Three gems at Rubin Center

The smallest show of the three fine shows at the Rubin Center is perhaps the most satisfying . Russian born artist Yana Payusova studied at the St Petersburg school of fine Arts where she was trained in a strict classical style faithfully copying Old Masters, and perfecting her drawing skills. She then moved to the US where she completed her studies, and now teaches at the University of Arizona in Tucson.

She began as a painter but has recently turned to ceramics and here her show entitled “Revolutions” demonstrates her skills as a painter and ceramicist, as well as the concerns which have long been at the center of her work.

Here there are bowls revolving slowly and painted inside and out with haunting folklike images of women. Payusova uses cartoon like forms, Russian propaganda poster images, Japanese print forms and other references to explore issues of gender equality, power structure and other serious themes, often with a light sardonic touch, and at other times with truly haunting images. On display are not only her ceramic pieces, but also her paintings as well and they are all quite wonderful. Even though they do not directly show Old Master techniques, one can sense the skill and talent underlying all of them, as well as a keen sense of humor.

Upstairs, Mexico city born and based artist Betsabee Romero uses the space to illustrate her concerns with immigration by foot as well as by train. When she was still in school, her best friend moved to Tijuana, and and this led to her interest in the border and moving to distant places in order to better one’s life . Here she has created huge installations involving train tracks, and foot lasts, each of which is inscribed with a phrase of encouragement. On the hill outside the Center, there are flags which also carry a shoe last. Originally these came all the way down to the front door, but the wind necessitated their removal.

The other show upstairs comes from Oaxaca, where contemporary print makers reference traditional images such as maize and combine them with contemporary images exploring and playing with the past and present.

All in all shows to explore. They will be up through mid- December.- David sokolec

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No Place for Selfies

The fine photography show “Exilios del Imaginario” at the Museo de Arte de Ciudad Juarez(MUACJ) attempts to review the past 50 years of photography in Juarez in keeping with the current celebration of the 50 years of the museum’s existence. As the show’s curators point out photography came to Juarez much earlier when the Mexican Revolution brought many war photographers to the city. Curators Jaime Bailleres and Itzel Aguilera show the progression of photographic development in the city beginning with some news photography and then showing how each generation learned from the previous one and developed a style of its own.
The show starts with Saul Sepulveda, who was a news photographer in the 50’s and 60’s, and who worked with a panorama camera which helped give his photos of such things as parades,for instance, as seen here, a wider scope, than the usual camera could manage.
From this point we can see more personal expression and some experimentation start to come into play. The mostly black and white photos show a desire to play with technique and material.There is are examples of non-camera image making, and using different material on which to print.
What clearly was a huge influence in the development and spread of photography was the establishment of a Visual Arts degree at UACJ in 2001. This seems amazingly late, but better late than never. From this point on in the show we see here a greater interest in more formalist concerns, more experimentation and some very good examples of the craft.

There are 61 photographers and 165 photographs in a mix of black and white and color, as well as as a mix of analogue and digital techniques. Although many of the pictures are taken in Juarez, there are also many taken in other parts of Mexico and in other parts of the world. The emphasis here is on the photographer, rather than the city itself.

Of course, even with 165 photographs the surface is barely scratched. I remember seeing a number of shows by local news photographers, which showed an amazing talent, and, in many cases, an ability to get beyond the immediate event recorded to create images which were haunting. There have been numerous shows at other venues by a great number of other equally talented photographers as well as by many who are on view here.
It occurred to me that an interesting auxiliary show might be an historical look at the real street photographers, by whom I mean those hard-working souls who have worked since time immemorial in the Plaza de Armas by the Cathedral taking pictures of tourists and locals who wanted a memento of their visit, and whose job was much easier when not everyone had a camera, and when selfies didn’t exist. It would be interesting to look at how their life and photographs have changed.
In any case, the show serves to remind us of some of the amazing talent in the city, whose practitioners continue to try to continue to explore the practice of photography in diverse ways.
For the past number of years, Alukandra, whose work is in the show, has been hosting a series of “Charlas Photographicas” (Photography talks) with different people speaking on some aspect of the field. This month it is being held on
Sundays, from 12-2 at the Juarez Monument, which dovetails with the Bazaar at the Monument also held every Sunday.
Last Saturday Alex Briseno, also included in the show, held another photowalk in which people turn their cameras loose on the city.
In short, there is a huge amount of talent and energy here and it would be nice if the rest of the world took notice of this aspect of the city, rather than the more dismal events which usually seem to be the only time the city is mentioned.-david Sokolec

September is for art

It’s September and time for art on both sides of the border.

Rubin Center at UTEP is opening three shows this Thursday (Sept 20). Kerry Doyle, the indefatigable director, went to Oaxaca (does she have the best job ever, or what) and explored the booming print scene there. With co-curator Carmen Cebreros Urzais, whose extraordinary CV seems to go on forever, she has brought back a variety of prints for a show called Iconografica Oaxaca by artists who are blending the traditional indigenous iconography with the contemporary.

The second show called Revolutions is by Russian born artist Yana Payusova who uses the medium of ceramics to explore issues of power and gender. She has exhibited internationally and is currently teaching at University of Arizona in Tucson.

The third show features internationally known Mexico City based artist Betsabee Romero with a show called Tu Huella Es El Camino. Her themes include issues of immigration, globalization and cultural issues in general.

I believe this exhibit includes a large installation outside of the gallery.

So all of this is opening Thursday night from 5-7.

Meanwhile on this side of the border, the Museo de Arte, which is celebrating 50 years is opening a show called Exilios del imaginario which features a retrospective of photographers who have shown at the museum from 1968-2018. This is set to open on the 28th at 7pm.-david sokolec

The Border From the Border

Although the Transborder Biennial features the same artists in both museums, the two halves at the El Paso Museum of Art and the Museo de Arte de Ciudad Juarez seem almost two completely different shows.
This may be due,in part, to the different size of the two spaces. Sometimes the more intimate space of the Juarez Museum provides a better venue with the relative coziness providing a certain coherence often lost in the larger more industrial feeling museum in El Paso. In this case, however the larger museum affords the opportunity for larger installations and videos which would overwhelm the smaller venue.
Angel Cabrales’s interactive piece “Hole in One” which allows one to sit in a chair and literally shoot a small rubber ball across to a golf green with a Mexican flag sticking up from the cup would be nearly impossible in the smaller museum while it only takes up a small corner here.
I went to the opening in Juarez first and was, frankly, disappointed in the show because it seemed to involve way too many conceptual pieces which failed to communicate and which seemed to involve some private vision whose point or significance I was often unable to discern. This was certainly not true of all the works which included some very fine pieces, but I just felt it as a whole a bit cold.
This feeling completely disappeared over in El Paso. Even though these were the same artists and not all of the pieces worked, (Some of the found objects should have perhaps been better left in situ) those pieces were subsumed into a larger totality. Unlike previous years, there was a stated theme for this show which was, not unsurprisingly, the border itself, and in this show one had a real feel for a border as seen and felt by the artists who live here. There were installations like the aforementioned Hole in One, Gil Rocha-Rocheli created a full size foosball game pitting police against sneakers moving forward; there were large spaces for videos of personal trips into the border, as well as large works taken from archival photos. Some of these also appeared in the show across the border but were of necessity much smaller.
Sometimes the smaller venue was better. Zeke Peña’s witty drawings work everywhere, but were perhaps a bit better served by the smaller Juarez museum museum in Juarez rather than in El Paso where they seemed a bit dwarfed. On the other hand, Adrian Esparza’s deconstructed sarapes looked good in both places, but the larger space allowed him an even more impressive installation.
The border is a huge subject but the show provides a visceral feeling for the border by artists who live here, and the show particularly in El Paso brought this feeling into coherence. This sense of unity and cohesion might have been due to the space, but it is just as likely due in large part to recently hired EPMA curator Kate Green who has impressive degrees, and tons of museum experience, most recently in Marfa. This is her first show for the El Paso museum and is one of the best things to happen here in years. It is also possible that because I saw this first in Juarez I already had a certain feeling for the show. In any case, it is important to see the works in both venues not only to see the complete show, but also to see how the different spaces can shape the perception of the work.
The show will be up through Mexican Independence day Sept. 16th-david sokolec

Transborder Biennial Artists Selected

Congratulations to all of the artists who were selected for this year’s Transborder Biennial. This is the fisth edition of the biennial and I am pleased to see that for this one there was a specific theme given for the exhibition. In this case the theme was the transborder itself in whatever way one wanted to duiscuss it. In years past there has simply been a request for entries with no guidance or suggestions whatsoever as to what qualities or characteristics or ideas the judges might be looking for. In this case, it was at least narrowed down a bit.
The judges for this biennial are Gilbert Vicario,Selig Family Chief Curator of the Phoenix Art Museum and Carlos E Palacios, Curator of the Museo De Arte Carrillo Gil in Mexico City.
The bienial is unique in that the art, which was selected from artists living within 200 miles and on both sides of the US-Mexico border, is simultaneously exhibited in museums on both sides of the border at the Museo de Arte de Ciudad Juarez and the El Paso Museum of Art.
The Transborder Biennial opens on June 1 and runs until September 16.
Here are a list of the artists selected, and again a big congratulations to all of them.-David Sokolec
Animales de Poder (Cd. Juárez, Chihuahua)
Apodaca, Alexia G. (Cd. Juárez, Chihuahua)
Avila, Abraham (Tijuana, Baja California)
Blancas Beltran, Andrea (El Paso, Texas)
Boils Terán, Gabriel (Tijuana, Baja California)
Cabrales, Angel (El Paso, Texas)
De la Rosa-Carrillo, León (Cd. Juárez, Chihuahua)
De los Reyes, Tony (Los Angeles, California)
Elsoldelrac (Tijuana, Baja California)
Esparza, Adrian C. (El Paso, Texas)
Galería Perdida (Rancho Cucamonga, California)
Gere, Rich (Corpus Christi, Texas)
Gutierrez, Guillermo (El Paso, Texas)
Hernández, Ingrid and Pieter Wisse (Tijuana, Baja California)
Hernández, Nayeli (Cd. Juarez, Chihuahua)
José Crespo, María (Tijuana, Baja California)
Kline, Wes and Erika Lynne Hanson (Las Cruces, New Mexico)
Leyva, Ingrid (El Paso, Texas)
Manríquez, Iván (Monterrey, Nuevo León)
Meador, Daryl and Andres Cardena (Brownsville, Texas)
Partegàs, Ester (Marfa, Texas)
Peña, Zeke (El Paso, Texas)
Pimienta, Omar (San Diego, California)
Randall, SV (Las Cruces, New Mexico)
Rocha-Rochelli, Gil (Laredo, Texas)
Sáenz, Mauricio (Matamoros, Tamaulipas)
Turounet, Paul (Cardiff, California)
Unknown Fish (San Diego, California)
Vielma, Carlos (Saltillo, Coahuila)
Villalobos, Jose (San Antonio, Texas)

Aurora Reyes-A Revelation

I’ve been reading a book in which the author points out that while there were hundreds of women artists in Paris before and after WW1, for the most part only the male artists have been remembered.
In Mexico while everyone knows the name of male muralists like Rivera, O’Gorman etc, Aurora Reyes, considered the first female muralist is almost unknown even in her birth State of Chihuahua. The retrospective of her work which opened last Friday night at the Museo de Arte de Ciudad Juarez will hopefully go some way to rectify this situation.
Reyes was not only an artist but a passionate fighter for social justice and for education. She believed murals were not only the best way of spreading her message but also the most Mexican form of art as she saw a link to traditions which predated the Spanish arrival.
Working with rural school teachers perhps her most famous mural Atentado a las Maestras Rurales is from 1936 referencing a bloody confrontation resulting from the Government attempts at education reform in 1934. (Some things never seem to change).
In Mexico City she was artistically and politically active joining the Communist Party and she was friends with many of the better known artists of the period such as Frida Kahlo whose portrait is included in one of the paintings in the show.
The exhibtion shows an artist who is not only politically involved, but also a superb artist. There are oils, prints, drwings and, of course, murals. All of them show a great talent who has unfortunately been for too long not just ignored, but totally forgotten. This should begin a restoration.
The show is on display until May 26.-David Sokolecimg_20180316_195855403141312498.jpgimg_20180316_200443112_burst000_cover_top1434793339.jpgimg_20180316_2002560011254545703.jpgimg_20180317_120539_4411853254565.jpg

Lots to do this week in Juarez

Contrary to what people outside of Juarez often believe, there are always cultural events of one type or another going on here. This week is particularly full.
Tomorrow, Wednesday Nov 8 at the Museo de la Revoluticion de la Frontera (MUREF) begins a series of lectures, photo exhibitions, theater works etc on various aspects of the Mexican revolution. This includes some heretofore unseen photos of Emiliano Zapato in an exhibition curated by Miguel Angel Berumen. Registration for the event starts at 9 tomorrow morning, the photo exhibition has its official opening at 12:15 with words by the curator. The conference and all of the events continue through the 11th.
The next night over at the Museo de Arte, the ever industrious and irrepressible Brenda Ceniceros (I keep running out of adjectives for this extraordinary woman) will be presenting her 2nd book, Cartografias de la Frontera. According to the invitation this is a visual documentation of the frontier as symbolic urban space. The urban landscape and specifically the border region as both a reality and a symbol seems to be an underlying theme of Cenicero’s work, which also is concerned with urban development in all senses of the word. The notice from the Museum lists the presentation at 7, but her Facebook page shows the event beginning at 6.
The next night at the Centro Cultural de las Fronteras is the opening of a Photowalk exhibit accompanied by Jazz with Jazz Euterpe. This is scheduled for 7.
There are a number of other things as well on the other side of the border. On Thursday the El Paso Museum of Art is giving a lecture on how they build a Collection. If they were being accurate it would probably be subtitled Schmooze or lose, but I suspect that’s not the aspect of the process they’re discussing. Should be interesting to hear how they decide what to add and how they go about doing that.
On Saturday Fab Lab is also having a 3-d laser printing demonstration. The list goes on. Enjoy.-david Sokolec