Oaxaca Sketchbook 2015

Blake Myer's sketch of Oaxaca Valley as seen from Monte Alban
Blake Myer’s sketch of Oaxaca Valley as seen from Monte Alban
The observatory at Monte Alban by Malia Balas
The observatory at Monte Alban by Malia Balas
Welcome reception at Hostal Don Nino.
Welcome reception at Hostal Don Nino.

The Hostel Don Nino gave us a welcoming reception of flautas, which are like fried enchiladas, guacamole, Oaxacan cheese and aqua de Jamaica. It is not easy to post from my ipad here, but I will share student drawings and post more when we return from our 17-day Oaxaca tour.

Mariana Rivera giving us a tour of the Opera House.
Mariana Rivera giving us a tour of the Opera House.
Rebekah, Ashley, and Jen sketching at San Pablo
Rebekah, Ashley, and Jen sketching at San Pablo

13 KU students and Prof. Miles Decoster are with me sketching in Oaxaca. In less than 36 hours we have seen the San Pablo Center, site of the first Spanish Settlement in the early 1500’s. Then we visited the ancient Zapotec site at Monte Alban, founded circa 500 B.C, it may have been the very first city in North America. It had 30,000 people at its height. We also visited the Macedonia Alcala Theater, a wonderful old opera house, where we were allowed on stage and on the roof. We met the ASARO printmaking collective, and the students are doing wonderful sketches.

We will be having an exhibition of our prints at the Student Gallery in Sharadin Feb 10-15.


Mark Van Stone, Epigrapher

Mark Van Stone is an author, calligrapher, designer and illustrator. He is also a world-class Maya epigrapher, meaning he can read and write Maya glyphs. He has a nifty glyph video demo on his website.

Mark Van Stone astride the great Pyramid at Lamanai, Belize.

He came to calligraphy late in life after finding his computer engineering degree led to rather boring jobs. He studied the Book of Kells at Trinity College in Ireland. He mastered medieval European letterforms and Egyptian hieroglyphics. He also studied Arabic and Japanese calligraphy, but his favorite writing system is that of the ancient Maya. He studied with the legendary Linda Schele at University of Texas. He currently teaches art history at Southwestern College in California.

Dr. Van Stone was one of my colleagues and traveling companions on my recent Maya world tour. He explained to me that many Maya glyphs are ideograms, compact illustrations, like the apple on my computer, but others are phonetic devices representing sounds or syllables. It is only in the last thirty years that experts, like his late mentor Linda Schele, figured out the sounds and meanings for most of the glyphs.

Dr. Van Stone humored me and wrote Kutztown in Maya glyphs. As we know, there is more than one way to pronounce ‘Kootztown’, so he came up with two variants.

Using a flash light to increase readability of glyphs at Lamanai.

Mark Van Stone has an amazing amount of energy, both intellectual and physical. At more than one of the archaeological sites we visited, we were told we wouldn’t have time to see all the glyphs. He didn’t accept that. He would race up and down pyramids and jungle trails to document every known glyph at the site. I’ve read his two books pictured above. Reading Maya Glyphs, which he co-authored with Michael Coe is the best introduction to the subject. His latest book,(which he was good enough to send me in electronic form) is a lively collection of illustrated essays about the so-called Maya prophecies about 2012.

In the PBS NOVA documentary, Cracking the Maya Code, it is Mark Van Stone’s hand that draws the glyphs that appear on-screen. One of his most amazing calligraphy jobs was drawing the scribbled pages for the giant pirate’s book in Disney’s Pirates of the Caribbean. You never know where calligraphy might lead you!

America’s Funniest Archaeologist


Dr. Bill Saturno is in the news again for unearthing an ancient art studio in Guatemala. The post below is from July 2011, when I met him in Belize:

Dr. Bill Saturno has got to be America’s funniest archaeologist. His discoveries of Maya murals made page one of the New York Times. That’s him pictured above at an ancient Maya ballcourt in Caracol, Belize. He is built like John Belushi or Lou Costello, and like those great comics, he talks with more than his mouth. His eyes roll, his hands flutter, and he seems a surprised as anyone else to hear what he is saying.

I am on the road with a group of NEH fellows, most know much more about Maya art than I do. We heard Dr. Saturno tell his hair-raising story in a makeshift conference room in a funky Belizean hotel. We were supposed to meet Dr. Saturmo in the Peten, Guatemala, but a US State Dept. warning prompted by a recent massacre there led to a change of venue.

Currently at Boston University, Saturmo was an adjunct professor at University of New Hampshire in 2001. His life changed that March when he flew to Guatemala to do a brief project over Spring Break. He went into the Peten, the dense jungle territory near the borders of Mexico and Belize. His original Spring Break plan, Plan A, didn’t pan out, nor did Plan B.

A Guatemalan guide named Bernie Middlestadt suggested a Plan C. He told Saturno he might find upright monuments, Maya stela, at a looted site north of the famed ‘lost city’ of Tikal. Bernie was no ordinary guide. A steely-eyed Guatemalan of German descent, he was recommended by Saturno’s mentor, the British explorer Ian Graham. Graham’s autobiography is aptly titled, The Road to Ruins. According to Saturno, it is a ripping yarn, as the Brits say. Graham played parlor games at Rudyard Kipling’s house, served tea to the Grand Pasha at age 11, and cavorted with Picasso in Paris. All this, before dedicating himself to Maya studies.

Bernie led young Dr. Saturno and a crew of four on jungle journey that was supposed to be the proverbial ‘three hour tour.” The last road sign Saturno saw was an unhinged arrow pointing straight to hell. Felled trees forced the six to abandon their two vehicles. Saturno began to have doubts when Bernie’s men needed machetes to clear the path. He had a GPS, so he was never really lost. But it occured to him that knowing where you are is far less important than knowing where the hell you are going. They drank the last of their water. Bernie assured Saturno the Peten was full of shower vines. Cut the right way shower vines provide plenty of drinkable water, or so said Bernie.

Perhaps Saturno asked Bernie too many questions as they hacked their way forward. Bernie told a little jungle parable. Once upon a time, he was guiding a gringo, and the man stepped on a plant. Bernie informed his client that this plant was a very rare orchid. The man stepped on another orchid, and Bernie warned him politely not to do it again. When the gringo stepped on a third orchid, Bernie took out his pistol and shot him in the face. End of story. So, Saturno followed Bernie in silence and stepped exactly where Bernie stepped.

Zig-zagging north they encountered no shower vines, but Bernie promised  to break out the emergency rations when they reached the site. The jungle is quick to cover ancient pyramids, so a Maya temple covered with trees and moss looks much like a hill. They found the site eventually, an overgrown hill with a looters’ tunnel. Saturno looked around. If there were stelea here, they were long gone.

Bernie and his men went looking for water vines. Saturno took refuge from the heat in the looters’ tunnel. It smelled of bat droppings. He pointed his flashlight up and found the first Maya murals in over half a century. He took a photo. He said he was so tired and dehydrated that he felt no elation. Just thirst. When Bernie and crew returned Saturno said nothing about the murals. It had occurred to him that perhaps Bernie was a looter. 20110704-062339.jpg

Above is a painting by artist Heather Hurst, done over images scanned directly from the wall at San Bartolo.


Bernie broke out the emergency rations, a single serving of crab flavored Cup o’ Noodles for six men. They found a few ounces of muddy water. Bernie told Saturno they needed his shirt to strain the goopey liquid. Saturno thought, why my shirt? But then looking a the dirty, raggedy shirts of the others’ backs, he saw the wisdom in Bernie’s decision. 

Retracing their steps through the jungle two of the men collapsed unconscious on the ground. Saturno said to himself – I don’t want to die on the jungle floor, so he strung his hammock between two trees and passed out. Sometime later Antonio, the eldest guide, returned with foraged bitter roots, and got Saturno and crew back to the vehicles. He made it home, and the rest is history.

Micheal Coe in his classic book The Maya, put it this way, “One of the great archaeological finds of all time took place in 2001, when Dr. William Saturno stumbled across San Bartolo…taking refuge from the intense sun in the shade of a looter’s tunnel.” Coe and I can’t tell it like Saturno. If you are at Boston University, sign up for his course.

Learn more, in Spanish or English at the San Bartolo project web site.

Note: Originally posted from my Ipad in Merida, Yucatan.  Updated links a bit since.

Jean Charlot, an illustrator worth knowing.

Illustration from Digging the Yucatan

Jean Charlot was born in Paris in 1898. His name is pronounced in the French manner, something like “Jahn Sharlow.” Oddly enough, Charlot was a great Mexican illustrator. His mother was from Mexico and after World War I, she returned to Mexico with her son, Jean. By that point he was a young man, having served in the French Army during the war and studied art in Paris. In Mexico City he began teaching printmaking and writing about Mexican art history. He sought out the great muralists and befriended artists who sometimes didn’t get along with each other, Siqueiros and Rivera, for example. He worked with Diego Rivera on several monumental mural projects. He spoke and wrote in fluent French, Spanish, English. He also spoke Nahuatl, one of Mexico’s many indigenous languages.

Illustration from Digging the Yucatan

Charlot was an influential member of the Taller Grafica Popular. The TGP, or Taller de Grafica Popular (Workshop of the Peoples’ Graphics) printmaking collective was founded in Mexico City in 1937. The TGP still exists today and is well worth a visit. I wrote about my 2009 pilgrimage to the TGP here in the webzine, Commonsense2.com. There I held original prints by Charlot in my hands, including the one below. Like most TGP prints it is unsigned, but I have little doubt this is his work.

Worker: unsigned woodblock print attributed to Charlot photo: K.McCloskey, 2009

20th Century Mexican artists, Charlot included, did not look down on illustration, the way most North American painters did. Until Andy Warhol, many U.S. fine artists denied ever doing illustration, even when they had done it well. Edward Hopper, for example, was a notorious denier.

In 1926, Charlot was one of the official artists hired by the Carnegie Institute’s Maya Expedition to document the excavations at Chichen Itza. He later illustrated Ann Axtell Morris’s bestselling book for young adults about that expedition, Digging the Yucatan. The bold silhouette-style illustrations reproduced here are examples of his extraordinary genius. Clearly, the two years he spent in the Yucatan drawing copies of Maya murals and relief sculptures made him the ideal candidate for this assignment. These images are remarkable for their unusual use of white space. I’ve reproduced a few with the text included to give a sense of the book’s dramatic page design.

Illustration from Digging the Yucatan
Illustration from Digging the Yucatan

Charlot’s life was so eventful I can’t even scratch the surface of his accomplishments in this note. I hope to write more about him soon. Interested readers should visit the web site of the Jean Charlot Collection at the University of Hawaii.

Credits: Art from Digging in Yucatan came the Jean Charlot Collection web site. Copyright statement from that site: This material is copyrighted 2001 by John Charlot, the Dorothy Z. Charlot Trust, and the Jean Charlot Estate. The text of these web pages may be reproduced in whole or in part provided that proper credit is given and reproduction is not for commercial purposes.

Above: Watercolor of Jean Charlot’s quarters at Hacienda Chichen Itza by Kevin McCloskey, July 14, 2011.