Folk art fans from the state of Oaxaca in southern Mexico are already familiar with Arden Aibel Rothstein and Anya Leah Rothstein Mexican Folk Art From Oaxacan Artist Families (Atglen, PA: Schiffer Publishing Ltd, 2007). However, it was surprising to learn that some people interested in crafts from the central valleys of Oaxaca are not even aware of this seminal work, especially since it was first published in 2002.

The 2007 edition of Mexican Folk Art is a comprehensive compilation and detailed examination of each of the major types of popular art from Oaxaca, presented in a refreshing, easy-to-use format. The book is divided into ten chapters, each dedicated to a different medium: ceramics, textiles, wood carving, metal (including tin work, cutlery, and knives), miniatures and toys, jewelry, candles, basketwork, and flower crafts. dry, with the final chapter. dedicated to the Day of the Dead.

Generally, each chapter begins with a broad description of an art form, which includes significant variations within. In the Ceramics chapter, for example, the divisions are Terracotta, Green Enamel, Multicolor Enamel, Black (black clay) and Red Painted. Often times, a town in the central valleys of Oaxaca is known for producing a specific type of folk art. Consequently, in some cases, a chapter proceeds to describe a particular town, giving the reader additional context. We find descriptions of, among others, the ceramic towns of Atzompa, San Bartolo Coyotepec and Ocotlán.

When a family stands out for a special innovation or its ability to create a certain craft, it follows a family story. The individual craftsmen are highlighted below. For the black pottery of San Bartolo Coyotepec, we find descriptions of the De Nieto Castillo family, of which the famous Doña Rosa was a member, along with biographies of her son Don Valente Nieto Real and members of his clan; and the Pedro Martínez family with biographies of the acclaimed Charlemagne Pedro Martínez and his relative.

In total, Mexican folk art exhibits the works of 100 artists from 50 families living in Oaxaca or in one of the 13 nearby towns and villages. In most cases, we are enlightened regarding the personality, worldview, and motivation of each individual carver, weaver, or potter, as well as being provided with a biographical sketch, enhanced by the inclusion of a direct quote. In this way, the reader gets an idea of ​​the inspiration of each craftsman. In many cases, the authors also include a section on the techniques used by the artist, which includes various sources of raw materials such as wool from the Mixtec region of the state to make carpets and tapestries, or clays from other regions of the state. to change the tone and texture of the sculptures; and processing methods that include the extraction of natural dyes from fruits, plants, soils, and the cochineal insect.

With its glossy cover and roughly 700 photographs, Mexican folk art can rightfully be called a coffee table book. But it is much more. The photos themselves bring the book and the artists to life: Apolinar Aguilar de Ocotlán, forging a red-hot piece of recycled metal into an artistic hunting knife; a display of provocatively painted clay ladies of the night by his cousin Julián, son of the famous Guillermina Aguilar; Jacobo Ángeles de San Martín Tilcajete carving a figure in the wood of the copal tree, or standing with his wife María and her family, each proudly displaying an exquisitely painted alebrije; The weaver from Teotitlán del Valle Isaac Vásquez, working on his loom creating a rug, the pattern inspired by a pre-Hispanic pictograph; and beautiful examples of highly detailed multi-colored hand embroidery of San Antonino, such as the bodice and sleeve of a wedding dress.

This gem should easily appeal to any reader with an interest or experience in anthropology, history, or geography. The importance and influence of the indigenous Zapotec ancestry and its current cultural manifestations shine through many of the ethnographic accounts. The genealogies (known as family trees) that comprise one of the appendices are detailed and date from the 19th century. They help the reader to better understand the historical and generational context of the development of Oaxacan crafts.

To assist those interested in exploring the artisan villages and visiting the artists on their own, without the assistance of a Oaxaca tour guide, the address and all additional contact information available are provided throughout the body of the book. for each artist, such as phone number and email. A second appendix consists of a series of easy-to-read village maps, detailing the precise location of each featured artist, making contact even easier.

Authors Arden and Anya Rothstein correctly note that their artist presentation constitutes “a sample” of what is available to those interested in exploring the interior of Oaxaca. In fact, they encourage you to get out there and explore on your own, finding the next popular artist who could reach international stature. They are careful to rate that their inclusions are based on which artisans are the most innovative, or produce work of particular caliber according to certain criteria. The Rothsteins acknowledge that the work of any one innovator of an entire class of popular art, and of those who produce superior quality to the rest, is often beyond the financial reach of many. Therefore, they have additional artists whose works are more affordable, but also of exceptional quality.

Folk art collectors often need a reminder that buying a work from a recognized name does not necessarily mean that the product is the best, in terms of coloration or patina, shape, design or the images it provokes, and that what it calls the attention of most, or so-called experts, may not be your particular cup of tea. Along these lines, an “honorable mention” is awarded to the artisans of certain crafts whose works do not appear (under the title, for example, “More wood carvers in Arrazola”). The clear suggestion is that readers should go out and explore, and make their own determinations and choices based on personal preferences.

Is it worth buying the 2nd edition if you already have the 1st? Certainly give it some consideration if you haven’t yet become entangled in the appreciation and collecting of Oaxacan popular art from exploring the central valleys. While the 2002 volume features 500 photos and 87 artists from 44 families, the most recent publication, as noted above, has been expanded to 700, 100, and 50, respectively. Some of the artisans mentioned simply in the previous volume under the title “Additional”, have been elevated to “outstanding artists”, with their works and histories duly documented. And in some cases where families have grown and town demographics have altered, the authors have appropriately noted changes. Prudently, at least in the opinion of this critic, the “Price Guide” in US dollars has been omitted from this new volume, as more than anything else it is likely to create confusion for the buying public, with the potential to put barriers between the artists and the prospects. customers. As for the Mexican and US economies, there are so many variables and market conditions at play, it is best to allow the supplier / creator and the buyer to make their own assessment respecting the value of labor.

Mexican Folk Art is a comprehensive and well-researched study of all the major types of contemporary Oaxacan folk art and their creators, past and present. Don’t be fooled by its appearance as “another elegant coffee table book”. It achieves what it sets out to do, and something else. It should be seen as a guide, rather than a Bible. If we are ever blessed with a third edition, perhaps the publisher will see fit to place duplicates of the town maps in a separate pocket … it would be a shame if such a wonderful job were unduly worn out in taking it from town to town.

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