol de Barro

Sifia Urrutia & Julia de la Fuente (eds.), Banca Cremi. ISBN 968-6410-02-3

Fine study of Tonalá pottery, starting from prehistoric up to contemporary.