Aficionados of folk art of the state of Oaxaca in southern Mexico are already familiar with Arden Aibel Rothstein and Anya Leah Rothstein & # 39; s Mexican Folk Art From Oaxacan Artist Families (Atglen, PA: Schiffer Publishing Ltd, 2007). It was surprising to learn, however, that some people with an interest in the crafts of Oaxaca & # 39; s central valleys, are not even aware of this seminal work -
The 2007 edition of Mexican Folk Art Oxacan folk art, set out in a refreshingly user friendly format. The book is divided into ten chapters, each devoted to a different medium: Ceramics, Textiles, Woodcarving, Metal (including tin work, cutlery and knives), Miniatures and Toys, Jewelry, Candles, Basketry and Dried Flower Crafts, with the final chapter devoted to Day of the Dead.
In the Ceramics chapter, for example, the divisions are Terra Cotta, Green Glazed, Multi-Color Glazed, Black (barro negro) and Painted Red. We are descriptions of folk art. Correspondingly, in some cases a chapter then proceeded to describe a particular pueblo, giving the reader additional context. We find descriptions of, amongstst others, the ceramics towns of Atzompa, San Bartolo Coyotepec and Ocotlán.
The individual craftspeople are then highlighted. For the black pottery of San Bartolo Coyotepec, we find descriptions of the De Nieto Castillo family, of and the pedro Martinez family with biographies of acclaimed Carlomagno Pedro Martinez and his relatives.
All told, Mexican Folk Art showcases the works of 100 artists from 50 families living in Oaxaca or one of 13 nearby towns and villages. In most cases we have a personality, worldview and motivation of each individual carver, weaver or In this way the reader gains insight into the inspiration of each craftsperson. In many instances the authors also include a section on the techniques used by the artist and processing methods including the extraction of natural for making rugs and wall hangings, or looks from other states of the state for changing tone and texture of sculptures; and processing methods including the extraction of natural dyes from fruits, plants, soils and the cochineal insect.
With its glossy front cover and approximate photographs, Mexican Folk Art can be rightfully be iteded a coffee table book. But it 's much more. The photos in and of them bring the book, and the artists, to life: Apolinar Aguilar of Ocotlan, forging a red hot piece of recycled metal into an artistic hunting knife; a display of provocatively painted clay ladies of the night made by his cousin Julian, son of celebrated Guillermina Aguilar; Jacobo Angeles of San Martín Tilcajete carving a figure from the Teotitlan del Valle weaver Isaac Vasquez, working at his loom creating a tapete, the pattern inspired by a pre-Hispanic pictograph; and fine examples of multi-colored highly detailed hand embroidery from San Antonino, such as the yoke and sleeve of a wedding dress.
The importance and influence of influence of indigenous Zapotec ancestry and its present-day cultural manifestations shines through many of the ethnographic accounts. The genealogies (referred to as Family Trees ) accounting one of the appendices are in depth, and date as far back as the 19th century. They assist the reader in good understanding the historical and generational context of Oaxacan craft development.
To help those with an interest in the club villages and visiting the artists such as Oaxaca tour guide, through the body of the book the address and all available additional contact information for each artist is provided, such as phone number and email. A second appendix consists of a series of easy-to-read pueblo maps, detailing the precise location of each featured artist, further facilitating contact.
Authors Arden and Anya Rothstein correctly caution that "a sampler" of what is interesting in exploring Oaxaca & # 39; s hinterland. They in fact encourage getting out and exploring on your own, finding that next folk artist who may careful to qualify that which inclusion of which craftspeople are the most innovative, which produce a particular criteria. The Rothsteins recognize that the work of any Therefore, they feature additional artists who works more more affordable, yet also of exceptional quality.
Collectors of folk art often need a reminder that the product is the best, in terms of coloration or patina, form, design, or the imagery it provokes, and that what strikes the fancy Almost this vein, "honorable mention" is provided for makers of certain crafts which works are not featured (under the heading of, for example, Additional woodcarvers in Arrazola "). The clear suggestion is that readers should get out there and explore, and make their own determinations and choices based upon personal preferences.
Is it worth purchasing the 2nd edition if you already have the 1st? Certainly give it some consideration if you have not already enmeshed yourself in the appreciation and collecting of Oaxacan folk art by has been the central valleys. Where the 2002 volume boasts 500 photos and features 87 artists within 44 families, the most recent publication, as noted earlier, has been expanded to 700, 100 and 50, respectively. Some of the craftspeople merely mentioned in the earlier volume "the" Additional "heading, have been elevated to" Wisely, at least in this in critic 's opinion, the US dollar "Price Guide" since most thaning anything else it likely leads to confusion for the buying public, with the potential of putting up barriers between artists and prospective customers. There is so many variables and market conditions at play, best to allow vendor / creator and purchaser do their own assessment compliance value for workmanship.
Mexican Folk Art is a well-researched exhaustive Oaxacan folk art and their makers, past and present. Do not let its appearance as "just another fancy coffee table book" deceive you. If you are more than a bibli ... If we 're be blessed with a 3 rd edition, sometimes the publisher will de it advise to place duplicates of the pueblo maps in a separate pocket ... it would be a pity for such a wonderful work to become unduly worn by toting it from village to village.
