Nov 012018
 

Josefa, the fashion designer credited with showcasing Mexican styles on the world haute couture stage, lived and worked for many years at Lake Chapala. She successfully melded indigenous Mexican colors and elements with functional design to produce elegant and original dresses and blouses. Josefa designs were never mass-produced but made by local women in small villages near Guadalajara.

Design by Josefa

Design by Josefa

Josefa Ibarra and her business partner, Ana Villa, founded a brand known as El Aguila Descalza (The Barefoot Eagle). Based in Tlaquepaque, The Barefoot Eagle opened retail stores in several major Mexican cities and one in Boston, while simultaneously supplying numerous high-end department and fashion stores in the U.S. and elsewhere.

Josefa followed her own intuition as regards fashion and her success resulted from a series of serendipitous encounters. She was living in Puerto Vallarta when she got her first lucky break, which involved Elizabeth Taylor, in 1963. Taylor’s lover, Richard Burton, was there at the time because John Huston had chosen Puerto Vallarta, then just a small village, for filming The Night of the Iguana (which co-starred Ava Gardner).

One afternoon, in a break from filming, the cast and crew, accompanied by Taylor, were wandering around the village when, outside a typical small dwelling, they came across a selection of beautiful dresses hanging from the branches of a tree. The house belonged to Josefa, and the visitors bought every last one of her dresses. The famous actress subsequently added numerous Josefa designs to her wardrobe during repeated visits to Puerto Vallarta over the next decade.

Josefa’s second lucky break, shortly afterwards, was to meet Boston-born Ana Konstandin, when she was on vacation in Puerto Vallarta. (After Konstantin moved to Guadalajara to run The Barefoot Eagle, she married Edmondo Villa and changed her name to Ana Villa.)

Ana, who had graduated from the Academy Moderne of Fashion in Boston, had an eye for style and was a buyer for Filene’s Department Store in Boston. She also fell in love with Josefa’s designs and realized that this was a unique business opportunity. The two ladies got on really well together and had complementary skill sets. They founded El Aguila Descalza (The Barefoot Eagle), choosing Tlaquepaque for its headquarters. According to Chris Adams, who married Ana Villa’s sister and helped establish The Barefoot Eagle’s presence in Boston, this was in 1963.

The business grew rapidly and soon became Mexico’s leading producer of internationally famous high fashion women’s apparel. Adams provides a detailed case study of The Barefoot Eagle in his book, Up Your Sales in Any Economy. At its peak, the company employed several hundred women in three outlying villages to undertake all the embroidery and decoration, with everything done by hand to maintain the artesanal quality. Most of the cotton fabric used came from Mexico City; the steadfast dyes were imported.

Exhibition of designs by Josefa

Exhibition of Mexican textiles and designs by Josefa

The Barefoot Eagle opened its own retail stores in several major Mexican cities: Acapulco, Cancún, Manzanillo, Mexico City, Puerto Vallarta, Monterrey, San Miguel de Allende, Tijuana, and Zihuatanejo. It also opened one in Boston’s famous Faneuil Hall Marketplace. Overseas stores that stocked Josefa designs included Neiman Marcus, Saks Fifth Avenue, Lord & Taylor and Macy’s, in addition to specialist boutiques in Denmark, England, the Netherlands and France.

The celebrity effect was contagious. Among those photographed wearing Josefa dresses or blouses were Elizabeth Taylor, Lady Bird Johnson (who was featured wearing a Josefa dress on the cover of Ladies Home Journal), Glenda Jackson (in Touch of Class), Sofia Loren, Diana Ross, Loretta Young, Princess Grace of Monaco, Nancy Reagan, Deborah Kerr and Farah Diba, the wife of the former Shah of Iran.

According to journalist Sheryl Kornman, Josefa was just “as exciting, as articulate, as vivid as the costumes she designs.” Kornman described Josefa as casually dressed, wearing a “flimsy blue and red short shift” with her “long brown hair in a braid tossed forward over one shoulder,” and sandals on her feet. The designer said she had started by making jewelry in Puerto Vallarta a little more than a decade earlier before beginning to sew her own clothes and making some for friends. She then taught her “house girl” and others how to sew, and began to produce designs inspired by indigenous Huichol and Oaxacan handicrafts and art.

By 1970, Josefa and her husband were living in Santa Fe, New Mexico, from where she returned to Guadalajara at least twice a year, timing the visits to prepare for a summer line released in April and a fall/winter line released a few months later.

Josefa was the first Mexican dress designer to have her work grace the cover of Vogue Paris. Models showing off her designs also featured on several covers of Vogue and McCalls. Interestingly, not long afterwards, another designer – Gail Michel de Guzmán – who lived at Lake Chapala at the same time as Josefa, had her own work featured in Vogue Paris.

According to Adams, Josefa considered it a compliment that she was the most copied designer in Mexico. Adams played a part in the commercialization of The Barefoot Eagle brand, producing a factsheet and sales pointers for all the salespeople in the various retail stores. Among other things, salespeople were instructed to ensure that prospective clients understood that even if they thought the items were pricey, they were definitely worth every centavo because they were hand-embroidered designer creations and works of art.

Label in Josefa blouse

Label in Josefa blouse

The company continued to grow. Josefa was one of the first designers in Mexico to establish and supply a large-scale export market. Several earlier designers, such as Jim and Rita Tillet, had successfully established smaller operations and exported Mexican fashions, though they never succeeded in scaling up production to the levels reached by The Barefoot Eagle. Others, such as American Charmin Schlossman, who lived in Ajijic in the 1940s, took their creativity back home and established successful firms north of the border.

The Barefoot Eagle filed a U.S. federal trademark registration in 1982 for its “clothing products,” described as “Belts, Blouses, Caftans, Dresses, Hats, Jackets, Pants, Ponchos, Shirts, Shoes, Skirts and Vests.”

The extraordinary export success of Josefa was recognized by Mexico’s federal government which awarded her company a National Export Prize seven years in a row.

The extraordinary quality of Josefa’s designs and workmanship has led to her work being included in several important exhibitions. The largest single exhibition (250 designs) was held at the Museo de la Indumentaria Luis Marquez Romay in Mexico City in 2004. This stunning exhibit of Josefa’s manta kaftans in distinctive Mexican textures and colors (turquoise, green, fuchsia, rose and yellow), decorated with embroidered flowers, designs influenced by Mexico’s indigenous peoples, butterflies and geometric patterns, together with silk threads and sequins, was a kaleidoscope of color.

Exhibition of designs by Josefa

Exhibition of Mexican textiles and designs by Josefa

In 2009, another exhibition, “México de autor, historia en color” showcased Josefa’s designs alongside indigenous textile items from the Mapelli collection of the Mexico City Popular Art Museum (Museo de Arte Popular de la Ciudad de México). Curated by Mario Méndez, that show ran from January through March. The juxtaposition of fashion designs with indigenous textiles emphasized what they had in common and how one influenced the other. Josefa’s “Mexicanized” designs, celebrating bright colors, owed much to, and simultaneously increased the appeal of indigenous textile patterns and clothing.

Born cerca 1924?

Relatively little is known for sure about her life story outside fashion. Adams described Josefa as Mexican born and residing in Tlaquepaque and the state of Oregon. According to a 2004 news piece, Josefa claimed to have been born in Chihuahua more than 80 years ago, while friends claimed she had arrived in Puerto Vallarta 30 years ago from the state of Oregon.

Josefa lived at Lake Chapala for many years in the 1970s and 1980s. Her home (with a room converted for a design studio) was in El Limón, just west of San Juan Cosalá. The en-suite in her imaginatively decorated residence featured a special hand-made foot bath, probably the work of her friend Jorge Wilmot, and likely much used given that Josefa was accustomed to going barefoot most of the day.

After becoming successful, Josefa traveled widely, but in retirement, she experienced both health and financial problems. While she felt forced out of retirement by her financial situation, she was unable to resume her fashion design work on account of her health issues. She enlisted the help of a nephew in the U.S. but he chose to sell her property and put his famous designer aunt into a nursing home.

In 2008, a fashion fund raiser was held to help pay for her medical treatment.

Josefa Ibarra, artist, entrepreneur and mother of Mexican fashion, died in about 2010. Her decision to develop folkloric “Neo-Mexican” designs and her insistence on incorporating artesanal workmanship prodded Mexican fashion design into a direction still evident today.

There is continued international interest in Josefa’s designs. For example, her work was showcased north of the border in a December 2016 exhibit, “La Familia”, at Friends of Georgetown History (6206 Carleton Ave S) in Seattle, Washington. The show was of selected pieces from the collection of Allan Phillips, a grandson of Josefa’s sister, Olivia.

In 2017, Mexico was the featured country at the VII Congreso Bienal Latinoamericano de Moda in Cartagena, Colombia. An accompanying exhibit took a retrospective look at the history of Mexico’s fashion industry, and highlighted the role of Josefa – “an icon of national fashion design” – in setting what was then a nascent industry on the path to global success. The exhibit included contemporary work by students from the Universidad de Guadalajara that echoed the path laid down by Josefa.

Josefa’s legacy lives on. Her story has been shared with succeeding generations of fashion students in Mexico and she is often referred to as “the mother of Mexican fashion” or as “Mexico’s Coco Chanel”. Students are taught that it is perfectly possible (indeed fashionably current) – and profitable – to integrate indigenous, local design into the global fashion scene.

Please contact me if you can supply biographical details about Josefa.

Acknowledgment

  • My sincere thanks to Sherry Hudson for her assistance with compiling this profile.

Sources

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Oct 252018
 

Mildred Boyd, author of several young adult non-fiction books, lived at Lake Chapala for almost 30 years, from 1983 to 2010. While living in Ajijic she contributed numerous non-fiction pieces to local newspapers and magazines. Boyd’s numerous contributions to the local arts scene included valuable long-term support for the Lake Chapala Society’s Children’s Art Program.

Mildred Bernice Worthy (Boyd) was born in Ranger, Texas on 20 April 1921 and died on 10 February 2010 in Cuenca, Ecuador.

After graduating from high school in Holdenville, Oklahoma, at age 16 Boyd joined Billy Rose’s roadshow – at Casa Mañana in Fort Worth – as a showgirl. She toured with Rose’s troupe across the country and was in his show when it opened in New York at the Diamond Horseshoe supper club on Broadway.

Boyd subsequently worked as a model (her photo adorned Coca Cola billboards nationwide) and did some acting before marrying Carney William Boyd (1920-1986) on 6 March 1940 in Denton, Texas. The couple established their home in Olney, Texas, where they raised four children.

Javier Zaragoza. 2012. Portrait of Mildred Boyd (detail).

Javier Zaragoza. 2012. Portrait of Mildred Boyd (detail).

During the second world war, Boyd designed aviation parts and undertook research into alternative materials for use in aircraft manufacturing. After the war, she earned her pilot’s license (before she could drive a car) and joined the Civil Air Patrol.

During the 1950s, Boyd worked for Convair Aviation (later General Dynamics) on the design of the B-58 bomber and studied engineering at Texas Christian University. She later patented a coaxial cable and helped design missile guidance systems for Sperry Rand, the Minute-Man missile at Hercules Power, “smart” torpedoes for Gould Systems and the first hand-held calculators for Hewlett-Packard.

Her love of writing surfaced while studying at Texas Christian University. In the 1960s, Boyd authored five non-fiction books for the young adult market, all published by Criterion Press in New York: History in harness: the story of horses (1965); Black flags and pieces of eight (1965); Rulers in petticoats (1966); The Silent Cities: Civilizations lost and found (1966) and Man, myth, and magic (1969). Boyd’s first visit to Mexico was apparently a research trip to Chichen Itza on the Yucatán Peninsula collecting material (which in the event was never used) for The Silent Cities.

After she retired, Boyd opted to escape northern winters and move to Mexico. Like many others before her, she spent a few days at the Posada Ajijic and quickly realized that Ajijic, with its growing English-speaking community and amenities, was an excellent fit. Boyd loved books and used her regular twice-yearly trips north of the border to amass a substantial private research library at her new home.

Volunteers Frank Wise and Mildred Boyd with Children’s Art Program students.

Boyd was very active in Lakeside’s community life. She volunteered at the Lake Chapala Society library and served two terms as president of the Ajijic Society of the Arts (ASA), where she regularly exhibited her own collages, watercolors and jewelry.

From the early 1990s, Boyd began to contribute articles to the local monthly El Ojo del Lago. She became a regular columnist: her “Magnificent Mexico” series occupied the magazine’s centerfold for more than a decade, covering topics from Aztec feather art and hummingbirds to Mexican weavers and mariachi music. Her writing won numerous local awards and she won several community awards for her volunteer work.

Another of her noteworthy roles in Ajijic was running the Lake Chapala Society’s Children’s Art Program for more than 20 years. This program, founded by Neill James in 1954, offers Saturday art classes to young people and also arranges art scholarships for further study.

At one point, Boyd was the only volunteer keeping the program going. When she came across a collection of works done by students who had benefited from the program decades earlier, she assembled a heritage exhibition that included early works by several children who had gone on to become successful professional artists.

Selected works from this heritage collection have been exhibited at the Lake Chapala Society, the Ajijic Cultural Center and the Centro Cultural González Gallo in Chapala, as well as at the Casa Museo Allende in San Miguel de Allende in 2006. Boyd was especially thrilled with the San Miguel show since its opening night coincided with her 85th birthday and she had always wanted the children’s art to reach a much wider audience than Lakeside.

With the help of Jesús López Vega (an alumni of the program) and others, Boyd ensured that the Children’s Art Program was revitalized following the death of its original benefactor, Neill James. Today, as many as 100 eager young artists attend the weekly Saturday classes.

Acknowledgment and photo credits

My thanks to Lizz Drummond and Judy Boyd for their help in compiling this profile of their mother and for generously allowing the use of photos from their personal collection.

Sources

Sep 202018
 

The artist Sid Sklar exhibited at Lake Chapala in April 1989. The images show two very different works by this artist. I have been unable to pin down any biographical details about Sid Sklar, so I’m hoping that some alert reader will supply me with more clues about his  life and work.

Sklar’s 1989 exhibit was at the Art Studio Gallery in San Antonio Tlayacapan, a gallery run by Luisa Julian de Arechiga and her husband. The brief note about the exhibit suggests that Sklar lived in Guadalajara.

Sid Sklar. Undated. Untitled.

Sid Sklar. Undated. Untitled.

I have found only tiny snippets of information related to Sid (presumably Sidney) Sklar, though am unable to say whether or not they necessarily refer to the same person. There are three or four people in the U.S. who would have been about the right age at the time, living in several different states.

The most detailed account on line is of a visually-impaired artist named Sid Sklar who was one of the first people in the world to have a successful cornea transplant (in the early 1940s). It seems, though, that he only took up art (with watercolors) in the 1990s, following a terrible accident when he was hit at a toll booth by a hit-and-run driver. The extraordinary story of this Sid Sklar has been told by journalist Beverly Antel. Given the dates, this does not appear to be the correct Sid Sklar for the Chapala exhibition.

Sid Sklar. 1973. Untitled.

Sid Sklar. 1973. Untitled.

The first of the two Sidney Sklar references that may refer to the right person comes from Baltimore in 1976, where a review of a show of works by members of Artists Equity at the Turner Auditorium Gallery of the Johns Hopkins Medical School included “Midsummer”, in which “Sidney Sklar exhibits masterful control over batik.”

The second reference comes from Ottawa, Canada, in 1981. A display ad for a new collection of jewelry on sale at The Bay (Hudson’s Bay Company) in Ottawa lists a Sid Sklar among the designers of the “The Signature Collection by Universe International.”

If anyone can help identify the correct Sid Sklar or tell me any more about him, please get in touch via the comments section.

Acknowledgment

My thanks to Ricardo Santana for bringing Sid Sklar to my attention and for his kind permission to reproduce the images used in this post.

Sources

  • Beverly Antel. 2009. “Seeing Life With The Eyes Of A Child.” National Keratoconus Foundation, Feb 2009.
  • The Baltimore Sun (Baltimore, Maryland), 29 Apr 1976, 27.
  • The Ottawa Citizen (Canada) 17 Nov 1981, 53.

Other Art Mysteries:

Aug 302018
 

Mexican-born Virginia Downs (1914-2005) was the third wife of William (“Bill”) Colfax Miller. After their marriage in November 1969, the Millers lived in Cuernavaca, where they co-owned an art gallery, before moving first to the U.S. for a year and then, in about 1982, to Lake Chapala, where Virginia Miller was a prolific writer of articles about Mexico for local English-language publications.

Virginia Downs was born into a wealthy American family in Guadalajara on 11 March 1914 and died in that same city on 16 November 2005. Her grandfather, Alfred Ryder Downs, had been a successful miner in Alaska before moving to Mexico, where he built up a business empire as owner of the American Bank of Guadalajara, a Ford Agency and (allegedly) the first gas station in Guadalajara. He bought land on the then northern outskirts of the city that he subsequently developed at the start of the 20th century as Colonia Seattle. Modeled on an American garden city, this area initially had 57 homes and its own electric and water plants.

Virginia was only nine days old when her family fled Guadalajara for the U.S., fearing for their lives as the Mexican Revolution engulfed the city and most Americans were forced to flee. Grandfather Downs returned a few years later and resumed his business interests. Virginia’s family also returned, and she attended school in Guadalajara before completing her high school education at Grey Castle (which later became San Diego High School) in California, after which she majored in foreign languages at the University of California Los Angeles.

After graduating, Downs worked in the U.S. Civil Service. She worked 5 years in Hawaii, two years in Japan and a year in Frankfurt before spending 15 years in Paris, where she worked as a researcher and writer for the U.S. Joint Chiefs of Staff European Command. When NATO personnel were ordered out of France in 1967 by President Charles de Gaulle, she returned to the U.S.

Failing to find suitable work in Los Angeles, she moved back to Mexico, living first in Oaxaca, then San Miguel de Allende (where she took art classes), and then to the Cortés house in Cuernavaca. It was in Cuernavaca that she met and married Bill Miller.

During their time in Cuernavaca, Virginia was a columnist for the local daily El Diario de Morelos and the couple opened the Akari Art Gallery, the city’s first major art gallery. The couple were friends of many famous Mexican artists, including Alfaro David Siqueiros who gave them a personally-inscribed heliographic copy of a drawing entitled “La Niña Madre”. This drawing was used by Excelsior, the national daily, during its campaign to get Mother’s Day officially celebrated in Mexico.

The Atari Gallery was one of the venues for a group show by Clique Ajijic in February 1976. The Clique Ajijic was comprised of eight Ajijic artists: Tom FaloonHubert Harmon, Todd (“Rocky”) Karns, Gail Michaels, John Peterson, Synnove (Shaffer) PettersenAdolfo Riestra and Sidney Schwartzman.

Among the other “Ajijicans” attending the opening in Cuernavaca were Peggy Koll, Margo Thomas, and Bruce and Patricia Wightman.

In Ajijic, in addition to her regular contributions to El Ojo del Lago (The Eye of the Lake) and other local publications, Virginia Miller self-published South of Yesterday (2001), a family history, subsequently translated into Spanish as Al Sur del Ayer (2004). She described the book as “the story of my mother’s life as a bride coming to a strange land. The book flows through the charmed life of an American living in Guadalajara in the early nineteen hundreds into the violence of the Revolution, escape from and return to a much-beloved Mexico.”

Sources

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Aug 162018
 

Writer, actor and cinematographer William Colfax Miller (1911-1995) had worked in the film industry in Hollywood and Mexico, before he moved to Lake Chapala with his third wife, Virginia Downs Miller (1914-2005), in the early 1980s.

Miller was born on 29 May 1911 in South Dakota. He moved to Chicago after graduating from high school in 1928 to attend the Armour Institute of Technology where he majored in chemical engineering.

William C. Miller in Spain, 1938. Credit: Abraham Lincoln Brigade Archives.

William C. Miller in Spain, 1938. Credit: Abraham Lincoln Brigade Archives.

His interest in the film industry soon took him to Hollywood where he worked for several movie studios until January 1938 when he left the U.S. to go to Europe and fight in the Spanish Civil War. While participating in the 3,000-strong Abraham Lincoln Brigade of American volunteers fighting fascism in the Battle of the Ebro, Miller was diagnosed with tuberculosis and removed from combat. He returned to the U.S. a year later, after working on a war documentary for the Spanish Communist Party’s film office.

Later in life, Miller claimed to have left the U.S. in 1939 because he was a Marxist, and was therefore no longer welcomed in Hollywood. He decided to move to Mexico because he had heard that, having being a commander with the Lincoln Brigade, he could be made a General in the Mexican Army. This turned out not to be true, but Miller remained in Mexico anyway. Miller’s claim to have been a commander in Spain was equally untrue; this was a classic cross-border promotion. While not in any way diminishing Miller’s contribution to the Spanish Civil War, the archives of the Abraham Lincoln Brigade show that Miller’s rank in the volunteers never rose above “soldado”, the lowest rank possible.

Equally, Diana Anhalt relates in her book about American political expatriates in Mexico how Miller wrote to her a few years before he died claiming personal involvement in the first attempt on Trotsky’s life in Mexico City in May 1940, an attempt led by artist David Alfaro Siqueiros who later became a personal friend of Miller and his third wife. However, when Anhalt phoned Miller to double-check the details, he back-tracked on this claim and admitted that he “had never actually participated in the attempt but, yes, he had known about it”.

Soon after he moved to Mexico, Miller met then-president Lázaro Cárdenas who hired him as his official photographer to film a series of short documentaries during the final year of his administration. Miller then began combining work as a cinematographer with roles in acting and directing.

Miller claimed to have participated in more than 150 films in Mexico; this may or may not be an exaggeration. Unfortunately, for some of the claims made in earlier biographies, independent corroboration is lacking. It has proved impossible to verify, for example, the claim made in regard to Forgotten Village (1941) that “Bill commandeered an entire village, persuading the people to be photographed and adapting the script.” (El Ojo del Lago, July 1989).

As an actor, Miller apparently appeared in Soy Puro Mexicano (1942) and Espionaje en el Golfo (1943). He worked behind the camera on Luis Buñuel’s Subida al Cielo (1951) and was assistant director on the the award-winning documentary Walls of Fire (1971). Miller was also one of the photographers employed to work on a documentary film given the working title of The Spanish Republicans In Mexico. While it is unclear if this film was ever completed, the Brownsville Herald in November 1943 reported that Miller’s specialist contribution to this project was “agricultural documentary photography” to complement the “industrial photography” supplied by Walter Reuter, a well-known German photographer who was resident in Mexico City.

Miller was credited as “Technical Director” for the satirical comedy El Brazo Fuerte (1957), filmed by Walter Reuter in the picturesque small village of Erongaricuaro on the shores of Lake Pátzcuaro. This film won prizes at the Cannes Film Festival but was not released in Mexico until 1975.

Miller also apparently worked with Pathé Newsreel, published a Mexican Motion Picture Directory and recorded numerous talking books, as well as being appointed Director of Cinephotography for the Mexico City Olympics in 1968.

Miller was married three times. His first marriage, in Hollywood in 1932 to Ruth Elizabeth Timberlake (1911-1940), ended with her death in 1940; they had one daughter. In 1948, Miller married Roseann Sparks (1923-1968) in Atizapan de Zaragoza on the outskirts of Mexico City in 1948; they lived in Cuernavaca and had a son and two daughters. In November 1969, a year after he lost his second wife, Miller married Virginia Downs. The couple lived in Cuernavaca and opened the Akari Gallery, the city’s first major art gallery, before moving to Lake Chapala.

The Atari Gallery was one of the venues for a group show by Clique Ajijic in February 1976. The Clique Ajijic was comprised of eight Ajijic artists: Tom FaloonHubert Harmon, Todd (“Rocky”) Karns, Gail Michaels, John Peterson, Synnove (Shaffer) PettersenAdolfo Riestra and Sidney Schwartzman.

Among the other “Ajijicans” attending the opening in Cuernavaca were Peggy Koll, Margo Thomas, and Bruce and Patricia Wightman.

William Colfax Miller, who led a rich, varied and productive life, died on 15 September 1995.

Sources:

  • Diana Anhalt. 2001. A Gathering of Fugitives. American Political Expatriates in Mexico 1948-1965. Archer Books.
  • Anon. 2005. “William Colfax Miller.” The Volunteer (Journal of the Veterans of the Abraham Lincoln Brigade) Vol XXVII, No 3 (September 2005), 22.
  • Anon. “William Colfax Miller.” Abraham Lincoln Brigade Archives.
  • El Ojo del Lago: August 1985, July 1989.
  • The Brownsville Herald (Texas): 19 Nov 1943, 15.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Aug 092018
 

Chapala-born Jorge Seimandi Ramírez was a highly-respected art educator at the University of Guadalajara for more than 40 years. He was not interested in the commercial side of art and his own work was rarely sold or exhibited.

Seimandi was born in Chapala on 2 February 1929, the son of Italian-born businessman Juan Seimandi and his wife, Refugio Ramírez, a local Chapala girl. Jorge Seimandi studied art at the Escuela de Bellas Artes in Guadalajara from 1947 to 1950. His teachers included Ixca Farías, Leopoldo Bancalari and Rubén Mora Gálvez.

Recognized for his proficiency in both oils and watercolors, Seimandi painted still lifes, figurative studies, portraits and landscapes, some of which were exhibited in the 1950s.

Jorge Seimandi. Undated still life. Photo credit: A. Hinojosa/Informador.

Jorge Seimandi. Undated still life. Photo credit: A. Hinojosa/Informador.

His work was exhibited at the Exhibition of the School of Fine Arts (Exposición Anual de la Escuela de Bellas Artes) in Guadalajara in 1949 (where he won a “diploma of recognition”); in two shows at the city’s Galerías Degollado, in 1957 and 1958;and at at the Mexican-North American Cultural Institute (Instituto Cultural Mexicano Norteamericano de Jalisco). Seimandi  held solo shows at the Escuela de Artes Plásticas (1970; 1994) and at the Galería Jorge Martínez (1998).

Along with Alfonso de Lara Gallardo, Jorge Navarro Hernández and others, Seimandi was an active member of Grupo Integración, a loose collective of modernistic artists founded in 1966.

Seimandi was never a full-time professional painter but pursued art in his spare time while earning a qualification in law. He was appointed head of the Jalisco State Tourism Office in 1957. He taught art and art history at the University of Guadalajara’s Escuela de Bellas Artes (Fine Arts School) from 1953 to 1981, where he inspired the next generation of artists. He directed the school from 1978-1981. He was also appointed Professor of Drawing for the Jalisco State Primary Schools, a position that enabled him to research basic education in drawing.

Following his death in Guadalajara on 2 October 2013, at the age of 84, his family announced their intention to compile a complete catalog his works, many of which he gave to friends, and to arrange a retrospective exhibition at the University of Guadalajara’s Museo de las Artes. If they are successful, this will be a show worth seeing!

Sources:

  • El Informador: 25 April 1970; 26 June 1994; 25 Nov 1998; 28 Nov 1998.
  • Thamara Villaseñor. 2013. “Seimandi y su pasión por la pintura.” El Informador, 1 Dec 2013, 11-B.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Jun 212018
 

Ajijic has certainly attracted more than its fair share of strange and colorful characters over the years but perhaps nobody with quite so many true tales to spin as serial prankster Jim Moran.

By the time Moran “retired” to Ajijic, he was almost 80 years old and had put his pranks behind him. Tall, rotund, with a flowing white beard and a deliberate walk, he focused on his photography, art, writing and classical guitar playing.

James Sterling Moran (1908-1999) was one of the most original publicists and press agents in the U.S., pulling one stunt after another to boost the products, services or politicians he sought to promote. Moran never attended college but held a wide variety of jobs from tour guide to airline executive and radio studio manager. In 1989, Time called him, “the supreme master of that most singular marketing device–the publicity stunt.”

In chronological order, Moran’s most noteworthy pranks, many based on acting out old sayings, included selling a refrigerator to an Inuit in Alaska on behalf of General Electric (1938); spending 10 days to find a needle in a haystack to promote a real estate development (1939); leading a bull through a china shop on 5th Avenue in New York City (1940); changing horses mid-stream in the Truckee River, Nevada, during the 1944 US Presidential election; sitting on an ostrich egg for 19 days, until it hatched, to promote the film The Egg and I (1946); and opening an embassy in Washington D.C. for the fictitious country of Grand Duchy of Fenwick to advertise The Mouse That Roared (1959).

His best-known outright hoax was to paint an abstract – “the worst thing I could think of” – and get a friend to submit it to a Los Angeles Art Association show in November 1946 as the work of a previously-unknown artist, “Naromji”. The work, entitled “Three out of Five”, was accepted for an exhibition of abstract art.

Woman holding Naromji's "Three out of Five". (Life archive)

Woman holding Naromji’s “Three out of Five”. (Life archive)

The Los Angeles Times described it as “an astonishing conglomeration of paint, chalk, magazine cut-outs and carmine fingernail polish.” At the end of the month, Moran stepped forward to claim authorship, pointing out that Naromji was Moran spelled backwards, with a ‘ji’ added for confusion and that “Three out of Five” was the name of a hair restorer, since abstract painting always made him want to tear out his hair.

Moran wrote several books, including Sophocles, the Hyena: a fable (1954). The first edition was illustrated by Roger Duvoisin, but a later edition featured illustrations by Andy Warhol. Moran also wrote Why Men Shouldn’t Marry (1969); How I became an authority on Sex (1973) and The Wonders of Magic Squares (1982).

Jim Moran. Sophocles the Hyena. 1954. Illustrated by Andy Warhol.

Jim Moran. Sophocles the Hyena. Illustrated by Andy Warhol.

In Ajijic, the multi-talented and highly imaginative Moran was known as a writer, artist and photographer, as well as a skilled classical guitar player.

In 1986, the Galeria Gentes, run by master lithographer Bill Gentes, held a one-person exhibit of Moran’s artwork. The show was comprised of about 100 works by “Naromji”. A contemporary reviewer found that, “His use of brilliant color gives the works an alluring touch. His birds and other serious subjects are strikingly beautiful, while most of the rest convey something of the cosmic giggle to be expected from Jim Moran the prankster.”

Ajijic watercolorist Enrique Velázquez remembers Jim Moran with great affection. He recalls Moran as having lived in Ajijic for several years from the mid-1980s into the 1990s. Velázquez prepared a series of stunningly beautiful illustrations for a children’s book by Moran entitled Linda and the Magic Dream Bubble, a work that was apparently never published.

Acknowledgment

  • My sincere thanks to Ajijic watercolorist Enrique Velasquez for first bringing Jim Moran’s artistic side to my attention.

Sources

  • Anon. 1986. “Portrait of the Artist” (Jim Moran). El Ojo del Lago, March 1986.
  • Ezra Goodman. “High Priest of Hoopla.” The New York Times, 14 December 1947.
  • Los Angeles Times. 1946. “Gagster’s masterpiece hung as authentic art.” Los Angeles Times, 30 Nov 1946.
  • Douglas Martin. 1999. “James S. Moran Dies at 91; Master of the Publicity Stunt” (Obituary), New York Times, 24 October 1999.
  • Christopher Reed. 1999. “Jim Moran” (obituary), The Guardian, 1 December 1999.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Apr 262018
 

The talented visual artist Sidney Schwartzman was born in New York City on 2 June 1917 and lived almost thirty years in Ajijic from about 1973 until his death there, at the age of 84, on 27 March 2002.

Schwartzman, the son of two Russian-born immigrants, grew up in New York and was a member of the honor society, Arista, at a public high school (the Thomas Jefferson High School, according to The Brooklyn Daily Eagle, though he told his son he attended the Dewitt Clinton High School).

In an interview late in life, Schwartzman recounted how especially proud he was that, at age 8, one of his paintings (of a circus) had been chosen for a school art exhibition at the Metropolitan Museum of Art in New York.

He initially wanted to be a writer but thought the school’s writer’s club snobbish, so joined the art club instead. He later took drawing and paintings private lessons and decided to dedicate himself to his art. He painted his first nude while in high school and took art classes at the New York Adult Evening School of Art and the Art Students League with American illustrator and painter Churchill Ettinger (1903-1984). While living in New York, Schwartzman also taught children and the physically challenged under the auspices of the Works Progress/Projects Administration.

Schwartzman, a conscientious objector, was imprisoned for about a year during World War II for declining to serve in the military. He had married Elizabeth Mary Murphy and Schwartzman was released on parole shortly after the birth of their son, David, in June 1944.

Sidney Schwartzman. 2001. Study in Color. Reproduced by kind permission of David Schwartzman.

Sidney Schwartzman. 2001. Study in Color. Reproduced by kind permission of David Schwartzman.

In about 1946, Schwartzman moved to Washington D.C. where he worked as a night janitor (and sometimes watchman) at the Corcoran School of Art while taking classes there under the Hungarian-born artist Eugen Weisz (1890-1954). Schwartzman was encouraged to experiment with different styles and his vibrantly-colored landscapes and nudes began to sell. He also held his first solo exhibition at about this time either in Bethesda or Arlington, Virginia (the family records are unclear on this point).

From 1948 to 1959 Schwartzman lived in Woodstock, Vermont. Each time he moved he left behind most or all of his completed paintings and started a new phase in his artistic career. This has made it very difficult to document his lifetime’s work, though each phase stimulated fresh artistic exploration and discovery.

In 1957, he was lucky to survive a single vehicle accident in Woodstock, in which his brother-in-law Stanley Murphy was killed instantly. Schwartzman, who had been driving, was devastated by this loss.

Two years later, in August 1959, Schwartzman was one of a very large number of artists exhibiting at the annual Cracker Barrel Bazaar art show in the village of Newbury, Vermont, alongside such distinguished painters and illustrators as Norman Rockwell and Maxfield Parrish.

In 1959, Schwartzman moved to Los Angeles, California, where he lived and worked for about a decade. He had a job with TV Fanfare Publications and appears to have lost interest in painting (for the only time in his life) for a few years. He then took a small studio in Hollywood where he painted ten major, large paintings many of which are still in the family, before moving to Sunset Boulevard in Echo Park where he later opened (with son David as partner) the Woodstock Gallery .

Work from this time formed the basis for the joint show he held at this gallery in 1972, with friend Tom Darro, entitled “Life Drawings”.  The exhibition was later repeated at the Livingstone Evans Gallery, on North La Cienega Boulevard in the same city. The gallery was not a financial success and Schwartzman decided to abandon Los Angeles and visit Mexico. His mother-in-law had lived for a short time in Ajijic in the 1950s, so Schwartzman headed for Lake Chapala.

Sid Schwartzman. Reproduced by kind permission of Synnove Pettersen.

Sid Schwartzman. Untitled. Reproduced by kind permission of Synnove Pettersen.

Productive years in Ajijic

Schwartzman, whose eyesight was failing, arrived in Ajijic in about 1973, after living for a few months in Jocotepec. In Ajijic he shared the “Mill House”, at the foot of Flores Magón street near the lake, with fellow artists John K. Peterson and Ernesto Butterlin. After successful cataract surgery, the mustachioed, bushy-haired Schwartzman became artistically active again, producing numerous pencil sketches and paintings of nudes. He made fairly frequent trips back to Los Angeles, and brought some of his American work back with him to Ajijic. These trips also enabled him to renew his Mexican tourist papers every six months.

He shared a studio from about 1974 with Daniel Palma at Constitución #45A, Ajijic. He also had a studio for a time in the building that is now the office of the Lake Chapala Society. Initially, Schwartzman was not a frequent exhibitor, concerned that his prolific output of nudes might antagonize some viewers.

Schwartzman held an auction of his paintings and sketches at El Tejaban (Zaragoza #1) in Ajijic, on 17 November 1974. The pieces included “figurative sketches, mixed media and oils”, with reserve prices ranging from 250 to 9000 pesos.

The following month, he participated in another art auction, this time at the home of Frank and Rowene Kirkpatrick in San Antonio Tlayacapan, with the proceeds going to local charities. Other artists whose work was auctioned on that occasion included Rowene Kirkpatrick; Rocky Karns and Antonio Santibañez.

Portrait of Sidney Schwartzman. Reproduced by kind permission of David Schwartzman.

Portrait of Sidney Schwartzman. Reproduced by kind permission of David Schwartzman.

Schwartzman was a member of Clique Ajijic, a grouping of eight artists that held several group shows in 1975 and 1976: in Ajijic, Chapala, Guadalajara, Manzanillo and Cuernavaca. The other members of this very talented Mexican Group of Eight were  Tom Faloon, Hubert Harmon,  Todd (“Rocky”) Karns, Gail Michaels, John K. Peterson, Synnove (Shaffer) Pettersen, and Adolfo Riestra. Pettersen, the youngest of the group, credits Schwartzman, whom she recalls as easy-going but serious about art, with being very encouraging of her own artistic efforts.

According to a review of a group show in Guadalajara in 1975, Schwartzman had also exhibited his mixed media works in Los Angeles, San Francisco, Washington D.C. and Boston. Fregoso added that his canvasses, influenced by Schwartzman’s time in Vermont, had “an incomparable beauty” that invited refection.

Schwartzman was especially encouraging to several young Ajijic-born artists, including Efrén González, Antonio López Vega, Jesús López Vega, Dionicio Morales, Daniel Palma and the late Julian Pulido, all of whom became successful artists or art teachers. Schwartzman’s legacy lives on through their efforts.

In the early 1980s he shared a studio at the intersection of Zaragoza and Colón, first with Julian Pulido and later with Dionicio Morales.

In the late 1980s, with the help of local art patron Sally Sellars, who purchased several of his works, Schwartzman opened his own gallery in Ajijic where several noteworthy shows were held. Among those whose work was exhibited at the gallery were American CIA agent Mitch Marr Jr., local Ajijic-born artist Efren González, the talented mixed media and textile artist Hey Frey, and the former Hollywood star Todd (“Rocky”) Karns. The Karns exhibit opened on 10 December 1988.

The Sellars-Schwartzman Galería, at Felipe Angeles #12 in Ajijic, held annual auctions to benefit Oak Hill School (Ajijic’s only bilingual school at the time) and the galley remained the artist’s main working space until shortly before his death.

In 1980 Schwartzman married his Ajijic girlfriend Regina Galindo, taking on the responsibility of helping raise her four daughters, one of whom later married local Ajijic artist and muralist Efrén González. Schwartzman and Regina had two children of their own, both boys. [Born ca 1981 and 1984]

After 1990, the Casa de la Cultura in Ajijic held annual exhibitions of works by “invited members”. Schwartzman’s last showing of a painting in Ajijic was in one of these shows in November 1996. On display was Trapeze, an early “visual jazz” painting that collector Patrick Dudensing had given back to Schwartzman.

Dudensing had previously submitted Trapeze to a Special Collectors’ Show in 1994 at the South Shore Art Center in Cohasset, Massachusetts. Schwartzman was justly proud of the fact that his work had hung there alongside a Fernand Léger and not far from a Miró, a Picasso and a Chagall!

Schwartzman’s eldest son, David, arranged a posthumous show of his father’s works (paintings and drawings) at the Library in Woodstock, Vermont, in September 2013. In an interview at the time, David noted that his father “painted in an impressionistic – expressionistic style from the start of his professional career”, and that “He was infatuated with color theory and was considered a painter’s painter.”

Acknowledgments

I am greatly indebted to David Schwartzman, who is working on a book about his father, for sharing his knowledge and research. My sincere thanks, also, to Alan Bowers, Dionicio Morales and Synnove Pettersen for sharing with me their personal memories of Sidney Schwartzman.

Sources

  • The Brooklyn Daily Eagle, 9 Apr 1930, 17.
  • The Burlington Free Press (Vermont), 9 Oct 1957, 1; 6 Jul 1959, 7.
  • Martha Fregoso. 1975. “La Galeria OM y el Buen Gusto en Exposiciones, Esta Vez Ocho Pintores de Ajijic.” El Diario de Guadalajara, 24 Oct 1975.
  • Guadalajara Reporter: 9 Nov 1974; 4 Jan 1975.
  • The Los Angeles Times: 24 Sep 1972, 481; 07 Jan 1973, 420.
  • El Ojo del Lago. 1986. “Portrait of the Artist.” El Ojo del Lago, January 1986.
  • Jackie Hodges. “Focus On Art: Sid Schwartzman“. El Ojo del Lago, ca 2000.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 5:12 am  Tagged with:
Mar 222018
 

Visual artist and architectural designer Tom (“Tomas”) Faloon first arrived in Ajijic in 1970 and lived and worked in the village for more than forty years.

John Thomas Faloon was born on 30 January 1943 in New York City. After graduating in 1960 from Oakwood Friends School, a Quaker college preparatory school in Poughkeepsie, New York, he enrolled in Rutgers University. He traveled to Florence, Italy, to study art the following year, returning with fluent Italian and a determination to pursue art as a career. In the summer of 1962, he took a summer course at the Douglass College campus of Rutgers with the renowned modern artist Roy Lichtenstein. Faloon transferred to the University of Mississippi, “where the faculty of the time was young and progressive”.

Tom Faloon, 1965 (Univ. of Mississippi Yearbook)

Tom Faloon, 1965 (Univ. of Mississippi Yearbook)

Faloon had only just arrived on the Mississippi campus when the Ole Miss race riot of 1962 erupted, following the enrollment of the university’s first black student, James Meredith, a military veteran with strong academic credentials. Faloon recalled becoming an active participant in the anti-racist movement, involved in preparing anti-racist posters and paintings.After he completed his degree in Fine Arts (Painting) in 1965, Faloon transferred to the Pratt Institute in Brooklyn.

On 30 July 1966, Faloon married Shannon Elizabeth Rodes in Melbourne, Florida. The couple had two young daughters. Faloon began working for his father’s agricultural chemical firm in Clarksville, Mississippi, but soon decided that the environmental impacts of agrochemicals often outweighed their benefits. He and his wife had first visited Ajijic over the winter of 1967/68 and, in 1970, Faloon gave up his position in the family business to live at Lake Chapala full-time, focus on his art and raise his children in a welcoming, friendly, eclectic community.

Roy Lichtenstein. 1962. (The Central New Jersey Home News)

(l to r): Tom Faloon, Mrs Everett Sherrill, Roy Lichtenstein. 1962. (The Central New Jersey Home News)

The family lived for a short time at La Villa Apartments (on Javier Mina) in Ajijic before purchasing a home on Donato Guerra. Described as “a serious 28-yr-old artist who studied in New York and Italy”, Tom “comes fully equipped: talent, a stunning Cherokee Indian-Irish wife named Shannon, two girl children and two dogs.” (Guadalajara Reporter, 6 March 1971.)

Faloon quickly made friends with his Mexican neighbors and became seamlessly integrated into local life, developing a particular love of Mexican handicrafts, folk traditions and design.

In May 1971, he was one of the large number of artists exhibiting in the “Fiesta of Art” group show held at the residence of Mr and Mrs E. D. Windham (Calle 16 de Septiembre #33). Other artists at that show included Daphne Aluta; Mario Aluta; Beth Avary; Charles Blodgett; Antonio Cárdenas; Alan Davoll; Alice de Boton; Robert de Boton; John Frost; Dorothy Goldner; Burt Hawley; Peter Huf; Eunice (Hunt) Huf; Lona Isoard; Michael Heinichen; John Maybra Kilpatrick; Gail Michael; Bert Miller; Robert Neathery; John K. Peterson; Stuart Phillips; Hudson Rose; Mary Rose; Jesús Santana; Walt Shou; Eleanor Smart; Robert Snodgrass; and Agustín Velarde.

This example of his work was published in A Cookbook with Color Reproductions by Artists from the Galería (1972).

Tom Faloon. ca 1972. "La Mujer"

Tom Faloon. ca 1972. “La Mujer”

Tomás, as he was known in Ajijic, remained in the village after he and Shannon separated in 1973. (They divorced in 1979.)

Faloon was an active member of the “Clique Ajijic” which existed for 3 or 4 years in the mid 1970s. This group held exhibitions in Ajijic, Chapala, Guadalajara, Manzanillo and Cuernavaca. The other members of this very talented Mexican Group of Eight were Hubert Harmon,  Todd (“Rocky”) Karns, Gail Michaels, John K. Peterson, Synnove (Shaffer) Pettersen, Adolfo Riestra, and Sidney Schwartzman.

Faloon’s paintings were mostly abstract or impressionist. He participated in several local exhibitions and one of his paintings was purchased for the permanent collection of a museum in Memphis, Tennessee.

Recognizing that art sales might not earn him sufficient income, in the 1980s Faloon began working on remodeling and redesigning traditional village homes. His own artwork took a back seat (though he continued to paint occasionally and complete mixed media works) as he quickly found he was in his element working on homes, undertaking projects that combined his interests in architecture, design and craftsmanship with his love of Mexican materials and handicrafts. Most of the many homes that Faloon lovingly transformed incorporated some whimsical elements: “las locuras de Tomás” as he called them.

Faloon, fluently bilingual, was a generous, kind and sensitive individual, and always wiling to help causes close to his heart, including those related to the environment and animal welfare. He was a great supporter of Mexican artisans and their colorful, creative folk art.

Faloon met his soul mate, Carlos Rodriguez Miranda, in the mid-1970s. Their partnership lasted until Faloon’s untimely passing on 5 August 2014 from complications following what should have been a routine surgery in a hospital in Guadalajara.

In her obituary for him, Dale Hoyt Palfrey was absolutely correct to call Tom Faloon an “icon of Ajijic’s expat community” and “one of the community’s most prominent and endearing long-time foreign residents.”

Acknowledgment

My sincere thanks to the late Tom Faloon for his encouragement with this project and for so generously sharing his knowledge and memories of the Ajijic art community with me in February 2014.

Sources

  • Clarion-Ledger (Jackson, Mississippi) 16 April 1965, 44.
  • La Galería del Lago de Chapala. 1972. A Cookbook with Color Reproductions by Artists from the Galería. 1972. (Ajijic, Mexico: La Galería del Lago de Chapala).
  • Guadalajara Reporter, 6 March 1971.
  • Lake Chapala Society, Oral History project: “Tom Faloon” (video).
  • Dale Hoyt Palfrey. 2014. “Remembering Tomás Faloon, icon of Ajijic’s expat community”, Guadalajara Reporter, 29 November 2014
  • Poughkeepsie Journal (Poughkeepsie, New York) 26 June 1960, 4B.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Mar 082018
 

Fun-loving journalist Kate Karns, who has written many entertaining columns and articles about Ajijic over the years, lived in the village from 1971 to 2013. Karns was the local correspondent for the Mexico City News for several years immediately after Katie Goodridge Ingram. She also ran an art gallery for a time on Calle Colón, the main north-south street leading to the pier.

Katherine Julia Flaten (her maiden name) was born in Hennepin, Minnesota, on 25 September 1921. Curiously, the record of her marriage in 1944 to actor Todd “Rocky” Karns, when both were serving in the U.S. military in New Mexico, spells her first name Catherine with a “C”! She was court-martialed and reassigned shortly after marriage, not because of any spelling error, but because she had had the temerity, while serving in the ranks, to marry an officer.

Heading of article by Kate Karns, El Ojo del Lago, Nov 2013

Heading of article by Kate Karns, El Ojo del Lago, Nov 2013

Prior to the war, Kate was well on her way to becoming a Hollywood actress. She performed in high school shows in Milwaukee, studied drama at the University of Minnesota and attended the Maria Ouspenskaya acting school in Hollywood. Tod Jonson, who also lived in Hollywood for years before moving to Ajijic, has said that “Katy Karns, a talent in her own right, had been under contract to Paramount Studios and was a member of the Golden Circle of Players on their studio lot.”

Unfortunately for Kate’s career, the war intervened. She returned home to Milwaukee where she later joined the Army and was trained to fix radios. After the war, Kate and Rocky started a family and lived in Hollywood where Rocky built his acting career, eventually retiring from movies and television to work for the North American Philips Corporation.

Following some prompting by Kate, a profile of her family was published in the September 1950 edition of the Ladies Home Journal in its series, “How America Lives”. Not long afterwards, the magazine published an article featuring Kate modeling some elegant clothing.

When Rocky retired in 1971, the couple moved to Ajijic. Kate had been working for a fabric weaving business in the village for some time before federal authorities realized she lacked any work permit and ordered her to leave the country. She was soon able to sort out her paperwork and return. Kate also worked for seven years in local real estate, found time to be President of Lakeside Little Theater (in 1983/4) , and combined family life and all this with writing and being the local correspondent for the Mexico City News.

Kate’s writing is always well-observed and often humorous, with many references to her own experiences in adapting to life in Mexico and to the myriad of quirky characters that Ajijic seems to have attracted in the 1970s.

One of my all-time favorite lines from Kate Karns is her description of the small town of Jamay, on the north shore of the lake, mid-way between Ocotlán and La Barca, in 1988 as “like a running sore; its feet in mud and garbage, its head covered by torn corrugated tarpaper held up precariously by half-finished grey cement-block walls and disintegrating bricks.” Jamay is very different now, but in 1988, her words were only a slight exaggeration.

Kate Karns, who has, with good reason, been critical of those in-comers who fail to learn any Spanish or make any real effort to integrate into the local community, continues to hold the highest regard for the people of Mexico in general, and of Ajijic in particular.

Her husband, Rocky Karns, passed away in February 2000. The couple had enjoyed 54 years of marriage. Kate continued to live in Ajijic until 2013 when she moved to Ellensburg in Washington state to be closer to her children and grandchildren.

Sources:

  • Lakeside Little Theater (website). Undated. “LLT’s Beginnings… to Honor a Glorious Past” (interview with Tod Jonson).
  • Anon. 1950. “How America Lives: Meet the Karns of California – Todd and Katherine Karns”, Ladies Home Journal, September 1950.
  • Jeanne Chaussee. 2011. “Laguna Chapalac”, Guadalajara Reporter, 30 September 2011.
  • Kate Karns. 1988. “Kate Karns in Lake Chapala”, Mexico City News, 3 July 1988, p16.
  • Michael Warren. 2015. “Lakeside Little Theater 50th Jubilee Season!El Ojo del Lago, March 2015.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Feb 212018
 

Jean McCrum Caragonne was born in Bradford, Pennsylvania, on 21 February 1906 and studied at Allegheny College, Pennsylvania. After taking courses in fashion design at the Cleveland Museum School of Fine Art in Ohio in the mid-1920s she moved to Boston to become a fashion illustrator.

Jean Caragonne. Flower at window.

Jean Caragonne. Flower at window.

Her husband George (1891-1981), born in May 1891 was an accomplished portrait photographer. When the couple visited his family in Greece, Jean fell in love with the spectacular scenery and the colorful day-to-day life.

In 1948, the couple moved to Houston where George opened his own studio.

They made their first visit to Mexico in 1949, when they drove down to Mexico City. In between return visits to Greece, they returned for vacations in Mexico several times in the 1950s and 1960s.

Jean Caragonne. Quiet Hill.

Jean Caragonne. Quiet Hill.

At age 58, Jean started taking classes towards a Masters in English Literature, and also took painting classes under George Shackleford and Bernard Lammie.

In 1967, shortly after George retired, the Caragonnes planned another trip to Mexico, intending to visit San Miguel de Allende where Jean had enrolled in Instituto Allende, the city’s fine arts school. Their plans changed when they reached Guadalajara and found a motel near Plaza del Sol.

According to the Guadalajara Reporter, while George “fills his time touring in his Rolls Royce and giving lectures on photography… Mrs Caragonne teaches English…”

The Caragonnes rented a home on Avenida Madero in Chapala in 1968. The view from there towards Cerro San Miguel, the hill that overlooks the town center, was the subject of Jean Caragonne’s first painting in Chapala. The painting was used many years later (1986) for an Amigos de Salud fund-raising greetings card. In 1970, Jean Caragonne was working on quilts and tapestry, as well as “beautifully composed and well drawn” paintings. Caragonne also made embroidered evening skirts, jackets and bags.

Jean Caragonne. Market.

Jean Caragonne. Market.

In 1971, the Caragonnes moved to Ajijic where they rented a house for several years before purchasing a studio-home on Calle Hidalgo. Jean Caragonne held at least five one-person shows in Ajijic. (If you are reading this and can supply details of dates and venues, then please get in touch.)

Jean Caragonne. Lake Chapala. ca 1975. Reproduced by kind permission of Katie Goodridge Ingram.

Jean Caragonne. Ajijic, Lake Chapala. ca 1975. Reproduced by kind permission of Katie Goodridge Ingram.

In February 1974, Caragonne’s latest paintings were included in a group show at La Galeria in Ajijic, alongside works by Jane Porter, Violet Wilkes and Allen Foster (the Galería’s president).

Jean Caragonne. Tulips and ebony.

Jean Caragonne. Tulips and ebony.

By August 1974, the Galería had moved to a new home at Calle Colón #6 in Ajijic where they displayed works by Caragonne and numerous other local artists including Luz Luna; the late Ernesto Butterlin; Jerry Carr; Fernando Garcia; Jane Porter; José Olmedo; Odon Valencia; Mildred Elder; Robert Neathery; Jose Santonio Santibañez; Allen Foster; Vee Greno; Armando Galvez; Arthur Ganung; Virigina Ganung; Gloria Marthai; Dionicio Morales; Antonio López Vega; Priscilla Frazer; Eleanor Smart; Rowene Kirkpatrick and Sylvia Salmi.

In May 1985, Caragonne was one of the group known as “Pintores de la Ribera” who exhibited at the Club Campestre La Hacienda (located at km 30 of the Guadalajara-Chapala highway). Other artists at this show included Laura Goeglein; Carla W. Manger; Jo Kreig; Donald Demerest; B.R. Kline; Hubert Harmon; Daphne Aluta; De Nyse Turner Pinkerton; Eugenia Bolduc; Emily Meeker; Eleanor Smart; Tiu Pessa; Sydney Moehlman; Xavier Pérez.

When interviewed in the 1980s, Caragonne claimed that there was more color in Mexico but better light in Greece. With the exception of the Lake Chapala panting, all artwork illustrating this profile were all completed between 1982 and 1990.

Acknowledgment:

  • My sincere thanks to Penelope Caragonne, not only for fact-checking this profile, but also for sharing images of her mother’s artwork, and for permission to use them in this profile.

Sources:

  • Guadalajara Reporter: 2 May 1970; 2 Feb 1974; 31 August 1974; 31 May 1975.
  • El Ojo del Lago. Portrait of the artist: Jean Caragonne. El Ojo del Lago, December 1986.
  • El Informador: 4 May 1985.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Feb 152018
 

Newcomers to the village of Ajijic will not necessarily have heard of Zara Alexeyewa, (known popularly as “La Rusa” – “The Russian”), one of the village’s most distinguished long-term foreign residents, and one still remembered affectionately by the entire community, Mexican and non-Mexican. Everyone who knew her has their favorite anecdote about this iron-willed lady who would gallop her horse through the narrow streets, hooves clattering on the cobblestones, cloak billowing in the wind.

When La Nueva Posada opened in 1990, its dining room was named “La Rusa” in honor of Zara, who had passed away the previous year at the age of 92. Zara’s incomparable contribution to Ajijic life over more than sixty years was focused on the welfare of children and the conservation of Lake Chapala.

Zara Alexeyewa Khyva St. Albans (her formal name in Mexico) lived out a very full and dramatic life – from the moment she set foot on the stage on Broadway as a teenager, until her eventual death in Ajijic in 1989. Objectivity was not, however, always one of her strong points, and piecing together the truth behind the legend can be difficult. In her enthralling autobiographical book, Quilocho and the Dancing Stars, which certainly contains fiction alongside fact, Zara weaves some wonderful tales about her ballet career interspersed with an account of the life of a Mexican friend and supporter, Enrique Retolaza, who (according to the book) had been the youngest officer of Pancho Villa.

In reality, Zara was no more Russian than most native New Yorkers, having been born in that city in 1896. After making an early impression as an actress on the New York stage, twice being featured on the cover of the Dramatic Mirror, and playing lead roles in several Shakespearean productions (as Juliet, Portia, and Ophelia among others), she decided, in the wake of the Great War, to go to Europe. She had attended dancing classes from age six, and in Europe she began a new career as a ballerina. She performed her own ballet, “The Red Terror”, based on a poem by Leonid Andreyev, with a musical arrangement which had been worked on by her mother, organist Charlotte Welles.

"Khyva St. Albans". White Studios. 1915.

“Khyva St. Albans”. White Studios. 1915.

While in Europe, Zara met a young Danish dancer, Holger Mehner, and the two remained inseparable dancing partners until his untimely death in Guadalajara in 1944. Zara and Holger gave numerous performances of “The Red Terror” around the world, playing to packed houses in Europe, South America, the U.S., and in Mexico.

In 1926-27, they were engaged by the Philadelphia Opera Company as directors of ballet, and presented an unusual Egyptian ballet, called AIDA. They also choreographed and performed “The Black Swan and the White Lilly”.

While contemporary newspaper accounts speak of “the two geniuses of Dance of the ex-Court of Russia”, “dancers of the imperial court of Nicolas II and of King Constantine of Greece”, and the like, it is probable that the nearest either dancer got to those places was Budapest in Hungary, where they gave one of their many standing-room-only performances.

They first performed in the Degollado Theatre in Guadalajara in January 1925, by which time they had decided to take a prolonged vacation at Lake Chapala, living initially at the Villa Reynera in Chapala. In about 1940, they moved to Ajijic.

Degollado Theater program, 1936.

Zara and Holger. Degollado Theater program, 1936.

Zara seems always to have had the knack of leaving indelible first impressions on people she met.

The American artist Everett Gee Jackson, who resided in Chapala for several years in the 1920s, in Burros and Paintbrushes, his entertaining account of his time in Mexico wrote that, when he and his friend Lowelito first arrived in Chapala, they “did not see any other Americans. The two Russians who lived in the house with the bats were the only other non-Mexicans in the village, as far as we knew.” These two “Russians” were, of course, Zara and Holger.

Not long afterwards, Jackson had a much closer encounter with Zara:

“I set up my easel… because the place was… mysterious and magical… with the lazy hogs asleep in the shadows. I was lost in what I was doing, but, suddenly, to my surprise, all the hogs began to shuffle to their feet and move off the road… grunting ferociously. Then I heard a sound like thunder behind me. But it was not thunder. It was that Russian woman riding at full gallop on a dark horse, and she was coming right at me. She knocked my easel over but missed me… She never slowed down but kept galloping at full speed down the road.”

Another of Ajijic’s marvelous characters, Iona Kupiec, who lived for decades in the village, also remembered her first meeting with Zara. Iona was staying in the Posada Ajijic in 1962, having only just arrived in the village. The next morning, she met Zara:

“While I was standing there entranced with the loveliness of everything, what should I see suddenly appearing in front of me from around a bend in the road but a beautiful woman wearing a big red velvet, gold-embroidered charro sombrero with a red, satin, high-necked Russian blouse with a gold dragon embroidered on it from the belt up to the collar, black culottes, with red leather boots, riding a black satin horse which reared up on its hind legs when she suddenly tightened the reins. I was stunned!”

Iona agreed to rent a cottage from Zara. In order to sign the contract, she followed Zara (still on her horse) “through more than a thousand square feet of garden, with glorious eucalyptus trees standing like stately monarchs, countless other fruit and flowering trees, and vast blooms from all kinds of bushes and shrubs – so much color and beauty, and even cool perfumed air!”

Zara’s house was full of mementos from her theater and ballet days, full length oils portraying her and her “brother”, Holger, in their dancing costumes, gilded-framed portraits from her New York theater appearances, photographs, figurines, books, “a veritable art museum in one, very large, elegantly furnished, parlor”.

Zara’s energies were undiminished as she approached her eighties and she insisted on reviving her ballet career for several performances, including a memorable farewell show in the Degollado Theater in Guadalajara.

She also continued to ride daily until well into her eighties, and was a popular and much-loved figure as, astride her horse, she rode through the streets of Ajijic. This remarkable woman, perhaps the only person ever to reach stardom as an actress under one name (Khyva St. Albans) and as a dancer under another (Ayenara Zara Alexeyewa) is one of the more extraordinary characters ever to have lived in Ajijic.

Note:

This is a lightly edited version of my first article about Zara, originally published in The Chapala Riviera Guide in 1990. It is not a coincidence that a photo of the Villa Reynera, where Zara first stayed in 1924, appears on the front cover of my Lake Chapala through the Ages, an anthology of travelers’ tales.

Acknowledgment:

This article could never have been written (back in 1990) without the help of long-time Ajijic residents Laura Bateman and Iona Kupiec, both of whom have since passed on to a higher world.

Jan 292018
 

Roscoe (“Rocky”) Karns lived in Ajijic with his wife (Kate Karns) and family from 1971 until his death on 5 February 2000. Karns had retired from careers in acting and sales and devoted himself in Ajijic to his painting and working as producer and director on shows at the Lakeside Little Theater.

Roscoe (“Rocky”) Todd Karns Jr., was born in Hollywood, California, on 15 January 1921, to character actor and comedian Roscoe Karns and his wife Mary Fraso.

Rocky Karns as Harry Bailey

Todd Karns as Harry Bailey

Karns’ movie career was interrupted by four years service in the Army during World War II.

After the war, when Rocky was assigned to work in Los Angeles as a military recruiter, he and his wife, Kate, established their home in Hollywood and Rocky began to build his acting career even as they started a family.

Rocky’s most significant movie role was as “Harry Bailey” in the classic Christmas holiday movie It’s a Wonderful Life (1946), starring Jimmy Stewart (playing Harry’s elder brother “George Bailey”) and Donna Reed.

The movie was nominated for five Academy Awards including best picture. Though it did not do terribly well when it was released, it has gained popularity in recent years and has now made the American Film Institute’s list of the 100 best American films ever made.

Todd Karns. Moulin Rouge. (sold 2012 at Capo Auction)

Todd Karns. Moulin Rouge. (sold at Capo Auction, 2012)

Karns had minor roles on several other films, including My Foolish Heart (1949), It’s a Small World (1950, Battle Zone (1952), Invaders from Mars (1953), China Venture (1953) and The Caine Mutiny (1954).

He also worked in television, co-starring with Helen Chapman in a sitcom entitled Jackson and Jill (1949). In 1950, he also worked alongside his father, the star of a popular cop series, Rocky King, Private Detective.

Karns retired from acting in about 1954 and began a 17-year career in sales and public relations for the North American Philips Corporation, eventually becoming its West Coast manager. In 1971, Karns retired from the company and moved to Ajijic. During his “retirement”, Karns focused on his painting, and on directing local theater shows.

Todd Karns. Circus. (sold 2012 at Capo Auction)

Todd Karns. Circus. (sold at Capo Auction, 2012)

Karns directed numerous plays at the Lakeside Little Theater (LLT) , beginning in 1973 with Barefoot In The Park and The Pleasure of his Company. Other plays directed by Karns at LLT included the comedies Sauce For The Goose, Squabbles, Marriage-Go-Round, Noel Coward In Two Keys, The Gin Game and Last Of The Red Hot Lovers, as well as the fantasy A Visit To A Small Planet, the thriller Wait Until Dark, and the drama On Golden Pond.

Karns’ art career in Ajijic enjoyed similar success. Karns had begun painting shortly after the end of World War II.

Todd Karns. 1971. Street scene. Reproduced by kind permission of Katie Cantu.

Todd Karns. 1971. Street scene. Reproduced by kind permission of Katie Cantu.

After moving to Ajijic, Karns soon began to exhibit and sell his art at local shows. In December 1974, for example, one of his paintings was auctioned in a charity fund-raiser organized at the San Antonio Tlayacapan home of Frank and Rowene Kirkpatrick, alongside works by Rowene Kirkpatrick, Sidney Schwartzman and Antonio Santibañez.

In March the following year Karns joined Gail Michaels and Synnove Shaffer (Pettersen) for a three-person show at the Villa Montecarlo in Chapala.

Karns was an active participant in the Clique Ajijic, a group of eight artists who formed a loosely-organized collective for three or four years in the mid-1970s. The other members of Clique Ajijic were Sidney Schwartzman, Adolfo Riestra, Gail Michaels, Hubert Harmon, Synnove (Shaffer) Pettersen, Tom Faloon and John K. Peterson (the only member of Clique Ajijic who had been a member of the earlier Grupo 68).

In 1989, Karns was accorded the honor of a solo show by Sidney Schwartzman, owner of the Schwartzman Galería in Ajijic. Karns was quite a prolific artist and his works, with their charming naiveté, do occasionally turn up in online auctions.

This is an outline profile. Contact us if you would like to learn more about this particular artist or have information to share.

Sources:

  • El Ojo del Lago: March 1985; January 1989.
  • Guadalajara Reporter: 4 January 1975; 15 March 1975; 28 February 1976.
  • anta Cruz Sentinel. “Local Theatre Attractions”, Santa Cruz Sentinel (California), 9 March 1941, p 10.
  • Vincent Terrace. 2011. Encyclopedia of Television Shows, 1925 through 2010. McFarland & Company.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Nov 202017
 

Internationally renowned sculptor Felipe Castañeda was born on the shores of Lake Chapala. He was born on 16 December 1933 in La Palma (in the municipality then called San Pedro Caro, now Venustiano Carranza) at the south-east corner of Lake Chapala, where pre-Columbian artifacts are common. Castañeda’s lifetime in art shows the influence of millennia of sculptural techniques and creativity.

Felipe Castañeda. Kneeling Woman. date unknown

Felipe Castañeda. 1982. Untitled (Kneeling Woman).

Castañeda moved to Mexico City as a young man. In 1958, he entered La Esmeralda Painting and Sculpture Academy of the National Institute of Fine Arts in Mexico City where he took classes in drawing, modeling, carving and constructive drawing. He quickly became especially proficient at carving and sculpting.

In 1962, after he married his wife Martha, Castañeda began working for the National Museum of Anthropology in Mexico City. He also became assistant to the Costa Rican-born Mexican artist Francisco Zúñiga (1912-1998), a world renowned sculptor and the single greatest influence on Castañeda’s artistic career.

By 1966, Castañeda was already molding incredibly detailed plaster and clay sculptures when he turned his hand to working in stone. He now works mainly in marble, onyx and bronze. Many of his sculptures depict the female form, whether wife, mother, lover or friend. Castaneda’s harem of perfectly proportioned women are simultaneously both mysterious and provocative.

Castañeda held his first one-man show in 1970 at the Sala de Arte (Gobierno del Estado de Nuevo León) in Monterrey, México.

Felipe Castañeda. Gracia. date unknown

Felipe Castañeda. 1986. “Gracia”.

His major solo exhibitions include Galería Mer-Kup, Mexico City (1977); Mexican Art International, La joya, California (1978); Princes Hotel, Acapulco, Guerrero (1988); Hotel Pierre Marqués, Acapulco, Guerrero, (1980); Art Expo, New York (1983, 1984, 1985); Universidad Autónoma Metropolitana, Mexico City (1988); 30 Años Galería de Arte Misrachi, Mexico City (1990); Museo de Arte Contemporáneo, Morelia, Michoacán (1991); Club Britania, Morelia, Michoacán (1991); the B. Lewin Galleries, Palm Springs, California (1982, 1983, 1986, 1989, 1990, 1992, 1994); Le Kae Galleries, Scottsdale, Arizona (1995); Instituto Cultural Mexicano Israel-IbereoAmerica, Mexico (1996); Galeria Lourdes, Chumacero, Mexico (1997); Museo de la Isla de Cozumel, Mexico (1997); Mexican Cultural Institute, Los Angeles, California (1998); Whitney Gallery, Laguna Beach, California (1999); Alvarez Gallery, Laguna Beach, California (1999); “New Gallery Artist Exhibition,” Eleonore Austerer Gallery, San Francisco, California (1999); and the Anderson Art Gallery, Sunset Beach, California (2000).

Among Castañeda’s group exhibitions are numerous shows in Morelia (Michoacán), Zacatecas, San Salvador (El Salvador), San Francisco (California); and Palm Springs (California).

Castañeda, who has received awards for his work from UNICEF (1980), Israel (1996) and from the International Academy of Modern Art in Rome (1998), currently lives and works in Morelia, Michoacán. This 4-minute YouTube video (in Spanish) shows the artist at work in his studio:

Commissioned public sculptures by Castañeda can be seen in a number of Mexican cities, as well as in Palm Springs, California. Examples of his work are in the permanent collections of the Los Angeles County Museum of Art and the Museum of Art History in Ciudad Juárez, Mexico, among many others.

Sources:

  • Felipe Castañeda (Gallery BIBA, Palm Beach, Florida)
  • Felipe Castaneda (Artnet)
  • Felipe Castaneda (Artistic Gallery)
  • Felipe Castañeda Jaramillo (Bio on his website “Estudio de la Calzada”) – http://www.espejel.com/estudiocalzada/bio.htm [20 Nov 2017]

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Oct 262017
 

Dr. William W. Winnie Jr. (1928-1988) was an American geographer who lived in Ajijic with his wife – the archaeologist Dr. Betty Bell – in the early 1970s. Winnie published several papers relating to Guadalajara and western Mexico and also produced a map of Lake Chapala towns. The map, which was widely-distributed, was the earliest attempt to show the entire Lakeside area in a general purpose map for the public that I have so far come across. Winnie and Bell were also instrumental in founding the short-lived Ajijic museum of archaeology and the Sociedad de Estudios Avanzados del Occidente de México, A.C. (The West Mexican Society for Advanced Study).

William Winnie Jr. Maps of Lake Chapala area, ca 1970

William Winnie Jr. Maps of Lake Chapala area, ca 1970

William W Winnie Jr., known simply as “Winnie” to his friends, was born in Pontiac, Michigan, on 27 January 1928. He moved to Alburquerque, New Mexico, at the age of 21 to undertake pre-medical studies but transferred to the University of Florida two years later to complete an undergraduate degree in geography. He remained in Florida to gain a masters in sociology and a doctorate in Latin American studies. His doctoral thesis (1956) was based on fieldwork in Mexico and entitled “The Lower Papaloapan Basin: Land and People”. It was the beginning of a long love affair with the country, its geography and its people.

Winnie subsequently published the results of his doctorate work as The Papaloapan Project: An Experiment in Tropical Development (1958) while working as a Social Science Analyst in the U.S. Census Bureau.

By 1960, he was back in Mexico, on the faculty of the University of Nuevo León. That year he published an interesting short article about the significance of Spanish surnames in the southwestern U.S. The following year he published an article about land tenure in the Papaloapan basin.

Winnie was a Fulbright Lecturer at the University of Chile in 1963-4 and published an article in 1965 on “Communal Land Tenure in Chile”. He returned to the U.S. for the 1964-5 academic year as a Postdoctoral Research Scholar in the Department of Geography at the University of California, Los Angeles, where he worked on a project sponsored by the Organization of American States and the Peace Corps. This was the basis for his 1967 book entitled Latin American development; theoretical, sectoral, and operational approaches.

This stimulated his interest in population migration, a topic that would continue to hold his attention for many years. His first formal publication related to migration, published in 1965, was about inter-state migration in Mexico.

Sponsored by the Fulbright Program, Winnie took up a position as visiting professor in the Economics faculty of the University of Guadalajara in 1970. This more or less marked the start of the university’s interest in social science research. Long term goals for research were established in 1971 with the creation of the university’s Centro de Investigaciones Sociales y Económicas (CISE).

Early work at CISE was financed almost entirely by external grants. Winnie was a pioneer in the demographic study of western Mexico and with fellow university researchers Jesús Arroyo Alejandre, Enrique Rojas Díaz and Luis Arturo Velázquez established a successful program of social science teaching and research at the U. de G.’s Economics Faculty. After completing their undergraduate degree, many of the students undertook further studies, some in Mexico and others abroad.

Winnie established close links to other important academic institutions, including the Colegio de México, the Colegio de Michoacán, the Colegio de la Frontera Norte, and the University of Texas at Austin.

The precise dates of their residence in Ajijic (at Calle Colón #36) are unclear, but Winnie and his wife Betty Bell made many significant contributions to village life.

Recognizing that street maps of the local villages were almost impossible to find, Winnie drew his own maps of the Lake Chapala area. With their very simple, single line streets, they are very different to the style of the graphic map-poster of Ajijic designed by Molly Heneghan, though both maps were first printed at about the same time.

William Winnie Jr. Map of Ajijic, ca 1970

William Winnie Jr. Map of Ajijic, ca 1970

In 1971, Winnie and his wife helped start an Ajijic Museum of Archaeology and founded the Sociedad de Estudios Avanzados del Occidente de Mexico A.C. (West Mexican Society for Advanced Study). The museum was located on the highway, adjacent to where the Auditorio de la Ribera (Lake Chapala Auditorium) was later built. Following a change of law pertaining to archaeological investigations, the museum was closed by Mexican authorities in about 1974, and the West Mexican Society for Advanced Study, whose prime purpose was to encourage the participation of foreign archaeologists in Mexican projects, closed shortly afterwards.

Shortly before the Society closed, and under its auspices, Winnie and Bell organized a visiting group of students in 1974. The weekly English language newspaper in Guadalajara reported that 25 students from Angelo State University in San Angelo, Texas, were spending three weeks at Lake Chapala taking college-level classes for credit. The classes, coordinated by Winnie and his wife, were given by Angelo State faculty members Caroline Haley and Tony Dutton. They included Spanish-language classes connected to Mexican civilization and literature, and classes about the anthropology of pre-Columbian cultures in Western Mexico. The program was well received by local people, with the Chapala mayor hosting a special dinner to celebrate the first program of its kind in the area.

Winnie’s contributions to Ajijic life were not only connected to his academic interests. In 1974, he was on the committee responsible for planning the construction of the Auditorio de la Ribera (Lake Chapala Auditorium) . Other members of the initial committee included Enid McDonald (the Canadian flying pioneer who spearheaded the local fund raising campaign), Hector Marquez, Manuel Pantoja, and Josephine Warren (mother of Chris Luhnow who founded the long-running Traveler’s Guide to Mexico).

According to his colleague Jesús Arroyo Alejandre, Winnie’s most productive period at the University of Guadalajara was between 1979 and 1982. His research during that period resulted in a landmark book about migration in western Mexico: La movilidad demográfica y su incidencia en una región de fuerte emigración: el caso del Occidente de México.

Winnie remained on the faculty of the University of Guadalajara until his death at the age of 59 on 17 January 1988. He was interred as a U.S. Veteran in the Fort Sam Houston National Cemetery in San Antonio, Texas.

William W. Winnie Jr. : Select Bibliography

  • William W. Winnie Jr. 1958. “The Papaloapan Project: An Experiment in Tropical Development”. Economic Geography, Vol. 34, #3, 1958.
  • William W. Winnie Jr. 1960. (May 1960). “The Spanish Surname Criterion for Identifying Hispanos in the Southwestern United States: A Preliminary Evaluation”, Social Forces, vol 38 #4, May 1960, pp. 363–366. Oxford University Press.
  • William W. Winnie Jr. 1961. “La tenencia de la tierra en la Cuenca del Bajo Papaloapan” in HUMANITAS: Anuario del Centro de Estudios Humanísticos. El Centro de Estudios Humanísticos de la Universidad de Nuevo León. 1961 #2, 601-616.
  • William W. Winnie Jr. 1965. “Communal Land Tenure in Chile”, Annals of the Association of American Geographers, Vol. 55, No. 1 (Mar., 1965), pp. 67-86.
  • William W. Winnie, Jr. 1965. Estimates of Interstate Migration in Mexico, 1950-1960: Data and Methods. (Reprinted from Antropologica no. 14, Caracas, June 1965). Latin American Center, University of California, Los Angeles. 22 pp.
  • William W. Winnie Jr. 1967. Latin American development; theoretical, sectoral, and operational approaches. Latin American studies, vol 8. Los Angeles: Latin American Center, University of California. 255 pp.
  • William W. Winnie Jr. 1982. “Variaciones regionales en la fecundidad y la migración en el Estado de Michoacán.” Relaciones (Colegio de Michoacán), vol III, no 10, pp 29-52.
  • William W. Winnie Jr. 1984. La movilidad demográfica y su influencia en una región de fuerte emigración. El caso del Occidente de México. Universidad de Guadalajara, Jal.
  • William W. Winnie Jr., John F. Stegner and Joseph P. Kopachevsky. 1970. Persons of Mexican descent in the United States. Fort Collins: Center for Latin American Studies, Colorado State University. 78 pp.
  • William W. Winnie Jr. and Jesus Arroyo Alejandre (coords.) 1979. La migración en el estado de Jalisco y la zona metropolitana de Guadalajara. Guadalajara: Universidad de Guadalajara, Facultad de Economía, Centro de Investigaciones Sociales y Económicas. 181 pp.

Sources:

  • Jesús Arroyo Alejandre. 1988. “William W. Winnie Brown, pionero de la investigación demográfica en el Occidente de México” (Obituary), Relaciones 34, primavera 1988, vol. IX, pp 145-147. Colegio de Michoacán.
  • Guadalajara Reporter. 18 May 1974; 22 June 1974.
  • WorldCat. Winnie, William W. 

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Oct 022017
 

The talented painter and musician Gustavo Sendis divided his time for much of his life between Guadalajara, where he was born in 1941, and his family’s second home in Ajijic.

Born on 8 July 1941, Sendis became interested in art at an early age and studied drawing with Juan Navarro and Ernesto Butterlin in 1958 and 1959. His father was a scientist and university lecturer who founded several important projects in the Guadalajara Hospital Civil and Sanatorio Guadalajara. His mother wanted Gustavo to pursue a conventional career but the young man, with the support of his father, chose otherwise, married young, and went to live in Europe.

His love of guitar music and painting took him first to the U.S., where he studied with Jack Buckingham at the University of California, Berkeley, and then to Spain, where he studied with Alvaro Company (taught by Segovia) in Malaga, and with Emilio Pujol (1886-1980), the preeminent Spanish classical guitarist and composer.

Emilio Pujol (left) and Gustavo Sendis, 1965

Emilio Pujol (left) and Gustavo Sendis, 1965

On his return to Guadalajara, Sendis brought back a heartfelt open letter from Pujol, dated 1965, to “Mexican guitarists”, and began to exhibit his paintings and give public guitar recitals. In 1967 he gave a guitar recital and exhibited about 20 abstract works (painted during his time in Europe) at the Sociedad de Amigos de la Guitarra de Guadalajara on Calle Francia in Colonia Moderna. Sendis’s first formal exhibition was at the Casa de la Cultura Jalisciense in Guadalajara in (1968).

Gustavo Sendis: Untitled. Credit: Galería Vértice.

Gustavo Sendis: Untitled. Credit: Galería Vértice.

During a second trip to Europe, he continued to exhibit his work and give guitar concerts. He had exhibitions in several European countries, including Spain, where he participated in the Ibiza Bienal (1971) and held a show in Málaga (1977) of paintings related to music, with titles like “Notes on the Flute”. In this same period he had several exhibitions in Italy, France, Switzerland and Portugal. Practically self-taught, he lived for many years in Ajijic prior to moving first to Taxco, Guerrero (where he gave a concert in the city’s Santa Prisca church) and then to Tepoztlán, Morelos, where he suffered a fatal heart attack on 25 May 1989, while he was still in his 40s.

Gustavo Sendis: Volcán. Credit: Galería Vértice.

Gustavo Sendis: Volcán. Credit: Galería Vértice.

Throughout his life, Sendis entertained people with his sensitive guitar playing. For example in June 1972 he was performing nightly in Ajijic at the El Tejaban restaurant-gallery (then run by Jan Dunlap and Manuel Urzua). The following month, he had a month-long solo show at the gallery of paintings that had been shown previously in “Paris, Madrid, Lisbon and several other cities in Europe”.

Sendis recorded one record, Tras la huella de Sendis, and there is also a cassette tape, entitled Homenaje a Emilio Pujol, of a recital by Sendis in August 1987 in the Santa María church in Tepoztlan, Morelos, made by Victor Rapoport from an original recording belonging to Alice Mickelli. The cassette, released by the family in 1995, includes two pieces by Francisco Tárrega (1852-1909), one by Dionisio Aguado (1784-1849) and two composed by the guitarist himself: “Danza Nahuatl” and “Paisajes”.

Gustavo Sendis. Untitled, undated. Reproduced by kind permission of Jan Dunlap.

Gustavo Sendis. Untitled, undated. Reproduced by kind permission of Jan Dunlap.

In March 1974, he showed several paintings alongside works by his mother, Alicia Sendis, and Sheryl Stokes at  La Galeria del Lago in Ajijic. The inspiration for many of his paintings came from Jalisco scenes that he knew as a child. In fellow artist Tom Faloon’s words, Sendis “did some wonderful paintings, and pretty much lived in his own world.” In addition to conventional paintings on flat surfaces, Sendis is also known to have painted scenes on stoneware plates.

Though the details remain a mystery, a selection of his works was exhibited at Malaspina College (now Vancouver Island University) in Nanaimo, B.C., Canada in July 1980, in a joint show with Zbigniew Olak and Aquatic Exotic.

In June 1984 Sendis exhibited at the Centro de Investigación y Difusión del Arte Exedra in Zapopan, Guadalajara (Paseo del Prado #387, Lomas del Valle).

Gustavo Sendis. Untitled, undated. Reproduced by kind permission of Jan Dunlap.

Gustavo Sendis. Untitled, undated. Reproduced by kind permission of Jan Dunlap.

In 2010 a major “Winter Collective” exhibition in Guadalajara at Galería Vértice included a Sendis painting, alongside originals by such renowned artists as Rufino Tamayo, Gustavo Aceves, José Clemente Orozco, Rafael Coronel, Gunther Gerzso, Leonora Carrington and Juan Soriano. Sendis’s work was also included in a similar exhibition the following year, alongside works by Georg Rauch, Jose Luis Cuevas, Juan Soriano and Francisco Toledo.

Sendis is included, deservedly, in Guillermo Ramírez Godoy’s book Cuatro Siglos de Pintura Jalisciense (“Four Centuries of Jaliscan Painting”).

When the Guadalajara newspaper El Informador reached its centenary in 2017, the paper’s director, Carlos Álvarez del Castillo, selected 100 pieces of art from the “Fundación J. Álvarez del Castillo” collection of horse-related paintings and sculptures to be displayed at the Cabañas Cultural Institute in Guadalajara. The exhibit, entitled “Equinos 100”, includes the very first painting acquired for the collection – a painting by Gustavo Sendis.

This is an updated version of a profile originally published on 26 February 2015.

Acknowledgments

My sincere thanks to Katie Goodridge Ingram, Jan Dunlap and the late Tom Faloon for sharing with me their memories of Gustavo Sendis, and for the valuable additions and clarifications by Gustavo’s niece Isabel Cristina de Sendis (see comments section). Special thanks are also due to Hilda Mendoza of Ajijic for her generous and treasured gift of the cassette tape, Homenaje a Emilio Pujol.

Sources:

  • Anon. 1979. “Madrona exposition centre – 1980 schedule of shows”. Staff Bulletin (Malaspina College, Nanaimo, B.C.), 21 December 1979 (Vol 1 #13).
  • Guadalajara Reporter: 3 June 1972; 10 June 1972; 1 July 1972; 16 March 1974
  • Ramon Macias Mora. 2001. Las seis cuerdas de la guitarra (Editorial Conexión Gráfica).
  • Guillermo Ramírez Godoy. 2003. “La dualidad artística del pintor y guitarrista Gustavo Sendis”. El Informador (Guadalajara), 26 Oct 2003.
  • Guillermo Ramírez Godoy and Arturo Camacho Becerra. 1996. Cuatro Siglos de Pintura Jalisciense (Cámara Nacional de Comercio de Guadalajara).

Note: Galería Vértice catalogs were at http://www.verticegaleria.com/esp/antes_exp.asp?cve_exp=82

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Sep 252017
 

Designer, craftsman and bon viveur Russell Seeley Bayly (1919-2013) lived in Jocotepec, at the western end of Lake Chapala, for close to forty years. He became a good personal friend, though I now regret not having recorded him as he reminisced about his life, loves and adventures.

Bayly was born in Los Angeles, Calfornia on 5 May 1919. He grew up in a privileged family, wealthy enough to have its own stables and horse trainer in addition to a butler, cook, housekeeper, maids, gardeners and a seamstress. Bayly’s father, Roy D. Bayly, was a successful financier and stock broker who had commissioned noted California architect Reginald Davis Johnson to build a Virginia-style home on nine acres of property in Flintridge, near Pasadena. Bayly Sr. was a co-founder of the Flintridge Riding Club and his children, including Russell, were all accomplished riders, winning ribbons and trophies for riding and jumping.

“Russ” Bayly was in the class of ’34 at Polytechnic School before attending Midland School. He graduated from this small boarding school near Los Olivos in 1938. Among his life-long friends was the artist-photographer John Frost, who also attended Midland. Not altogether coincidentally, Frost and his wife – the author Joan Van Every Frost – moved to Jocotepec shortly before Bayly did the same.

Bayly enlisted in the U.S. military on 7 January 1942, after two years of college at the University of Virginia, and giving his previous occupation as “fisherman, oysterman.” He served in the U.S. cavalry during the second world war but his wartime experiences left him with severe post-traumatic stress disorder (PTSD).

Russell Bayly relaxing at home with his neighbor Tad Davidson (Lady Mary Fleming), August 2008. Photo by Tony Burton.

Russell Bayly, aged 89, relaxing at home with his neighbor Tad Davidson (Lady Mary Fleming), August 2008. Photo by Tony Burton.

After the war, Bayly attended the highly regarded Chouinard Art Institute (Chouinard School of Art and Design) in Los Angeles. He married Joan Virginia Young  in 1947, and the couple had four children: Russell Warder (1948-2016), David Hostetter (1951) Brooks (1952), and daughter Neville (1954).

In the 1950s, while working as a painting contractor, Bayly found recognition as a designer, primarily of furniture. For example, his work was highlighted in a national exhibition of Californian design first held at the Pasadena Art Museum from 12 January to 23 February 1958. Over the years, Bayly filed for several patents relating to original furniture designs. These almost certainly included the “prototype chair in steel, teak and fabric”, shown in a photograph that appeared in California Design in 1965. A matching ottoman was also available.

In the mid-1960s, the well-known industrial designer Victor J. Papanek, who had been at design school with Bayly, offered him a position as associate professor of design at Purdue University. Bayly taught there for four years, ending in 1971.

Bayly and his wife, Bee, moved to Jocotepec in late 1971, and rented a house there while beginning construction of their own home. While the Guadalajara Reporter for 20 July 1974 reports that Russell and his wife Bee had just entertained friends to a farewell party, prior to Russell “returning to his college teaching position in California”, Russell was no longer teaching by that time, though he did return to Los Alamos, California, and subsequently Santa Barbara, to make a living. Bayly regularly returned to Jocotepec prior to becoming a full-time resident of the town in the 1980s.

During his years in Jocotepec, he designed and oversaw the construction of several homes in the town, including the modernist, open-plan, steel-beamed hexagonal building that was his home for the last thirty years of his life. Built on a small corner lot overlooking the town and lake, the design was based on a series of hexagons with full-height living areas, floor-to-ceiling glass windows onto an immaculate garden, and a mezzanine that afforded a panoramic view across the lake. It also had a fully-equipped workshop for working metal and wood. Bayly was a skilled craftsman and took particularly delight in crafting the most exquisite furniture and small boxes, often utilizing rare scraps of exotic woods that he had found abandoned in some lumber yard.

Bayly. Photo taken in Jocotepec, August 2007 by Tony Burton.

Chairs and table designed by Russell Bayly. Photo taken in Jocotepec, August 2007 by Tony Burton.

Bayly’s former home, at Hidalgo Nte. #150, was his crowning achievement in terms of architecture and design. He personally designed and built all the bespoke furniture and fittings throughout the home, achieving a simple elegance that would have been worthy of inclusion in Architectural Digest.

Bayly imported a vintage VW “Combi” van from California, converted it into a no-frills camper, and used it to travel all over Mexico. Every few years he would take a lengthy overseas trip: to Europe, Africa or Asia.

In later life, Bayly helped me run several lengthy ecotourist trips through western Mexico, trips that inevitably involved lots of dirt road driving (which he loved). He always kept a camping chair, bottle of white wine (suitably cooled) and a couple of glasses in his van. One of my abiding memories from the many trips we did together is of him carrying these items to the top of a little-known pyramid in Michoacán so that he could sit, relax and sip his wine while enjoying the scenery and brilliant sunset.

Bayly had worked in so many different jobs at some point in his lifetime (lumberjack, educator, tuna fisherman, steel mill) that he was able to entertain guests at dinner parties with a seamless, and seemingly endless, stream of stories, all told with good humor and great insight. Bayly was a conversationalist, raconteur and bon viveur second to none.

Even in his final years, as his daily siestas became longer, Bayly remained willing to ferry groups of paragliders into the hills near Jocotepec as they sought the best launch spots, secure in the knowledge that he would manage to find them again wherever they landed and drive them safely back to civilization.

Having done what he could to make the world a better place, Bayly died on 23 February 2013.

Acknowledgment

  • My sincere thanks to Brooks Bayly for kindly sharing memories and details of his father’s life.

Sources:

  • California Design 9 (1965)
  • Catalog of national exhibition first held at the Pasadena Art Museum, Pasadena, Calif., January 12-February 23, 1958. (Designers include: Russell S. Bayly Associates, Martin Borenstein, Robert E. Brown, Garry M. Carthew, Danny Ho Fong, William A. Kalpe, and Roger Kennedy.)
  • Guadalajara Reporter, 20 July 1974.
  • OakTree Times (magazine of the Polytechnic School Community), Spring/Summer 2014.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Sep 182017
 

Roland Varno, the only Dutch actor to play in films alongside Marlene Dietrich, Greta Garbo and Katherine Hepburn, left Hollywood behind on retirement and settled in Chapala Haciendas, overlooking Lake Chapala.

Roland Varno was his self-chosen stage name. He was born Jacob Frederik Vuerhard in Utrecht on 15 March 1908. He grew up on Java, returned to the Netherlands as a teenager and worked, among things, as an illustrator at Het Vaderland.

He then moved to Berlin, determined to try his luck with the blossoming film industry in Germany. His first film part seems to have been in Jugendtragödie (“Tragedy of Youth”, 1929).

Roland Varno, Publicity shot for Metro-Goldwyn-Mayer, 1931-2

Roland Varno, Publicity shot for Metro-Goldwyn-Mayer, 1931-2

Roland Varno’s best-known film role came in the German classic Der Blaue Engel (“The Blue Angel”, 1930), which starred German sensation Marlene Dietrich and Emil Jannings. He also had a part in Der Mann, the seinen Mörder sucht (“The Man in Search of his Murderer”, 1931).

While in Berlin he was discovered by a talent scout of the Hollywood studio MGM and invited to travel to the U.S. to play the lead role in All Quiet on the Western Front (1930). Unfortunately his ship across the Atlantic was delayed and the part was given instead to Lew Ayres. Despite this, or perhaps because of it, the two men became best friends.

In 1932 Varno married Elizabeth (“Betty”) Tyree. The couple had two children, a boy and a girl, but later divorced.

While Varno was never an A-list Hollywood superstar, this dependable, handsome, character actor, just under six foot tall, who spoke several languages, found work on dozens of films in the 1930s and 1940s.

He also made two movies in the Netherlands, both released in 1934: Malle Gevallen and the successful soldier comedy Het meisje met de blauwe hoed (“The girl with the blue hat”).

Greta Garbo and Roland Varno in "As You Desire Me" (1932)

Greta Garbo and Roland Varno in “As You Desire Me” (1932)

His best known scene in Hollywood was a dance with Greta Garbo in As You Desire Me (1932). He also appeared with Katherine Hepburn in Quality Street (1937), and in Gunga Din (1939), Three Faces West (1940), Women in Bondage (1943), The Return of the Vampire (1943), My Name is Julia Ross (1945), Three’s a Crowd (1945), Flight to Nowhere (1946) and Scared to Death (1947).

Roland Varno in My Name is Julia Ross (1945)

Roland Varno in My Name is Julia Ross (1945)

During World War II, Varno worked in the Office of Strategic Services (OSS) and had parts (ranging from a spy to a freedom fighter) in propaganda films  including one entitled Hitler’s Children. He also added Japanese to the list of languages he spoke either fluently or semi-fluently.

After the war he played in radio and television series in the U.S., including Space Patrol (1950), The Adventures of Wild Bill Hickok (1951-1958) and 77 Sunset Strip. He also worked as a truck driver, carpenter, encyclopedia salesman and broker.

Varno made his last movie appearance in Istanbul (1957) but continued to do occasional TV work, among which was some on the set of the miniseries War and Remembrance (1988-9), based on the novel by Herman Wouk.

After his retirement in the early 1970s, Varno moved to Chapala, where he directed two plays for the English-language Lakeside Little Theater: The Bad Seed in November 1976 and Harvey in November 1979. The actors in The Bad Seed included Norma Miller, the 11-year-old daughter of photographer Bert Miller. Another photographer, Toni Beatty, a family friend of Varno from his time in California, visited him in Ajijic and stayed in the village for several months with her husband Larry Walsh in a casita owned by acclaimed American photographer Sylvia Salmi.

Roland Varno died in Lancaster, California on 24 May 1996 at the age of 88.

Family links:

  • Varno’s sister, Anneke, was the Netherlands’ “Dear Abby” for many years.
  • Varno’s son, Martin Varno, wrote the script for Night of the Blood Beast (1958).
  • Varno’s daughter, Jill Taggart, is a sound engineer with numerous credits to her name.

Sources:

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

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Aug 172017
 

Michael Hargraves is a writer of screenplays, literary surveys, bibliographies and literary criticism. He was a frequent visitor to Lake Chapala in the 1970s and 1980s, usually staying for two or three months at a time.

He is included in this on-going series of profiles because in 1992, he self-published a 48-page booklet entitled Lake Chapala: A literary survey; plus an historical overview with some personal observations and reflections of this lakeside area of Jalisco, Mexico. The book was dedicated to Robert and Eileen Bassing. Hargraves included brief biographies of about forty different authors and artists who lived and worked at Lake Chapala. Most of the characters mentioned were active in the 1950s or 1960s.

The book has proved to be a valuable starting point for my own attempts to document the history of the artists and authors associated with Lake Chapala. Curiously, however, I have failed to find out much about Michael Hargraves himself beyond what can be gleaned from his book about Lake Chapala.

According to the bio in the book, Michael Hargraves was born on 29 February 1952 at Jacksonville, Florida. His mother died when he was only eleven years old. He registered as a conscientious objector during the Vietnam conflict, attended the University of Florida, and graduated in 1974 with a B.S. in broadcast journalism/cinema.

The story behind Hargraves’ first visit to Mexico, believed to be the summer before he entered the University of Florida, involves a personal tragedy. As he tells it,

“My introduction to the South of the Border came about due to a busted, never-to-be-consummated marriage to a Japanese woman, whom I had met years earlier in San Francisco and reconnected with in Paris during a much needed sojourn. She did herself in after I caught her in the sack with her Japanese boss. I returned home to ponder my life, my future.”

On his return to the U.S., he was asked by a friend, the famed Scottish novelist and screenwriter Alan Sharp (1934-2013), if he would fly down to Mexico, go to Tlaquepaque, and collect some handicrafts Sharp had purchased while visiting Mexico in 1970 for the soccer World Cup.

The lure of a round-trip ticket and expenses was sufficient to convince Hargraves to accept the offer. He stayed a few days in Guadalajara, but took an almost instant dislike to the city. After he had made arrangement to collect the handicrafts, he still had a few days to relax and explore. While viewing the Orozco murals in the Cabañas Cultural Institute in Guadalajara, he met an American couple who extolled the virtues of Lake Chapala, so Hargraves took a bus down to Chapala and stayed there for a day or two. He enjoyed this initial visit and returned several times over the next decade, usually for two or three months at a time.

“The best thing about my times at Chapala has been the solitude. Naturally you can be with people there, with good options: all Americans, all Mexicans, or a combination of the two. However, my biggest pleasure comes from being anonymous. Over the years I have befriended all types. But not having lived there for a true extended period, say for a year or so, I can come and go as I please, do what I want, think what I will, see what I want. I don’t know if my love for Chapala would be the same if I felt like a “prisoner” there, like many of the retired Americans or the poverty-stricken Mexicans.”

Hargraves has written numerous books and screenplays and has catalogued several major collections of rare books and photographs.

His published works include: Henry Miller Bibliography with Discography (1980); Triple-Decker Kiosk (poetry) (1981); Harry Crews: A First Bibliography (1981); The Hamlet Additions: The Unpublishing of The Henry Miller-Michael Fraenkel Book of Correspondence called Hamiet (1981); Times, Things Change (poetry) (1983); Eight Obscure Literary Autographs (1983); Harry Crews: A Bibliography (revised edition) (1986); Robert Gover: A Descriptive Bibliography (1987); Henry Miller’s Hamiet Letters (1988).

Hargraves’ screenplays include Kiki of Montpamasse (with Frederick Kohner) (1977); Confusión (with Jacques Tati) (1978); The Man Who Thought He Was Groucho (based upon the novel Madder Music by Peter De Vries) (1980); Overkill [1982); Love in the Ruins (based upon the novel by Walker Percy) [1983); Murder City (based upon the novel by Oakley Hall) (1984); Coming Into Focus (1985); Restaurant: The Motion Picture (1992).

Hargraves also published some limited edition works, including Ishmaelite Scrolls by Benjamin Barry Hollander (1979); The Cagliostro Arcane by Jack Hirschman (1981); Bring Me the Head of Rona Barrett by Robert Gover (1981); A Chapter from Blind Tongues by Sterling Watson (1983); Tropico, the City Beautiful. Photographs by Edward Weston (Facsimile edition) (1986).

Source:

  • Michael Hargraves. 1992. Lake Chapala: A literary survey; plus an historical overview with some personal observations and reflections of this lakeside area of Jalisco, Mexico. (Los Angeles: Michael Hargraves). 48 pp.

As always, Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Aug 102017
 

Artist and writer Allyn Hunt has lived in the Lake Chapala area since the mid-1960s. Hunt was the owner and editor for many years of the weekly English-language newspaper, the Guadalajara Reporter. His weekly columns for the newspaper quickly became legendary. (Hunt’s wife, Beverly, also worked at the Guadalajara Reporter and later ran a real estate office and Bed and Breakfast in Ajijic.)

Hugh Allyn Hunt was born in Nebraska in 1931. His mother, Ann, was granted a divorce from her husband J. Carroll Hunt, the following year. Allyn Hunt grew up in Nebraska before moving to Los Angeles as a teenager.

He studied advertising and journalism at the University of Southern California (USC) in Los Angeles, where he took a creative writing class under novelist and short story writer Willard Marsh. Marsh had known Ajijic since the early 1950s and later wrote a novel set in the village.

At USC, Hunt was associate editor of Wampus, the USC student humor magazine, and according to later bios he also became managing editor of the university newspaper, the Daily Trojan.

After graduating, Hunt worked as public relations representative for Southern Pacific Railroad, and edited its “house organ”, before becoming publicity director and assistant to director of advertising for KFWB radio in Los Angeles. Hunt also worked, at one time or another, as a stevedore, photographer’s model, riding instructor and technical writer in the space industry.

Living in Los Angeles gave Hunt the opportunity to explore Tijuana and the Baja California Peninsula. As he later described it, he became a frequent inhabitant of Tijuana’s bars and an aficionado of Baja California’s beaches and bullfights.

Hunt and his wife, Beverly, moved to Mexico in 1963, living first in Ajijic and then later in the mountainside house they built in Jocotepec. They would remain in Mexico, apart from two and a half years in New York from 1970 to 1972.

Winnie Godfrey. Portrait of Allyn & Beverly Hunt, (oil, ca 1970)

Winnie Godfrey. Portrait of Allyn & Beverly Hunt, (oil, ca 1970)

This portrait of Allyn and Beverly Hunt was painted by Winnie Godfrey who subsequently became one of America’s top floral painters.

In their New York interlude, Hunt wrote for the New York Herald and the New York Village Voice, and apparently also shared the writing, production and direction of a short film, released in 1972, which won a prize at the Oberhausen Short Film Festival in Germany and was shown on European television. (If anyone knows the title of this film, or any additional details about it, please get in touch!)

When the Hunts returned from New York, they decided to build a house in Nextipac, in Jocotepec. They moved into their house, “Las Graciadas”, towards the end of 1973. The following year, they agreed to purchase the Guadalajara Reporter. They became owners and editors of the weekly newspaper in 1975 and Hunt would be editor and publisher of the Guadalajara (Colony) Reporter for more than 20 years. Hunt’s numerous erudite columns on local art exhibitions have been exceedingly useful in my research into the history of the artistic community at Lake Chapala.

As a journalist, Hunt also contributed opinion columns to the Mexico City News for 15 years, and to Cox News Service and The Los Angeles Magazine.

As an artist, Hunt exhibited numerous times in group shows in Ajijic and in Guadalajara. For example, in April 1966, he participated in a show at the Posada Ajijic that also featured works by Jack Rutherford; Carl Kerr; Sid Adler; Gail Michel; Franz Duyz; Margarite Tibo; Elva Dodge (wife of author David Dodge); Mr and Mrs Moriaty and Marigold Wandell.

The following year Hunt’s work was shown alongside works by several Guadalajara-based artists in a show that opened on 15 March 1967 at “Ruta 66”, a gallery at the traffic circle intersection of Niños Héroes and Avenida Chapultepec in Guadalajara.

In March-April 1968, Hunt’s “hard-edged paintings and two found object sculptures” were included in an exhibit at the Galería Ajijic Bellas Artes, A.C., at Marcos Castellanos #15 in Ajijic. (The gallery was administered at that time by Hudson and Mary Rose).

Later that year – in June 1968 – Hunt showed eight drawings in a collective exhibit, the First Annual Graphic Arts Show, at La Galeria (Ocho de Julio #878) in Guadalajara. That show also included works by Tom Brudenell, John Frost, Paul Hachten, Peter Huf, Eunice Hunt, John K. Peterson, Eugenio Quesada and Tully Judson Petty.

The following year, two acrylics by Hunt were chosen for inclusion in the Semana Cultural Americana – American Artists’ Exhibit at the Instituto Cultural Mexicano Norteamericano de Jalisco in Guadalajara (at Tolsa #300). That show, which opened in June 1969, featured 94 works by 42 U.S. artists from Guadalajara, the Lake area and San Miguel de Allende.

The details of any one-person art shows of Hunt’s works in the U.S. or Mexico remain elusive. (Please get in touch if you can supply details of any other shows in which Allyn Hunt’s art was represented!)

In the early-1960s, Hunt was at least as keen to become an artist as a writer. Rex Oppenheimer later recalled in an article for Steel Notes Magazine that when he visited his father in Zapopan (on the outskirts of Guadalajara) in 1965,

“Among the first of my father’s friends that I met were Allen and his wife Beverly. Allen was an artist. He looked like a beatnik or incipient Hippie and had a very cool house out in Ajijic near Lake Chapala. After touring the house and taking in his artwork, we went up on the roof. I don’t remember the conversation, but there was a great view out over the lake, and I got totally smashed on Ponche made from fresh strawberries and 190 proof pure cane alcohol.”

Despite his early artistic endeavors, Hunt is much better known today as a writer of short stories. His “Acme Rooms and Sweet Marjorie Russell” was one of several stories accepted for publication in the prestigious literary journal Transatlantic Review. It appeared in the Spring 1966 issue and explores the topic of adolescent sexual awakening in small-town U.S.A. It won the Transatlantic’s Third Annual Short Story Contest and was reprinted in The Best American Short Stories 1967 & the Yearbook of the American short story, edited by Martha Foley and David Burnett. Many years later, Adam Watstein wrote, directed and produced an independent movie of the same name. The movie, based closely on the story and shot in New York, was released in 1994.

One curiosity about that Spring 1966 issue of Transatlantic Review is that it also contained a second story by Hunt, entitled “The Answer Obviously is No”, written under the pen name “B. E. Evans” (close to his wife’s maiden name of Beverly Jane Evans). The author’s notes claim that “B. E. Evans was born in the Mid-West and lived in Los Angeles for many years where he studied creative writing under Willard Marsh. He has lived in Mexico for the past year and a half. This is his first published story.”

Later stories by Hunt in the Transatlantic Review include “Ciji’s Gone” (Autumn 1968); “A Mole’s Coat” (Summer 1969), which is set at Lake Chapala and is about doing acid “jaunts”; “A Kind of Recovery” (Autumn-Winter 1970-71); “Goodnight, Goodbye, Thank You” (Spring-Summer 1972); and “Accident” (Spring 1973).

Hunt was in exceptionally illustrious company in having so many stories published in the Transatlantic Review since his work appeared alongside contributions from C. Day Lewis, Robert Graves, Alan Sillitoe, Malcolm Bradbury, V. S. Pritchett, Anthony Burgess, John Updike, Ted Hughes, Joyce Carol Oates, and his former teacher Willard Marsh.

Hunt also had short stories published in The Saturday Evening Post, Perspective and Coatl, a Spanish literary review.

At different times in his writing career, Hunt has been reported to be working on “a novel set in Mexico”, “a book of poems”, and to be “currently completing two novels, one of which is set in what he calls the “youth route” of Mexico-Lake Chapala, the Mexico City area, Veracruz, Oaxaca and the area north and south of Acapulco”, but it seems that none of these works was ever formally published.

Very few of Hunt’s original short stories can be found online, but one noteworthy exception is “Suspicious stranger visits a rural tacos al vapor stand“, a story that first appeared in the Guadalajara Reporter in 1995 and was reprinted, with the author’s permission, on Mexconnect.com in 2008.

Sources:

  • Broadcasting (The Business Weekly of Radio and Television), May 1961.
  • Daily Trojan (University of Southern California), Vol. 43, No. 117, 21 April 1952.
  • Martha Foley and David Burnett (eds). The Best American Short Stories 1967 & the Yearbook of the American short story.
  • Guadalajara Reporter. 2 April 1966; 12 March 1967; 27 April 1968; 15 June 1968; 27 July 1968; 5 April 1975
  • The Lincoln Star (Nebraska). 15 August 1932.
  • Rex Maurice Oppenheimer. 2016. “Gunplay in Guadalajara“. Steel Notes Magazine.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

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