Artists keep the world alive 
By Agnes Olive January 16, 2009 San Miguel de Allende

Art Presentation
The Creative Journey
Leah Hyams 
Mon, Jan 19, 5pm
Teatro Santa Ana
Biblioteca Pública
Insurgentes 25 
Donation 50 pesos

The 15th presentation of “The Creative Journey” presents Leigh Hyams as guest artist. Hyams has had a long, distinguished career as an artist and unconventional artist-teacher.

She says she doesn’t teach art, she teaches people how to make art, to release fear and validate their own creative spirits, at the same time helping them develop their perception and understanding of visual language. “A wild spirit within each of us,” Hyams says, “is a strong, intuitive, creative self that can be tapped by any of the arts at any time in our lives. The ability to draw and paint, or sing, or dance, or write is open to anyone truly curious and interested in doing it whole-heartedly.”

Hyams presents an unusual documentary on some of her art workshops with adult students from diverse cultures, filmed in California, Brazil and Iceland. Her “Creative Journey” takes you far away to watch the pleasure and intensity of artists working in different countries, and hearing their comments. Most viewers can’t wait to run home and start painting after seeing it.

Following the film, Hyams will read briefly from her new book, How Painting Holds Me on the Earth: Writings from a Maverick Artist and Teacher. Time will be allotted for questions and informal discussion within the group.

Six years ago Hyams moved to San Miguel from California where she had taught at San Francisco State University, San Jose State and UC–Berkeley, extension. She directed the Djerassi Resident Artists’ Program at Woodside for its first three years.

The successful international residential art center is still vibrant today. A Fulbright scholar, Hyams spent a year traveling in the Mediterranean, studying and painting megalithic sites. She was an invited artist at the American Academy in Rome and a fellow at the MacDowell Colony, Yaddo and at George Rickey’s Hand Hollow Foundation. Her drawings, paintings and artists’ books are in private and museum collections in the US and Europe.

Experienced artists come to San Miguel periodically to be mentored by Hyams. They live alone for several weeks in her compound in an adjoining house with a separate working studio.

 Exhausted students refer to it as “Boot Camp” as their usual habits, assumptions, skills and ideas are challenged and questioned in order to open new areas for them to explore as artists and human beings.

This year, Hyams hits the road again to teach workshops at Esalen Institute in California, on the island of Majorca in Spain and in southern Italy. Meridian Gallery in San Francisco recently held her solo exhibition of paintings based on Maya temple complexes, “The Ancient Present.” A future exhibition of her paintings opens March 1 at the Museo de la Ciudad in Querétaro.

Your donation will be divided between the Biblioteca Scholarship Fund and the IREE School for the Deaf.

Sideways glances in photos
By Lulu Tobert

Art Opening
Another Day in Paradise
Mark Alor Powell
Fri, Jan 16, 7:30pm
ArtPrint
San Francisco 11

If Mark Alor Powell decides to take your picture, don’t expect to be posing in an easy chair in your finery.

He’ll be scurrying around your house and environs, snapping oddments and unexpected angles, entranced by the juxtaposition of your kitchen appliances, or the way you’ve displayed your doodads. And yes, he’ll take your picture, but not in the way you expected to be memorialized. He’ll catch you unpacking an oversize box or fixing a sandwich or, if he’s lucky, some quirky gesture or involuntary St. Vitus dance you did when you thought his back was turned. In other words, he’s taking sideways glances at you and your life, hoping to capture the telling moments that explain just who you are to the viewers of his photos.

As Powell explains it, “I love accepting people and places as they are: in an unsentimental way that perhaps makes them a little uncomfortable.

Hidden narratives attract me a lot. I am interested in little ironies and pictures that challenge typical presumptions. This is a pattern in my work when addressing Mexico.

“I currently live in Mexico City. I love wandering around and finding stories and running into small evocative moments. Mexico City is full of truly odd finds and absurd contrasts. Personalities interest me. I love meeting strangers. I get excited about making new acquaintances through my photography and I love people who aren’t afraid of the camera and like to show off a bit.” 

Which brings us—or more to the point, brings Powell—to San Miguel. Last year he had a show entitled Loca Tristeza Mexicana at ArtPrint.

This year he is back with “Another Day in Paradise.” The idea for the show took form when Powell visited San Miguel on an editorial assignment and was immediately drawn to the American community here.

“Honestly,” he admits, “the only things that visually interested me in town were the Americans. I loved the sort of rebel crowd here, the stories of why they left the States, the bubble reality created when cultures meet. I am not so much a fan of what’s on the surface: the celebrated folklore of Mexico, the indigenous people, the ‘color’—this typical representation of Mexico is way over-photographed. I cringe when people say, for example, that Cancún is not the ‘real’ Mexico. Well, everything in Mexico is the real Mexico. 

“Certain moods and feelings are communicated best through photography. The story of the American community here fits my criteria really well.

I also was attracted to the idea of doing a show, and teaching a workshop afterwards, in the honored tradition of photography in San Miguel, what with the famed Santa Fe Workshop rolling into town each year. The positive response from the Loca Tristeza Mexicana show and workshop we offered in 2008 made us want to do it all over again. Another Day in Paradise, which runs through March 13, is not meant to be a document of reality, but rather a collaborative performance.”

Mark Alor Powell has an associate degree in photography and a bachelor’s degree in Latin American literature from the University of Michigan. His career includes shows in major museums and galleries in Mexico, the US and Europe, such as the New Museum and the Queens Museum in New York, the Yautepec and Arroniz Contemporáneo in Mexico City, Daz Sharoun Sall in Berlin, Luis Valtueña Internacional Fotografia Humanitaria in Madrid and the Urbis Museum in Manchester, England. Powell is the subject and/or author of four books, and numerous articles about his work have appeared in newspapers and magazines here and in the US. He has done commissioned work and taught photography workshops as well as master classes with other well-known photographers.

At the end of our wide-ranging interview, Powell made a point of saying, “I would like to thank all the sanmiguelenses who made this exhibition possible and who treated me with such warmth and hospitality. I greatly appreciate the imagination I encountered here.”

Powell’s workshop, open to photographers at all levels, is offered Monday–Friday, March 2–6. The course covers working with digital cameras and printing skills.

Photo excursions emphasize getting comfortable with photographing in public places. Students will receive portfolio reviews and participating students’ best shots will be exhibited at ArtPrint. Reserve through ArtPrint, 152-1575 or artprintexpress@yahoo.com . 

Lulu Torbet is the author or ghostwriter of 30 books, as well as a photographer and painter. She is the co-author of Gringo Haiku, a pithy summing up of her life in San Miguel since she moved here in 2005. A complete list of her books can be found at www.lauratorbet.com;  her photography at www.lulutorbet.com.  

Art Opening

A Common Thread
Sun, Jan 25, noon–3 pm
Galería Atenea
Jesús 2

Four women, four artists
By Shirley Binin

Only within the last half century have women been recognized as artists, writers, architects, psychologists and so forth. And, yes, they also can be beautiful, sexy, kind, considerate and dependable. And so, the subject of women depicted by women artists is a reasonably natural response by the four artists in this show.

Shirley Binin has been part of the New York City art scene since age 10 when she attended the Art Students League on Saturdays. Today, her work is shown yearly at the Cork Gallery at Lincoln Center as well as the Stamford Museum and the Loft Artists Gallery in Connecticut. In San Miguel, her artwork has appeared at Bellas Artes, Galería San Miguel and Galería Atenea.

Benin says, “It’s exciting to be a part of an art show by women artists focusing on the subject of women. For too long females were not respected and, consequently, not rewarded as men were. For example, often brilliant, hard-working women lawyers were never made partners in law firms. The US, unlike many other countries, has never had a female president or vice president. My art depicts strong female personalities—my mother-and-child art is not sentimental—the women have dignity. Children respect strong, intelligent, thoughtful mothers.” Agnes Olive has worked for 30 years as a professional artist since graduating from Sheridan School of Design near Toronto. She has lived in Canada, Pakistan, Ghana and in San Miguel since 1996. For this exhibition Olive is showing a body of work entitled “Women: Together We Are More” (Juntos Somos Mas), a theme familiar to all who reside in San Miguel.

“I grew up in Canada in a family of quilters and tea drinkers,” Olive says. “The childhood memories of my grandmother, mother and aunts stitching, sipping tea and sharing stories has been resting patiently in my storehouse of memories waiting to emerge. These pieces are my tribute to such women all over the world.”

Ingalora Dwyer has been involved in art since childhood through photography and painting. She conducts workshops called “Freeing Your Creative Spirit” from her studio in San Miguel.

Dwyer says of her art, “I am a free spirit at heart but thought most of my life I needed to fit into certain situations that I created for myself (family, work, marriage and society). I am learning to live in the now and most of the time I am successful. The focus in my work is letting my creative spirit be free and spontaneous. The colors, textures and materials I am using and the music I am listening to are a very important factor in how I feel when I am creating. Right now I am working with encaustic and am experimenting with all the possibilities to combine the process with my photographic work.”

Kate Church creates sensitive paintings and drawings, and is well known for her sculptural puppets. She has created licensed pieces for Cirque du Soleil as a notable and exciting side project. Her time is divided between San Miguel and Nova Scotia and she is part of an international art doll association called NIADA, www.niada.org. 

Church explains, “Twelve years ago I came to San Miguel to renew my study of art and to liberate my approach to my professional work, the creation of mixed media dolls. Working in the beautiful studios of Bellas Artes I fell deeply in love with my forgotten student life and the study of art. I have successfully combined my two worlds ever since.”

Calendar girls are calling on you
By Sabrina Surving

Photo Exposition
Las Dueñas 
Sat, Jan 17, 7pm
El Market Bistro
Hernández Macías 95

Back by popular demand, Las Dueñas, your 2009 calendar girls, unite again. The photo exposition has been extended through January 17. For those of you who couldn’t get in the door for the opening, we invite you back. We will have a calendar signing and closing ceremony to thank San Miguel for its wonderful support of this project. We will be selling calendars, auctioning off photos, props, jewelry, a photo shoot with Skip Williams, evenings out at local restaurants and whatever else we can think of to make this evening fun and exciting.

We need your support to complete our mission. The calendar project has two goals. The first goal is to help empower women, to love and accept themselves as they are, to help see themselves as unique and beautiful. The second goal is to help others, in this case those who cannot see themselves at all—the blind and vision-impaired.

As many of you know, our photographer Skip Williams has been slowly losing his sight to macular degeneration. He is now legally blind and is lucky to have Social Security and medical assistance. However, many people here are not so fortunate. They need our help. Skip Williams and Sight for Sore Eyes Productions presented the calendars as a fundraiser. Donations from this evening will be used for diagnostics, treatment and education. Special event-night only: 25 percent off all calendars, with all proceeds to charity.

Calendars are on sale at the following locations: 7th Heaven, Chelo Agundis Farmacia, Border Crossings, El Market Bistro, Bagel Place, Libros El Tecolote, La Conexión, Blanco y Negro, Bienes Raices Olvera, Yam Gallery, Yoga Studio Shakti, Casa de Papel, or for home delivery call 154-4677. The price is 250 pesos or US$20. We offer a discount for three or more. 

Prayers and Penances
By Susan Plum

Art Opening
Sharon Kopriva
Fri, Jan 16, 8pm
Museo de la Ciudad
Calle Ignacio Allende
Querétaro

Sharon Kopriva’s works in this exhibition range from the early eighties to 2009, with the most recently finished sculpture, “ Sor Juana,” as a tribute to the beloved Mexican poet. Sor Juana joins many other nuns constructed in Kopriva’s career, including “Mother Teresa” and “ Santa Rosa de Lima.”

Penance and confession are important themes in this exhibit, as is a sense of resurrection and redemption as seen in her special version of “The Stations of the Cross,” representing Christ and other figures as flowers. The show will be up through Sunday, March 1. 

Sharon Ortman Kopriva was born in Houston, Texas, where she received a master’s degree in painting from the University of Houston. She was raised Catholic and a 1982 visit to Peru profoundly impacted the course of her art. There she saw mummified bodies from the ancient pre-Columbian Nazca culture. A concern for pre-Christian imagery entered her art and the tradition of memento mori, creating a remembrance of death, began to preoccupy her visual imagery.

Edmund P. Pillsbury, one of America’s foremost museum professionals, says Kopriva’s art “provides a refreshing antidote to the preoccupations of many artists of today. By assembling figures from animal bones and skeletons wrapped in thickly encrusted layers of linen and papier-mâché and presenting them in lifelike settings with suitable furniture and symbolic attributes, she makes us think about life itself. More importantly, she forces us to consider how we deal with the inevitability of death. Yet she does so with a gentleness and sensitivity that leave us reassured about the goodness of humanity. Her cardinals gesticulate in mock seriousness, as if they were real people acting a part. Her nuns play the piano or engage in animated conversation, as if they enjoyed life. There is nothing sad or macabre about the rituals her figures perform and no effort to disguise figures as real people.”

Contact Susan Plum at 152-1963 for rides to Querétaro or directions to the musuem.

Colors exist in harmony

Art Opening
Sunsets
Eschwan Winding
Sat, Jan 17, 7–9pm
Mero Arte Contemporáneo
Zacateros 24, 154-8580 

In “Sunsets,” a series of all new paintings by master encaustic painter Eschwan Winding, the universal image of a horizon line at sunset, inspired by the light of San Miguel, is the perfect vehicle for the artist to play at the boundaries between representation and abstraction.

As always, Winding increases her experience of encaustic painting through experimentation. This new series reintroduces more oil paint into the encaustic mix. The surfaces that she achieves through the complex use of materials and her very fine control over the heat source are sublimely beautiful. Opaque, creamy oil crackles delicately, floating in the space created by nearly transparent wax. Bright slashes of deep color function as an abstract element that gives the composition its essential vibrancy while at the same time defining the horizon line. These paintings make one gasp in pleasure at first sight.

The other notable element of the sunset paintings is the way they communicate emotions with color. Winding has spent years in the study of color as a vehicle for physical and emotional healing. She has lectured for corporations, businesses and private groups on the power of color.

Her name in Sanskrit, Eschwan, means one who heals with color. Fiery red, icy blue, sun-washed yellow, cotton candy pink, deep purple…the depth and range of colors that exist in perfect harmony in these sublime paintings are simply a true aesthetic pleasure. 

Going abstract
By Noah Mendelson

Final Art Show
Noah Mendelson
Sat, Jan 17, 6–8pm
Galería Intrínseca Arte
Reloj 54B, 154-4212

Break it down, simplify, blur, shape, minimize, design—these are some words that cross our minds while observing an abstract work of art.  “But why go abstract? What is this artist trying achieve?” Or, “I could do that,” we may think while munching some cheese at an art opening.

To provide some answers to these questions, I interviewed myself, so my answers relate to my own abstract oil paintings. 

Noah Mendelson: Why go abstract? 

Myself: Abstraction can be a brilliant way to stimulate the imagination. Using suggestion as a tool, we give the viewers liberty to extend the painting through their own realms of imagination and interpretation. This is where less information offers the opportunity for a more individual viewing experience.

Abstract work can also be somewhat devoid of suggestion, in terms of clear forms within a spatial illusion, although a completely monochromatic plane can offer some suggestion. For example, a blue plane can elicit, “It’s a sky,” or “I think it’s a lake.” We can minimize associative elemental suggestions; this can encourage one’s mind to have a quiet moment, allowing a response of feeling to come forth. There is a definite expressible language of feelings shared in abstract works. I posit that this language can be subtle, complex, simple, calm or fiery. Shape, color, texture, dark and light are some of the words in this language. 

NM: What is the artist trying to achieve? 

M: Obviously, this varies from artist to artist. Specific visual achievement is crucial in my work. It should be clearly expressed. Personally I like to consider balance, simplicity, mood, suggestive space, appeal and design. Simplicity is a common magic ingredient in many masterpieces throughout the history of art. These artists let each brush stroke hold its own; it wasn’t a “mosh and mush” process. They made their marks count. Great poise, confidence and efficiency can be expressed minimally, yet we must be aware of how minimal elements work together, or else a mind will easily jump to “I could do that.”

NM: I could do that.  M: Could you really? It is often easier to think we can, than to do. I applaud many of the masters’ concepts, but often when people think they could do something, they are not really absorbing what is in front of them. Still, it is the artist’s responsibility to impress, if possible.

 Unfortunately, many people won’t appreciate abstract paintings because to them painting is about creating an illusion similar to looking out the window. Nonetheless, as a regular practitioner of abstract art, I value persuasive character in work. I fancy a unique shape, a multidimensional feeling, implied space and most of all, intent, or visual expression in the finished product. Within the painting process, however, I don’t always like to stress intent, because that might lead to overworking, experiencing a sort of “garbage situation.” Keeping the intent poised throughout the painting process, we may find it natural to decide when the work is finished and what we intend to express. And what is that? It’s abstract!

Mendelson exhibits abstract oil paintings in Galería Intrínseca’s Final Art Show, along with some paintings by Steven Mendelson, Noah’s father. You can preview Noah’s work in the show at: www.leafgallery.com  and Steven’s at www.smendelsongallery.com .

Art Opening

Paisaje Guanajuatense
Margarette Dawit
Sat, Jan 24, 1–4pm
Galería 6
Jardín Principal 6
Mineral de Pozos

Galería 6, in Mineral de Pozos, announces the opening of “Paisaje Guanajuatense,” an exhibit of new works by renowned landscape painter Margarette Dawit, who lives and works from her studio in San Miguel.

Returning to oils for this exhibition, Dawit, often known for her monumental scale, has created several smaller and more deeply textured Guanajuato landscapes.

In her essay, “Landscape: The Vanishing Art of the Vanishing,” Gail Lusby writes, “There is nothing simpler than a landscape and there is nothing more mysterious. 

We discover seeing by looking at what we know best. Landscape is the proof of the love affair that goes on between man and nature when there is no money involved.”

Dawit’s work exhibits the immediate familiarity of looking at what we know best and, simultaneously, a deep sense of mystery and of longing to go where we have not yet been.

The show remains up through February 28. Gallery hours are Tuesdays–Sundays, noon–5pm or by appointment. Contact: Director Nick Hamblen at getnick@mac.com, (442) 205-0811.

The huipil as enigma
By Lena Bartula

Slide Presentation 
Mon, Jan 26, 7pm
Biblioteca Los Mangos 
Av. Francisco Villa 1001 
Puerto Vallarta

Art Opening 
Enigmas
Lena Bartula 
Wed, Jan 28, 6–10pm
Sol y Luna Contemporary Gallery 
Josefa Ortiz de Dominguez 155-A 
Old Town 
Puerto Vallarta

The huipil takes center stage in an upcoming exhibit called “Enigmas,” because that is what huipils are for me. Huipil (wee-peel) is a Maya woman’s traditional blouse; it is her identity, a marker of her village, her status, her background and beliefs. The weaving of this garment is both a sacred duty and a personal statement, woven with her own designs, colors and ideas, yet all within the context of her tradition.

Having gone from an aesthetic appreciation of huipils to an obsession about their meaning, I know that never in this lifetime will I understand all the codes whispered within their threads. They are beauty; they are secret; they are holy, in that it is said the goddesses reveal the weaving process in dreams; they are mundane, in that they are part of the everyday existence of a culture. They are enigmatic, in that the symbolism originally woven into them, as related to religion, agriculture or astronomy, had to be hidden. With the Spanish conquest, as with all conquests, a coding had to be devised 
so that the traditions would not become lost. This exhibit, Enigmas, aims to shine light on the significance of these magical garments, as well as on the women who weave them.

The huipil shape reverberates throughout the exhibit, with or without the ubiquitous details one would normally see on this clothing. Symbols for rain, serpent, corn, or cosmic signs such as sun, moon, eclipse, show up enigmatically; some paintings include not the shape itself, but rather a design or a detail that prompted me to examine another part of the history of these textiles.

The heart of the contemporary Maya still beats to the rhythm of the seasons, planting and harvesting of corn is still sacred, as one painting, “Secretos del Maiz” suggests.

In “Sing with Praise” we see the toad and the saints, both instrumental in bringing the rain needed for the crops. The neck opening of a huipil is thought to represent the center of the world into which the wearer places herself, as seen in “Axis Mundi.” “Eclipse” tells of the goddesses who come in dreams, but who, since the conquest, are known as Santa Lucia, Maria Magdalena and other saints. As in a celestial eclipse, the light of these beings was simply covered over for a time. Other works, “Whitewash” and “Weft/Warped,” also employ the power of words in the titles, to covertly discuss the politics of conquest. With the words Text and Textile etymologically linked, such wordplay seems perfectly appropriate for a text and image artist like myself.

Enigmas opens for a two-week run beginning January 28. Prior to the opening, I present a slide presentation about my inspirations and travels through textile villages in Mexico and Guatemala. 

Lena Bartula lives and works in San Miguel, giving voice to women’s stories and exposing cover-ups. Contact: lenabartula@gmail.com.  Gallery contact: Alejandro Baez, solylunapv@yahoo.com. 

The giclée print—art or not?
By Lou Christine

With its ancestral charm, colonial architecture and revealing light, San Miguel has become an artist’s utopia. It’s often been said one could toss an errant stone in the Jardín and it’s more than likely to strike an artist.

With the influx of artists, a bevy of services have cropped up to support local artists with professional picture framing, photographic equipment and specialty stores for paints, brushes and supplies.

The newest service evolving on the local art scene stems from the computerized world that manufactures high-tech equipment that enhances art by mixing computer imaging and high-quality printing. The giclee (pronounced gee-clay, accent on the first “e”), a French name describing the particular process of fine art reproduction, has been popularized due to technical advancements.

Jason Grygier reproduces fine art locally for AJA Fine Art Prints, out of Ana Julia Aguado’s Art Studio, upstairs inside La Casa de Conspiración, at Plaza Principal 18. 

Grygier, a Clemson grad and tech whiz, has been brought in by Aguado to service professional painters and photographers. He says there’s a lot more to the process than just running an image through his space-age Epson Pro 9600, a state-of-the-art printer specifically designed for assignments with hands-on precision. 

Grygier says, “First, the original painting must be digitally photographed by a professional photographer. Then the disc and original painting are turned over to me. Often I need to create layers of contrast, perhaps add or diminish brightness, then balance colors to match the newer image to the original work. Some sizing might be involved, including layout positions, before I engage in the printing process, with me keeping in mind the original hues, contrasts and other criteria that might come into play.”

Grygier says one thing that has drastically changed fine art reproduction, which now makes it more appealing, is that the Epson Pro is capable of printing on painter’s canvas or various grades of paper, depending on what the artist prefers. The Epson can print an image as wide as 44 inches and as long as 40 feet if necessary. “Once we’re ready to print, the mechanical process takes about 45 minutes, depending on the size of the image. The same goes for digital photos we reproduce as prints,” he says.

Within the art world and among some painters and gallery owners, the giclee process does not escape controversy. Some say that giclees are nothing more than xerox copies of original paintings, minus the artist’s fingerprints while some feel the copy may not be considered a piece of art and might lessen the value of the original.

Other painters and photographers use the process to their own advantage and to the liking of their clients. Many painters, especially those who sell pricier works, say that some clients don’t want to fork over major bucks for artwork for one reason or another, but are in love with the image. Some desire their original artwork be reproduced as a gift rather than giving away the original or they have their work reproduced for commercial purposes to be displayed inside doctors’ offices or hotel rooms. 

Today, some museums have original art by the masters stored in a safe place and only display the copy, fearing pilferage or that disturbed whackos might attack and disfigure fine art on public display. 


One advantage to the giclee process is that a painting which might go for loftier prices can be duplicated and still sold for over a thousand dollars. The artist makes money off the print and still holds onto the original to sell at full price later on.

Other painters say they prefer to draw and sketch their image beforehand, then they giclee the sketch and fill in or paint over it. Often painters chose to manipulate their original masterpiece by changing colors and experimenting with a different look on a fine print rather than marring an original.

Grygier is quick to point out that the integrity of original art is very important to AJA Fine Art Prints. “We will never reproduce a work without the original painter’s written approval!” Grygier says it can be tricky when images from unknown or dead artists come through the gallery. Don’t forget that Ana Julia Aguado, the gallery’s owner, is a well-respected artist and she is very specific when it comes to reproducing fine art, stating emphatically that maintaining the integrity of original artwork is paramount and an artist’s work has to be protected. 

“We are more interested in working directly and being a diligent service to professional artists, photographers and even service galleries, but only if those galleries have permission to reproduce from the original artist.”

Grygier also says he primarily works with fine art and that there are other fine and capable printers in town who do good poster work on less important work.

To further support the idea of giclees, one has to consider the current economic atmosphere and its effect on business, especially the art business. Artists can sell giclees from their original artwork at a lower price. Yet Giclees do appreciate much like high-quality serigraphs or prints. Often, only an art expert can tell the difference between an original and a reproduction due to the Epson’s fine detail.

Some of San Miguel’s most respected and prolific painters and photographers have used the Aguado Gallery for paintings, photos and other projects.

Grygier can be reached at 044 (415) 107-9138 for demonstrations and further explanations about the giclee process. 

Correction

In the article “Two Generator exhibits for Art Walk,” in Atención of January 9,  the new artist is Barbara Levine, not Barbara Porter. Barbara Levine runs project b, a curatorial services company specializing in archives, collections, artist and vernacular photography projects.

She wrote Snapshot Chronicles: Inventing the American Photo Album and Around the World: The Grand Tour in Photo Albums. Her next book, Finding Frida Kahlo: An Unexpected Archive, will be released by Princeton Architectural Press in 2009.