''The Lovers'' in Parque Juárez
By Lulu Torbet

“The Lovers,” a cast bronze sculpture of two entwined reclining heads, is the newest addition to the sculpture garden at Parque Juárez.

The artist, known professionally as Rai Graner Murray, had responded to the realities of antifeminism of the twenties art world and had changed her name from Rosa Rainold Graner to the more androgynous Rai Graner in order to slip under the radar that would have restricted her acceptance in major museums and exhibitions so that her work would be accepted on its own merits.

The petite fourth daughter of a conservative New Orleans doctor, she and her sisters grew up practicing more acceptable forms of artistic expression, such as ballet, music and theater. Only after her stern father died was the rebellious Rai able to slip past the patriarchal social barriers to seek recognition as a sculptor.

At Newcomb College of Tulane University, where she received her master’s degree in Fine Art, she met two teachers who would inspire her lifelong love of Mexico. One was the renowned silversmith William Spratling, who in later years she would visit in Taxco and whose book of drawings of French Quarter habitués (with its foreword by William Faulkner) she cherished. A permanent exhibit of Spratling’s work can be seen at Yam Gallery in the Instituto Allende.

The other was her talented Mexican sculpture teacher and mentor, a rogue character by the name of Enrique Alfarez, a short bull of a man whose outrageous behavior was the cause of plentiful gossip and upheaval, both in New Orleans and in Morelia, where he spent part of the year.

Rai Graner Murray first came to Mexico on her honeymoon in 1933 with her husband Leonard Murray and in subsequent years traveled extensively in Mexico, trips that included several visits to San Miguel.

The recognition Rai Graner Murray sought came quickly. In collaboration with Alfarez she sculpted many life-sized figures for New Orleans City Park Gardens, which surround the New Orleans museum.

She had many other commissions in the city, including large brick bas-reliefs that adorn the entrance towers of the New Orleans Zoo, a fountain for the public library, a bust of the renowned jazz musician “Papa” Celestine (also in the New Orleans Library) and several pieces in the New Orleans Museum. She received numerous WPA commissions for public spaces, including large-scale aluminum bas-reliefs for the Naval Corps Building in Washington, DC, and massive stone bas-reliefs for Washington’s Marine Hospital.

Well-known painter and sculptor Lynne Gleason, Rai Graner’s daughter, first drove to Mexico in 1978 with her husband Howard and son Wesley, their car packed with art supplies for their summer stay in San Miguel. In a stay in Morelia she visited with the dynamic Enrique “Ricky” Alvarez. When in New Orleans, Ricky would make pitchers of martinis, regale his audiences with tales of riding with Pancho Villa in the Mexican Revolution, curse shockingly and flirt openly with the women, much to the consternation of the men. In his Morelia studio, he was still master of the martini shaker and, as before, he made a point of teasing Lynne for her prudishness. He chided her for painting, when any “real” artist would be doing sculpture. When Lynne left that summer, Ricky presented her with a gift—a masterful and anatomically correct close-up drawing of a spread-eagled woman. “Something,” Lynne remarks, “that belongs in a gynecologist’s office.”

Despite these challenging experiences, Lynne fell in love with Mexico, as had her mother before her. Though she lived in Atlanta at the time, and was to live in London for many years and briefly in Sri Lanka, she returned frequently to Mexico to pursue her own career as a painter, and now, perhaps inevitably, a sculptor. Seven years ago, she and her husband Howard, who she describes as her “muse” and who is president of the board of Feed the Hungry, moved to San Miguel permanently. Lynne is a dedicated artist, working long days in her studio. She has had exhibitions in London, Hong Kong, Singapore, Amsterdam and New York. Her own sculpture (she is famous for her horses) is soon to also be part of the Parque Juárez sculpture garden.

The sculpture garden is one of San Miguel’s treasures, the latest project of Amigos del Parque, which has transformed the once desolate, dark and dangerous park into a lovely oasis and a multiuse public space. With government money originally provided during the mayoralty of Villareal, and with the continuing support of the administration of Jesús Correa, the river has been cleaned up, and the plants and trees are well maintained. There are well-lit, winding paths, a gazebo with a sound system and two basketball courts. A large children’s playground was financed by an anonymous donor. The sculpture garden, a work in progress, is intentionally designed so that the sculptures are scattered along the walkways of the park, to offer a sense of surprise and discovery as they are encountered. Sculptures have been donated by Mexicans, Canadians, Japanese and US citizens. Sharon Milligan and Bob Haas are especially to be commended for their work with Amigos del Parque.

Rai Graner Murray’s “The Lovers” is now ensconced in a romantic and secluded setting just off a main walkway. It is a tribute to her pioneering spirit, and a tribute to this warm and embracing culture that she, and all of us, love so much. Next time you’re in Parque Juárez, wander around and look for it. You’ll be surprised at what else you come across.

Paintings explore “the other San Miguel”
By Antoni Subirats

Art Opening
El Otro San Miguel
Antoni Subirats
Wed, Sep 17, 6pm
Galería Santa Ana
Biblioteca Pública
Insurgentes 25

Believe me, outdoor painting is really hard going: the kids, the cars, the mosquitoes, the wind and the rain, the fading light … uffff! But when you are able to do it, against all odds, the results are always surprising. All these incidents end up being beneficial for the painting; magically, they make it somehow more “alive.” After many years of work both in the studio and out in the field I tend to think that the relationship between “chaos” and creation has something to do with it.

Not all the pieces that I show have the same degree of aliveness and spontaneity. On some I have worked in my studio trying, with obvious irregular fortune, to add people or animals that also would look alive, and not rigid or ghostly. Not a less difficult task.

I enjoy painting San Miguel’s urban landscape because it offers an unending source of paintable beauty if you go beyond La Parroquia, Bellas Artes and the official touristic vistas of the city.

 I also felt compelled to break through the notion that the old, rural world is beautiful and modern elements are ugly. It is a dangerous trap for figurative artists, a silly restraint: we can paint burros but no cars, lots of flowers but no power lines, which are everywhere. I had enough of this nonsense.

Paintings of the urban landscape can also serve as a visual record. As we all can see, the very success of our town is bringing a rapid, accelerated transformation, and many of the more charming places will very soon be gone, replaced by multicolored gringo fortresses.

The paintings will be on exhibit in the library’s cafe until the end of September.

New works in a new gallery
By Janice Zimolzak

Art Opening
“Pozos,” Mary Breneman
Fri, Sep 12, 5–8pm 
Galería Juárez
Jardín Juárez 4
Mineral de Pozos

Mary Breneman’s most recent body of work illustrates the splendor of the countryside and the charisma that surrounds the abandoned mines and existing town of Mineral de Pozos. Breneman is inspired by antiquity, color, drama and a sense of place.

“Pozos” is a natural subject for her and the inauguration of Pozos’ new art gallery, Galería Juárez, is the perfect time and place to present her new paintings of the area. 

The new gallery is owned by San Miguel residents Jim Corcoran and Kyle Lease. Corcoran, an interior designer, owned and operated the premier floral design shop on New York City’s fashionable Upper East Side for 10 years. After moving to Mexico he maintained relationships with many of his clients, providing them with local art and interior design elements. Establishing a gallery in San Miguel seemed to be the obvious progression for Corcoran, but instead he partnered with Kyle Lease in the renovation and construction of new homes.

During the building of a new house in Mineral de Pozos, both partners became enchanted with the stark beauty of the surrounding area. Wishing to maintain their ties to the community, the concept of Galería Juárez on the town’s main square materialized.

“People have asked if we are doing this because we buy into the theory that Pozos is the new San Miguel. But that is not part of our reasoning. The beauty and tranquility of Pozos lends itself to an artistic community. Seeing the work that Mary Breneman has done here really cinched the deal,” said Corcoran. 

Breneman is co-owner of Zoho Gallery in Fábrica La Aurora. A Friday evening cocktail reception honors her new works; Galería Juárez is open Friday–Sunday thereafter.

Interview with a master weaver 
By Barbara Erickson

Art Opening
Jacobo Mendoza, Zapotec weaver
Fri–Sat, Sep 19–20, 3–6pm
Casa de la Cuesta 
Cuesta San Jose 32

Casa de la Cuesta presents Jacobo Mendoza, their favorite weaver of rugs and wall art, along with a surprise mojigangas exhibition with a local artist. La Otra Cara de México Mask Museum and Casa de la Cuesta Folk Art Gallery also will be open.

I recently visited the Jacobo Mendoza family in Oaxaca and Teotitlán del Valle. There are perhaps 100 weaving families located in and around the town, many with Mendoza as part of their name and heritage. Mendoza and I talked about where he lives, his art, his inspiration and his family. By way of background, he is the youngest of eight in his immediate family. He began weaving around the age of five and learned not only from his father, but also from his uncle and his oldest brother, Arnolfo, who has been recognized as a Banamex great master. Jacobo has been recognized as a young master in Oaxaca. His work was selected for the prestigious exhibition at the cultural arts show in March 2008. The great masters participate in the Program in Support of Folk Art, an initiative founded in 1996 by Fomento Cultural Banamex to publicize and sustain Mexican folk art.

Barbara Erickson: Jacobo, why did you become a weaver? Jacobo Mendoza: I was born a weaver; my family is Zapotec and we have been weavers since before the conquest. Weaving in our village dates to at least 500 BCE.

The earliest weavings used cotton and ixtle (agave fiber) and were made by backstrap loom. Teotitlán had to pay its financial tribute to the Aztecs in weavings. Can you imagine how fine they must have been?

BE: Do you still use the backstrap loom? 

JM: Although we do use the backstrap loom for some items, most Teotitlán weavers today use the “peddle” or “floor” looms introduced by the Dominicans in the 16th century. The Spaniards introduced sheep and wool during that time, too. Now, wool is the material of choice for most of the products made here in Teotitlán. From the time I can remember, the loom has been a part of my life and I have tried very hard to make my work the best available today. I use natural wool of many colors from local sheep, silk, metallic threads and even cashmere if it is available. My colors are all from natural materials such as indigo and cochineal, tree bark, flowers and minerals. Even though the preparation of natural dyes is a long process, it is worth it for the intensity and depth of color.

BE: What inspires your designs? JM: When I first started weaving, I studied the traditional designs my family taught. Now I take inspiration from ancient patterns like the glyphs found at Mitla and Monte Albán, as well as themes from nature and those of my imagination. Since I use only natural dyes, the colors themselves are sometimes part of my inspiration.

I like to make very complicated designs for some of my pieces; they are challenging and fun for me.

(Interviewer’s note: Many Zapotec weaving patterns closely resemble Navajo patterns; some anthropologists attribute this to early tourist trade and natural curiosity.)

BE: Your whole family weaves: your wife, María Luisa, and your children, Jacobito and Sylvia. I often see women making the dye baths for the yarn, but weaving? Is this something unusual?

JM: Well, yes. Traditionally men work the looms and the women help by dyeing and preparing the yarn. But María Luisa wanted to learn the loom. She comes from a weaving family, too, and she is a very good weaver. Maria Luisa prefers to work with cashmere because it is so fine. Jacobito has been weaving since he was five, just like me. Every time he sells one of his rugs, he gets to use the money himself. He started by saving for his first bicycle, and now he is saving for school money. Sylvia is learning dyeing techniques and also weaves purses. She also keeps all the money she earns from her work. I think it helps them understand more about how life works to sell their own creations and spend the money. 

BE: Will you tell us the story about how you rode to María Luisa’s village and captured her to be your wife?

JM: I’m not so sure women will like that story; you will have to ask María Luisa.

BE: You travel to many places to sell your rugs. Do you have a favorite place?

JM: I really enjoy coming to San Miguel (laughs); it is a beautiful city and many people appreciate good quality in craftsmanship. I enjoy walking the streets and seeing the town. And you have good restaurants here, too! Also there are not so many tourists in Teotitlán right now and it seems I need to travel far to earn a living.

I want to invite everyone to come and visit us in Teotitlán del Valle! Our new gallery is almost ready for visitors and three of my sisters have delicious restaurants right in town. Come and visit us at the show and I will give directions to find us. 

Mendoza can accept checks or cash in payment for his fabulous tapetes. For information, visit http://www.jacobomendoza.com/index.html. 

Fantasy folk art set free
By Deb Hall

Folk Art Exhibit & Sale
Los Linares
Sat, Sep 20, 11am–4pm
El Cortijo home of Rick and Deb Hall
Net proceeds benefit Ópera de San Miguel
No charge for admission

Darkly whimsical? Skeletal figures gaily flirting with the finality of death? Creatures going bump in Mexico’s night? The fantasy creations of the Linares family are being “set free” in San Miguel’s countryside when Rick and Deb Hall open their El Cortijo home to the public on September 20.

“It seemed fun to showcase such a significant Linares collection at our home,” says Zócalo Folk Art’s Rick Hall. “Plus, so many have indicated an interest in viewing our personal folk art collection that we decided, Why not?” More than 20 Linares works will be exhibited and for sale and a portion of the proceeds benefit Ópera de San Miguel.

As Day of the Dead approaches, it is the perfect moment to reflect upon the art and history of Los Linares for both connoisseurs and folk art newcomers. The family’s fabled past intertwines with several of Mexico’s most famous personalities, including Jose Guadalupe Posada, Diego Rivera, Frida Kahlo and Dolores Olmedo, and personal memories and insights into each will be shared.

Furthermore, “Only a papier-mâché creature made by a Linares can truly be called an alebrije,” added Hall, “and the feverish nightmare at the root of this vision also will be explained.”

A private home, a country setting, and the fantasy art of Mexico’s famed Los Linares. Directions to the Halls’ home and additional event information are available at Zócalo Folk Art, Hernández Macías 110, or by phoning 152-0663. Deb Hall is co-owner of Zócalo and writes regularly about Mexican folk art and culture online at zocalodemexicanfolkart.blogspot.com.

Imprisoned poetry in watercolors
By Margaret Failoni

Art Opening
Simone Pontecorvo
Fri, Sep 12, 6–8pm
Bellas Artes
Hernández Macías 75

After completing his family’s requirements of a decent education and a salaried job, Simone Pontecorvo was finally able to completely dedicate himself to the creation of art. Born into a family of successful filmmakers on one side and renowned musicians on the other, the family exigencies would seem odd at first, and yet this very background, with the addition of classical studies and his early experience working in the film world, convinced the artist that a life in the plastic arts was exactly what he wanted and this background has enriched the possibilities for inspiring output.

Pontecorvo has sketched and painted all his life. A gifted draftsman, the artist amuses himself by making brilliant sketches, portraits of family and friends, and yet the path chosen for his career can be best described as lyrical abstraction.

Ponecorvo’s career started on the right foot with a sell-out first solo exhibition in Rome’s prestigious Galleria Il Gabbiano. Participation in several group shows preceded and followed. 

On a honeymoon trip to Mexico during the September festivities, the artist was mesmerized by the spirit and flaming colors he witnessed all around him. He had been working on large canvases with thick, black velvet-like ribbons painted onto white ground, making Möbius ribbon-like flowing forms. After Mexico, Pontecorvo started experimenting by using these forms and translating them into fluid visual poetry; wet images on translucent Japan paper seem to dance and float. Masterly mixed hues are painted onto the paper’s picture plane in deft strokes, appearing like soft ripples in the tide.

A small series of studies for this exhibition done in oil pastels illustrate the artist’s process for evaluating color and form.

After the San Miguel exhibition, the show travels to a Querétaro museum in January and to Mexico City in the spring.

Margaret Failoni is an independent curator and art historian who has lived in San Miguel for 13 years. She curates exhibitions of contemporary art for museums, public spaces and some galleries in Mexico after a full-time career in Rome, Italy.

The theorem of the low volley
By Giorgio Gozetti

Simone is the son of Gillo Pontecorvo, a great master of cinema, but also the son of Picci, and has inherited their passion for music, the memory of a family with ancient roots and the idea of freedom as a synonym of living as protagonists in everyday normalcy.

It is my good fortune in having a certain familiarity with the house in Via Frisi in which Simone did his first drawings and painted his first canvases. Ever since then I have been in the habit of regarding the work of Simone as an artist according to a strange critical suggestion which 1 would define as “the theorem of the low volley.” At that time, the artist used to play tennis with tenacious regularity, applauded for an immediate, violent forehand but all the time seeking the moment, the opportunity and the trajectory for a net volley. It is precisely in this athletic action that tennis ceases to be a sport of strength, dynamism and precision, and instead becomes one of invention and inspiration. Everything lies in anticipating the movement, in creating one’s own path in space and to do this it is necessary to fully identify the right time for the act, the boundary of space in which one moves, the value of the very movement. While Simone the tennis player was intermittently successful in this, Simone the 
artist achieved this awareness right away in pictorial composition and chromatic invention.

Those who have known him for some time will find the same meticulous recognition of possible trajectories, the play of solids and spaces, the composed search for volumes and the balancing of form and color; in short, the idea of painting as condensed movement.

The artist has arranged the iconographic and stylistic program according to an intended path, a series of references, of compensations, of solids and spaces which have induced him to make the succession, the inclusions and the exclusions.

Here we have a talent who has come to terms with his own work. He is able to fix this sequence as a well-defined passage in his expressive itinerary; not a síntesis, but an orderly corpus that I gladly assign to the idea of movement and creation.

Giorgio Gozetti is an Italian film critic.

A haven for painters

Art Opening
May Wells, Rio Casey,
Sheila Sequin, Phoebe Greyson
Sat, Sep 13, 6–8pm
May Wells Studios
Calle Loreto 5A 

ART Wells 1 May Wells

May Wells Studios, originally created when Wells faced the loss of group studio space with San Miguel artist Ed Osman, has become a haven for resident and visiting painters alike.

Currently, the four occupants of the studio are Wells, originally from Vancouver, British Columbia; Rio Casey from Connecticut; Sheila Seguin from New York City; and Phoebe Greyson, visiting artist from Boulder, Colorado.

Wells has been a resident of San Miguel for 20 years. She studied painting with Victor Cuevas for two years and then studied with and shared studio space with Osman for 13 years. Having experimented with various media over the years, her work is now primarily in oil and focuses on the formal issues of nonobjective, abstract painting.

Rio Casey considers himself an expressionist painter, meaning that feeling is the most important quality in his art work. He paints various themes, plein air, landscape, portraiture, dreams and nonobjective art work. He attended Boston Museum School of Fine Art and Columbia University, yet with two art degrees he still considers himself self-taught.

 “As a painter it is important to find your own originality,” he says. His nonobjective work has two forms: hard-edged yantras and soft-edged paintings. His fantasy paintings and drawings are derived from dreams and collective myths.

Sheila Sequin is a painter, printmaker and art teacher. Her work is personal and expressive of all that has happened to her and moved her. Her style is expressionist and the work is figurative, imaginative and colorful. It contains realistic images along with abstract elements. She has been painting for 40 years and her work has been exhibited frequently in New York and California.

She has appeared on PBS and cable TV, showing slides of her work and connecting it with her life. She teaches people how to connect with their personal imagery and express themselves in a distinct and original style.

Phoebe Greyson, the newcomer to the studio, has studios in Vancouver and Boulder. She describes her work as nonfigurative surrealism. Greyson works in oils and utilizes a glazing technique that works well with what she calls “subtractive painting.”

Greyson says that “removing paint often provides more creative opportunity than applying it.” Greyson is often asked how she knows when a piece is finished. “I know it’s finished when it stops annoying me,” she replies. Greyson also makes jewelry, which she calls “a small art” and will be showing some at the opening. She does chaining with silver, gold or copper-plated pewter beads combined with Swarovski crystal or semiprecious stones. She has had a booth at the last two craft fairs at the Institute Allende and is happy to say that her work is now adorning the necks and ears of several San Miguel residents.

Music for the studio opening will be by Ed Curren, saxophonist, and Hermalene Wick-Curren, guitarist. Ed and Hermie, as they are called, are originally from San Felipe, California, and their duo, Interpolación, has played regularly in San Miguel, Colima and the Baja.






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