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Q: Would you speak about your first trip to Mexico?

 

With an amate tree at Chalcatzingo

With an amate tree at Chalcatzingo

A:  In the early 90’s my late husband, Bryan, and I made our first trip to Oaxaca and to Mexico City.  At the time I had become fascinated with the Mexican “Day of the Dead” celebrations so our trip was timed to see them firsthand.  Along with busloads of other tourists, we visited several cemeteries in small Oaxacan towns.  The indigenous people tending their ancestor’s graves were so dignified and so gracious, even with so many mostly-American tourists tromping around on a sacred night, that I couldn’t help being taken with these beautiful people and their beliefs.  From Oaxaca we traveled to Mexico City, where again I was entranced, but this time by the rich and ancient history.  On that first trip to Mexico we visited the National Museum of Anthropology, where I was introduced to the fascinating story of ancient Mesoamerican civilizations  (it is still one of my favorite museums in the world); the ancient city of Teotihuacan, which the Aztecs discovered as an abandoned city and then occupied as their own; and the Templo Mayor, the historic center of the Aztec empire, infamous as a place of human sacrifice.  I was astounded!  Why had I never learned in school about Mexico, this highly developed cradle of Western civilization in our own hemisphere, when so much time had been devoted to the cultures of Egypt, Greece, and elsewhere? When I returned home to Virginia I began reading everything I could find about ancient Mexican civilizations, including the Olmec, Zapotec, Mixtec, Aztec, and Maya. This first trip to Mexico opened up a whole new world and was to profoundly influence my future work. I would return there many more times, most recently this past March to study Olmec art and culture.

Comments are welcome!

Q: Are there any final photographs you would like to share from your Mexico trip?

Museo Nacional de Antropoligia, Mexico City

Museo Nacional de Antropoligia, Mexico City

Museo Nacional de Antropoligia, Mexico City

Museo Nacional de Antropoligia, Mexico City

Teotihuacan

Teotihuacan

Teotihuacan

Teotihuacan

Mexico City

Mexico City

Museo Templo Mayor, Mexico City

Museo Templo Mayor, Mexico City

Mexico City

Mexico City

Mexico City

Mexico City

Comments are welcome!

Pearls from artists* # 88

Teotihuacan

Teotihuacan

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

To men like Ayers, it occurs to me, this temple is civilization.  The masses, slaves, peasants, and foot soldiers exist in the cracks of its flagstones, ignorant even of their ignorance.  Not so the great statesmen, scientists, artists, and most of all, the composers of the age, any age, who are civilization’s architects, masons, and priests.  Ayers sees our role is to make civilization ever more resplendent.  My employer’s profoundest, or only, wish is to create a minaret that inheritors of Progress a thousand years from now will point to and say, “Look, there is Vyvyan Ayers!”

How vulgar, this hankering after immortality, how vain, how false.  Composers are merely scribblers of cave paintings.  One writes music because winter is eternal and because, if one didn’t, the wolves and blizzards would be at one’s throat all the sooner.

David Mitchell in Cloud Atlas

Comments are welcome!    

 

Q: What first intrigued you about Mexico?

"Myth Meets Dream," 1993, soft pastel on sandpaper, first painting that includes Oaxacan figures

“Myth Meets Dream,” 1993, soft pastel on sandpaper, first painting that includes Oaxacan figures

A:  In the early 90’s my husband, Bryan, and I made our first trip to Oaxaca and to Mexico City.  At the time I had become fascinated with the Mexican “Day of the Dead” celebrations so our trip was timed to see them firsthand.  Along with busloads of other tourists, we visited several cemeteries in small Oaxacan towns.  The indigenous people tending their ancestor’s graves were so dignified and so gracious, even with so many mostly-American tourists tromping around on a sacred night, that I couldn’t help being taken with these beautiful people and their beliefs.  From Oaxaca we traveled to Mexico City, where again I was entranced, but this time by the rich and ancient history.  On our first trip we visited the National Museum of Anthropology, where I was introduced to the fascinating story of ancient Meso-American civilizations  (it is still one of my favorite museums in the world); the ancient city of Teotihuacan, which the Aztecs discovered as an abandoned city and then occupied as their own; and the Templo Mayor, the historic center of the Aztec empire, infamous as a place of human sacrifice.  I was astounded!  Why had I never learned in school about Mexico, this highly developed cradle of western civilization in our own hemisphere, when so much time had been devoted to the cultures of Egypt, Greece, and elsewhere? When I returned home to Virginia I began reading everything I could find about ancient Mexican civilizations, including the Olmec, Zapotec, Mixtec, Aztec, and Maya. This first trip to Mexico opened up a whole new world and was to profoundly influence my future work. I would return there many more times.

Comments are welcome!

Q: Mexico has been a big influence on your work. What first drew you to Mexican folk art – masks, carved wooden animals, papier mâché figures, and toys?

A corner of Barbara's studio

A corner of Barbara’s studio

A: In 1991 my future sister-in-law sent, as a Christmas present, two brightly painted wooden figures from Oaxaca. One was a large, blue and white polka dot flying horse, the other a bear, painted with red, white, and black dots and lines.

At the time I was living in Alexandria, Virginia, studying at the Art league School there, and working as a full-time artist. I had resigned from the Navy after seven years on active duty, although I still worked one weekend a month at the Pentagon as a reservist. I was looking for something new to paint with soft pastel, having found portraits deeply unsatisfying.

I had never seen anything like these Oaxacan figures and was intrigued. I started asking friends about Oaxaca and soon learned that the city has a unique style of painting, the self-titled Oaxacan school, and that the painter, Rufino Tamayo, and husband and wife photographers, Manuel and Lola Alvarez Bravo, were from Oaxaca. (Manuel Alvarez Bravo founded an important photography museum there). 

I had been a fan of Frida Kahlo, Diego Rivera, Leonora Carrington, Remedios Varo and other artists associated with Mexico, and had a long-standing interest in pre-Columbian civilizations. I knew some Spanish, having studied it in high school. I began reading everything I could find about Oaxaca and Mexico and soon became fascinated with the Day of the Dead.

In 1992 my future husband, Bryan, and I made our first trip to Mexico, spending a week in Oaxaca to see Day of the Dead observances and to study the Mixtec and Zapotec ruins (Monte Alban, Yagul, Mitla, etc.), and another week in Mexico City to visit Diego Rivera’s murals at the Ministry of Education, Frida Kahlo’s Casa Azul, and nearby ancient archeological sites (the Templo Mayor, Teotihuacan, etc.).

I began collecting Mexican folk art on that first trip. I still have fond memories of buying my first mask, a big wooden dragon with a Conquistador’s face on its back. Bryan and I found it high on a wall in a dusty Oaxacan shop. The dragon was three and a half feet long and three feet wide. Because it was fragile, we hand-carried it onto the plane and were able to store it in the first class cabin (this was pre-9/11). I chuckle to remember that we covered its finely carved toes with rolled up socks to prevent them from breaking!

I have been back to Mexico many times, mainly visiting the central and southern states. I travel there to study pre-Columbian history, archaeology, mythology, culture, and the arts. It is an endlessly fascinating country that has long been an inspiration for artists.