Archives for posts with tag: oaxaca

César Chávez: Drawing on Clay, Printing with Glass

December 14, 2012 //
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"Un Gran Consejo"or "Great Advice," César Chávez, 2011

“Un Gran Consejo” or “Great Advice,” César Chávez, 2011

Our 2011 visiting artist César Chávez of Oaxaca, Mexico left a great impression on Kutztown University. He also left a number of plates.

El Chamuco drawn by Cesar Chavez.

“El Chamuco”  by César Chávez, 2011.

Ceramics Prof Jim Chaney formed a half-dozen red clay plates, then iced them with a coat of white slip, or diluted clay. He invited César to the ceramics studio to draw. Prof Chaney speaks some Spanish and once did a ceramics workshop at the University of Azuay in Ecuador. Even though César spent most of his time at Kutztown in the printmaking studio, he was happy to spend one very productive afternoon in the ceramics studio.

"Mescal" by Cesar Chavez 2011

“Mescal” César Chávez, 2011

César is a happy fellow who often draws moody, morbid sketches of the human condition. The plate above suggests mescal, Oaxaca’s agave-based alcohol is “Good for Nothing and Good for Everything.”

"Mojado" by César Chávez

“Mojado” by César Chávez, 2011

Interestingly enough, César is back in Mexico and working in another new material, glass. He has been working with artist Jason Pfohl who founded the international art glass and jewelry studio, Gorilla Glass, in Oaxaca. César’s one-man show “Peste” (Pestilence) opened at Gorilla Gallery this week. He is printing multiple impressions from etched and melted glass. I’ve never seen anything quite like it. César is also continuing his ongoing experiments in computer animation and image projection.

César Chávez, photo courtesy of Gorilla Gallery

César Chávez, photo courtesy of Gorilla Gallery, Oaxaca, Mexico

César told Gena Mejia of the Imparcial newspaper that he is excited by the infinite possibilities of working in glass. It appears fragile, but can be a strong and very versatile material. If you can read Spanish the full story can be found here. César Chávez is an inspiring artist, a 21st century renaissance man, always searching for new materials in pursuit of his artistic vision.

EXPOCESAR-01

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Categories drawing, illustration, printmaking, Visiting Artist

Dr. Lakra’s Grand Canvas

July 26, 2012 //
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Dr. Lakra’s art often appears in Juxtapoz magazine.

Dr. Lakra is not a real doctor. He is a tattoo artist and collector of classic porn. He is, of course, more than this. The cutting-edge magazine Juxtapoz often features his art. I met Dr. Lakra late one night last week in a warehouse across the main highway from the center of Oaxaca.

Dr. Lakra’s MACO mural, opening night, July 13, 2012, photo: KMc

The warehouse encounter was the second of Lakra’s two art openings within a week. The first was the inauguration of an enormous temporary mural at MACO, el Museo Arte Contemporáneo de Oaxaca. Packed with artists, journalists, and photographers, the MACO opening was so crowded I didn’t even realize Dr. Lakra was in attendance.

Dr. Lakra’s formal MACO opening showing Samurai section of his mural. Photo: KMc

The MACO mural, which he completed in a few weeks with three assistants, covered two high walls. It included a two-story illustration of a Japanese warrior tearing the face off an opponent, clearly appropriated from a Ukiyo-e print. There were monumental sepia-toned portraits of mid-20th century Mexican glamour girls. A troupe of black silhouettes danced along the foreground, bringing to mind Kara Walker’s work.  At sunset the shadows of the trees in MACO’s Patio C played across Lakra’s mural lending the artwork an eerie sense of motion.

Dr. Lakra's canvas mural. photo: KMc

Dr. Lakra’s warehouse mural on canvas, left panels. Photo: KMc

Dr. Lakra’s warehouse reception. Right panels in background.

The second opening, at the warehouse, was quite different. Dr. Lakra greeted everyone cordially, even gatecrashers like me. He wasn’t drinking, but offered us mescal and beer. A woman asked him if he had a bottle opener for her beer. Dr. Lakra took a plastic Gatorade bottle and wedged its orange plastic cap under the beer bottle cap. With a deft flick of the wrist he popped open the beer bottle. The Gatorade bottle was still sealed. Seems Dr. Lakra is a master of many arcane skills.

I was told this warehouse is the studio of another internationally known Oaxacan artist, Demian Flores.  The murals at MACO were painted directly on the walls. These murals filled two giant stretched canvases, one on each side of the room. Done in the same mix of sepia and gray washes, these images were more grotesque than the museum piece.

A gory detail from Dr Lakra’s canvas mural.

Bits of ancient maps and medical anomalies jostled against genies in bottles and high-heeled shoes. Dr. Lakra told me he and his crew had also completed this project quickly. I wondered if the opening wasn’t a tad premature. Some collage elements on the canvas, old duotone magazine photos, fluttered in the breeze each time the warehouse door swung open.

Dr. Lakra looking at his mural with Cesar Chavez. Photo: Kevin McCloskey

In 2007, Dr. Lakra contributed an artwork to my friends of the ASARO collective, a large cubist painting of a man tied to a chair, being tortured. I found his new work even more disturbing than that painting, but I expect this is his artistic intention. Bottom line: I may not like all his imagery, but I do like Dr. Lakra.

NOTE: A very short video of Dr. Lakra’s MACO mural can be seen here .

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Categories drawing, graphic design, illustration

Experimental Drawing: or How Marshall Arisman Saved My Life in Mexico

July 12, 2012 //
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Monkey face drawn with a comb and diluted acrylic by Lazaro.

This week I taught a 3-day experimental drawing workshop at UABJO, University Benito Juarez, Oaxaca. I love the rainy season here in the mountains of southern Mexico. The workshop was in conjunction with the Kutztown Print exhibit that opened with much fanfare and mescal.

Students at UABJO. Left of me is my co-teacher, Maestro Memo Rito.

Fortunately, I got help from my old Maestro from the School of Visual Arts, Marshall Arisman, chair of SVA’s MFA Illustration program. Months ago, during a busy Spring semester Maestro Miguel Angel Ojeda at UABO asked me to teach a summer workshop. Without much thought, I picked a topic: Experimental Drawing. Thank heavens, I recently bought Marshall’s DVD, Modern Mixed Media.

The video is far superior to most how-to paint or draw videos. Marshall shows his process of internalizing his subject matter through sculpture, drawing, and painting. I must say I had to improvise with materials. Marshall uses paper-mache, india ink applied with bits of cut comb, and oil paints. He even uses gold leaf and a powdered pastel painting product that comes from a Kutztown-based business, PanPastels.

Oaxacan student at work using a piece of comb to draw.

I had one sample of PanPastel to share. Paper-mache, -they got plenty, but gold leaf is out of the question. Here in Mexico, even india ink is a luxury item for art students. The india ink I carried down leaked in my luggage on the plane (stuff happens), so we substituted diluted acrylic paint. The class was over-enrolled, so I went to the Oaxaca’s central market to get some more combs.

Carter at work.

The Oaxacan students watched portions of Marshall’s sacred monkey drawing demos each morning with rapt attention. Then we adjourned to the gallery for our drawing workshop. We substituted powdered graphite for PanPastels to recreate Marshall’s subtractive drawing exercise. The results were, of course, far less colorful, but we managed to explore the process. For our gold leaf halos, Cesar Chavez lent a can of gold spray paint from his graffiti supplies.

We had a great mix of students, from teaching assistants to street artists, and the results were amazing. For me, it was a wonderful experience. Artists and teachers are held in high regard here in Mexico. Oaxaca, in particular, is a mecca for the graphic arts. I was interviewed on radio, TV, and both daily newspapers. If you read Spanish or want to view a slide show of the workshop check this story in Noticias.

By the way, this is not the first time Marshall Arisman saved me. Long ago, when I applied to SVA’s MFA program I didn’t have my Bachelor’s degree. Marshall let me in on one condition: that I complete my Bachelor’s pronto. He changed my life, for the better.

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Categories drawing, Faculty, illustration, Visiting Artist

KU Print Show travels to Oaxaca, Mexico

June 23, 2012 //
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Good news from Mexico! Our shipment of 28 prints arrived safely in Oaxaca, Mexico from Kutztown, PA. The self-portraits in a wide variety of media (including woodblock, etching, serigraphy, and lithography) will be exhibited at Benito Juarez University in the month of July. The prints are by Kutztown University faculty, students, alumni, and friends.

Self-portrait, a Lithograph, by Prof. James Rose

Sending prints to Oaxaca seems odd, like sending flowers to Longwood Gardens. Oaxaca has a great tradition of printmakers from Rufino Tamayo to Rodolfo Morales. Living artists Damian Flores, Shinzaburo Takeda and the ASARO collective continue the tradition. Oaxaca’s best known printmaker is Francisco Toledo. His IAGO, Institute of Graphic Arts of Oaxaca, is the largest public print collection in all Latin America, and a mecca for printmakers.

The Resurgence of Printmaking in the U.S.

Kutztown’s printmaking studio is part of a bigger picture. In recent years many U.S. universities tossed their printing presses to make way for computer labs. Today there is growing interest in traditional printmaking. Young artists are rediscovering the pride and joy of working with their hands. By the way, for dispatches from the trenches of contemporary printmaking there is no better source than Printeresting, and a Kutztown grad, Jason Urban, is one of the creators of that site.

Fortunately, Kutztown University’s printmaking studio thrives under the leadership of Prof. Evan Summer. Evan has won international acclaim for his etchings. The studio is also equipped for lithography taught by Prof. James Rose. Evan opens the studio to visiting artists whenever he can. In 2011, Cesar Chavez of Oaxaca came to demonstrate Oaxaca-style woodblock printing. Cesar was impressed by the artwork he saw and suggested this exhibition to continue the artistic exchange.

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There are prints by KU Professors Evan Summer, James Rose, Miles DeCoster, Kevin McCloskey, and Elaine Cunfer. More are by grads and current students. Pennsylvania is not that different from Oaxaca in one respect. Rare is the artist fortunate enough to make a living from her art. Some KU printmakers are teachers. Others work in shops or offices. Our most recent grads may still be looking for meaningful work. However, all maintain a passion for self-expression through the enduring medium of printmaking. And we are grateful to Cesar Chavez and the Escuela de Bellas Artes, UABJO, for this opportunity to share our art with the people of Oaxaca.

Near Oaxaca?  Visit the exhibition at UABJO, University of Benito Juarez Centro Cultural on Avenida Universidad. Opening Reception: Friday July 6, 7pm. Free and open to the public. The exhibition runs to the 19th of July. If you are not in Oaxaca, you can get an idea of the variety and quality of KU prints from the slide show above.

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Categories Faculty, KU alumni, printmaking, Visiting Artist

ASARO’s Revolutionary Art @ Princeton

February 3, 2012 //
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ASARO Prints in the Street, Oaxaca ©2007 KMcCloskey

ASARO: “The Assembly of Revolutionary Artists of Oaxaca”

ASARO is a collective of radical young Mexican artists. I met them in 2007.  ASARO’s woodblock prints were laying in the street near Oaxaca’s cathedral. The artists were sitting on the curb. Some looked to be fifteen years old. Broom handles and chunks of stone kept the artwork from blowing away. Kneeling to look closer, I was stunned by the raw power of the images: revolutionary heroes, marching skeletons, striking farm-workers, open coffins, screaming widows. Black ink on ragged gray paper. It was as if the ink was shouting. I was mesmerized.

I found ASARO’s prints astonishing, not only for their political content, but also for their artistic excellence. It was exhilarating to see a centuries-old medium, woodblock printing, applied to the revolutionary issues of the 21st century. For one hundred pesos (roughly 10 U.S. dollars) ASARO sold prints by day. At night they poured their energy into street art, or interventions, as they call them. If a fellow activist was arrested or “disappeared” ASARO commemorated the event immediately with prints and stencils. They pasted tissue paper prints on the city’s ancient walls, or used pre-cut stencils to create complex murals in a matter of minutes.

Oaxaca’s most dramatic times occurred in 2006 after the annual teachers’ strike spun out of control. Teachers and their supporters protested to oust Governor Ulises Ruiz. APPO, the self-described “people’s assembly” occupied the city  for  months until Mexican Federal Police brutally removed them. Amnesty International documented the killings of at least 18 demonstrators; the full report is available as a pdf. Into 2007 there were still sporadic demonstrations, arrests, and disappearances.

Stencil mural by ASARO photo ©2007 K.McCloskey

There were other talented art collectives in Oaxaca, (notably Arte Jaguar) but ASARO’s daily gallery in the street made them the most accessible. I learned that some of the crew had studied art at the university with the Japanese-born printmaker, Maestro Takeda. The trained artists taught printmaking to anyone who wanted to join. Many had led hard lives. One ASARO artist told me he was abducted by thugs and questioned for 72 hours. I believe him. In 2007, their studio’s location was secret. The police would beat graffiti artists on sight. I remember being very nervous the rainy night I carried a portfolio of 20 political prints from that studio.

'We Defend What is Ours' from ASARO's petroleum portfolio.

Since ASARO formed in 2006, they have produced close to 200 different prints. They have also done canvas paintings, murals, folk art, and performances. Yet I remain enthralled by their woodblocks. They have created print portfolios focusing on issues that transcend their original concerns including: The Murdered Women of Juarez; The Future of Mexican Agriculture; Migration; and Petroleum. They have come up from the underground in the years since printmaker Lester Dore showed their work in Madison. Kutztown Univertity’s ASARO print collection  has toured the country.  Chicago Art Magazine’s Robin Dluzen noted, “It is as if the ASARO has now occupied the art world.” 

 THAT WAS THEN. THIS IS NOW.

Last month the NY Times rediscovered Oaxaca. “With the city’s street art scene, a mescal-fueled night life and one of Mexico’s most exciting regional cuisines, Oaxaca is as cosmopolitan as it is architecturally stunning.” The article points out Espacio Zapata, ASARO’s workshop at Porfirio Diaz #509. This new location is in the historic district. ASARO has also been featured in the official Oaxaca State Tourist Office’s guide to the city. Now ASARO has a blog. Recently ASARO offered a free course in printmaking at  Espacio Zapata. One of the course’s sponsors is Conaculta, Mexico’s National Council for Art and Culture.

Espacio Zapata poster for free course in woodblock printing, 2011.

There is another change. A new governor, Governor Gabino Cue, replaced the polarizing figure of Ulises Ruiz. The New York Times is right; this is a good time to visit Oaxaca.

ASARO in Princeton, New Jersey

Princeton University is exhibiting a portion of their splendid ASARO print collection. Alas, none of the artists will be able to attend the Feb. 9 reception, but I will be there. The public is invited. I am honored that Princeton asked me to write about ASARO for the gallery walls. I’m taking part in a panel discussion “Born in the Zocalo: Art and Protest in Oaxaca, Mexico” at 4:30 on 2/9/2012. Reception to follow.

ASARO: Art and Activism in Oaxaca, Mexico
Protest prints from a collective of Mexican artists
Jan 16 to March 8: Bernstein Gallery, Princeton University

Sponsored by Woodrow Wilson School of Public and International Affairs, exhibition designed by Kate Somers. With special thanks to Karin Trainer and Princeton U. Library for the loan of artwork. For directions & gallery hours, ph. 609-497-2441. http://wws.princeton.edu/bernstein/

-Kevin McCloskey


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Categories printmaking

César Chávez: Éxito!

October 11, 2011 //
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Éxito means success in Spanish. César Chávez has been in the U.S for just about two weeks. He first crossed the border on foot in Arizona. He has already forgiven the policeman there who forced him to kneel on the pavement with his hands up while drug dogs sniffed his backpack. Fortunately, César has since had a lot of great memories to replace that ugly one. Some good times in Philadelphia, some in Kutztown, some in New York City.

Firelei Báez, Domincan artist in NYC gave César a tour of El Museo del Barrio.

César has been working hard in the KU printmaking studio and carved two woodblocks, two linoleum blocks, and several etchings. This he did in four days. His Eckhaus party was a blast. He’s toured Evan Summer’s printmaking studio, and spent the long weekend in New York City and Hoboken NJ. Firelei Báez, a rising star in the NY art world gave him a personal tour of the bienal exhibition at the El Museo del Barrio that features her work. El Museo produced a great short video about Firelei’s art. We also saw the de Kooning show at MOMA. Call me loco, but I found El Museo’s exhibition far more interesting than MOMA’s de Kooning blockbuster retrospective.

Touring KU Prof. Evan Summer's etching studio. Photo by: Brian McCloskey

He has generously interacted with numerous art and design classes. He was the honored guest at a luncheon with Spanish language students. He has worked alongside the printmaking students and given gallery tours to a hundred other students. Tomorrow 25 youngsters from I-Lead School, a largely Hispanic charter school in Reading will get a gallery tour, as well. One KU CD student, born in Nicaragua, told César he was so very proud to have a Spanish-speaking artist-in-residence at Kutztown University.

César Chávez at mural of the Chicano farm worker & organizer César Chávez in Philadelphia.

César’s English has improved in his short time here. He’s repeatedly said being in the U.S is “like a dream.” There was one unforgettable moment. Walking across Times Square, he encountered a showgirl hawking tickets to the musical Chicago. He asked if he could have his photo taken with her. She grabbed César in a headlock and planted a big wet kiss on his face.  Sometimes, life is like a dream.

Friendly New Yorker meets artist from Oaxaca.

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Categories Faculty, printmaking, Visiting Artist

César Chávez in Gringolandia

September 30, 2011 //
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César Chávez in front of his grafitti mural Oaxaca, 2011/

César Chávez in front of his grafitti mural Oaxaca, 2011/

My friend, César Chávez, a great young Mexican artist, is in Kutztown. He was the master printer for the ASARO collective back in 2006 when Oaxaca’s streets were filled with tear gas and protesters’ blood. After a teachers’ strike got out of control hundreds of thousands of people marched on Oaxaca and took over of the city. At least 20 people, probably many more, were brutally murdered by right-wing gangs and policemen. U.S. media covered the story briefly when Brad Will, an Allegheny College grad, was shot dead while photographing a march.

"Thanks to Our Little Virgin of Guadalupe up to now We have Survived the Bullets of out Militarized Government." ASARO Print, 2007, Kutztown U. Collection.

“Thanks to Our Little Virgin of Guadalupe up to now We have Survived the Bullets of out Militarized Government.” ASARO Print, 2007, Kutztown U. Collection.

Things settled down by 2007 when I met César in the then clandestine studio of  ASARO, or ” The Assembly of Revolutionary Artists of Oaxaca.” By day ASARO sold prints in the street, at night they stenciled or pasted their political art on the city’s walls. I curated one of ASARO’s first U.S exhibitions at Kutztown University’s Library. Despite a budget of $300, The Allentown Morning Call called KU’s show one the best exhibitions of 2007. The KU ASARO collection traveled to other schools like Ohio U., Marwen in Chicago, and UNC, Charlotte. Many other supporters spread the word about ASARO. Princeton University created a website of their ASARO prints. The best digital archive is at Massachusetts College of Liberal Arts’ Art of Dissent website.

“Vibora” Viper. Woodblock print © 2010 César Chávez

In 2008, along with Dr. John Pohl of UCLA, I curated a large Oaxacan print exhibit, La Tinta Grita, The Ink Shouts, at LA’s Fowler Museum. The L.A. Times wrote, “Even if you know little or nothing about the complex political events that inspired it, the art’s technical skill and emotive power is hard to miss.”  It was a big event. I got to fly out to California for the exhibition. Unfortunately, no ASARO artists were able to attend, even with official invitations. The U.S Embassy in Mexico City denied them entry visas.

Cesar pastes print to a wall. Woman removes it. photo © Itandehui Xiaj Nikte

Wheat pasted woodblock prints, Oaxaca Street, photo © Itandehui Xiaj Nikte

Kutztown University is fortunate César managed to negotiate the red tape. Though he has been a visiting artist in Spain and Japan, this journey to Kutztown is his first to the US. It is difficult for a young single male from Mexico to get a visa to come to the U.S. legally. His visa fees came to $320. Interestingly, Mexicans are charged fees that others, Canadians, for example, don’t have to pay.” Angel” mixed media drawing, by César Chávez

” Angel” mixed media drawing, by César Chávez

It is far easier for U.S citizens to visit Mexico. I’ve been back to Oaxaca every year since 2007. I’ve had the privilege of working the hand-cranked printing press beside César late into the night. He and I hung an exhibition of prints dedicated to the murdered women of Juarez at ASARO’s Espacio Zapata Gallery.

Born in 1979, César is one of ASARO’s senior members. I’ve watched him patiently mentor the younger artists of the crew. He calls me “maestro,” teacher,  but the truth is César and his young compadres have taught me more than I can express about the power of creativity and community.

César Chávez: KU Residency: DATES & TIMES:

César Chávez Exhibit: Oct. 4-16, CVPA Student Gallery,  Sharadin Building. Reception: Oct. 12, 3:30-6 p.m.

Eckhaus Event: Mexican Potluck Dinner & Oaxaca Videos. Oct 6 at 6. 157 W.Main St. Kutztown

Charla with language students (in Spanish) Oct 11 at 11. Defran 120.

He will spend much of his time in Sharadin’s Printmaking Studio. As a Visiting Artist, he will demonstrate relief printing techniques for Kutztown art students, as well as create a new print in the studio.

“Street Intervention” mural, César Chávez.

The Communication Design Dept. has been most generous in helping César’s journey. Dean Mowder and Prof. Evan Summer have also been supportive. Rohrbach Library and the Modern Language Dept. have lent a hand. Torrey Smith designed a super exhibition brochure. Thanks to everyone who made or bought the fundraising prints. You saved the day.

Unidentified artist spray painting a mural in Oaxaca. Photo by Ita.

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Categories drawing, illustration, printmaking, Visiting Artist

Peter Kuper at Kutztown

July 3, 2010 //
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Peter Kuper signing a book for Prof. Elaine Cunfer.

Peter Kuper came to Kutztown at the end of spring semester and gave a well-received Powerpoint lecture on political art. Kuper is a graphic novelist and illustrator whose work has appeared in Time, Newsweek, The NY Times, and Mad Magazine. A number of KU students, including Nick Eck, told Kuper they were fans of his graphic novel version of Franz Kafka’s Metamorphosis.

Oddly enough, Kuper first contacted KU Prof. Kevin McCloskey via email in 2009 to ask for help identifying graffiti on the walls of Oaxaca, Mexico for a book project. Some of the artwork was, in fact, by McCloskey’s amigos in the ASARO collective. Kuper’s bilingual Oaxaca Diary is a fascinating mix of drawings, photos, collages and found objects. A full review of Diario de Oaxaca: A Sketchbook Journal of Two Years in Mexico can be found here at the website Commonsense2.com.

Students were impressed by Kuper’s D.I.Y. publishing empire. Even though he is published in America’s leading magazines, he still contributes to World War 3 Illustrated, the radical comic anthology he founded in 1979 along with his old friend, Seth Tobocman. After 30 years World War 3 Illustrated is still published a few times each year.

For years Kuper used black spray enamel and stencils to draw his comics. He warned students against that noxious media, noting that even with the best ventilation, he “lost a lot of brain cells.” He still works in many other media from scratchboard to Photoshop. One of his favorite sketching tools is his magic pencil, a novelty pencil with different colors swirled in a single lead. Rotating the point as he draws, Kuper manages to get a variety of colors in a single fluid line, as in the street dog, below.

He shared images from a new project, Alicia en el Pais de las Maravillas, literally translated, Alice in the Country of Marvels. This is a Spanish language retelling of Alice in Wonderland. His Mexican publisher, Sexto Piso, couldn’t give him a large advance, but they did offer him plenty of artistic freedom. Kuper told us, that by happy accident, the first edition arrived in Spain just as the publicity juggernaut for Tim Burton’s film, Alice in Wonderland, took that country by storm, and Alicia became an instant Spanish bestseller.

Oaxaca Street Scene from Diario de Oaxaca © Peter Kuper 2009
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