Alice Jean Small (1918-2009) lived for at least four years at Lake Chapala, from 1962 to 1966. During her lifetime, she is reputed to have sold more than 6000 works, making her a likely candidate for the title of “most prolific painter ever to have lived at Lake Chapala”.
Small was born in Sandpoint, Idaho, on 11 December 1918. Her passing, on 8 November 2009 in Monterey, California, was commemorated by an art exhibition and celebration of her life.
Small began painting from an early age and attended the Derby School of Art before completing a Master of Fine Arts degree at the University of Washington. She also studied at Cranbrook Academy of Arts (Michigan), Chicago School of Design, University of California at Berkeley, the University of Havana and the University of Tokyo.
In the 1950s, Small spent two years serving with the U.S. Army as Regional Arts and Crafts Director in the Far Eastern Theater. She was a renowned art teacher, and taught painting and design in several U.S. public schools, the University of Washington, West Virginia University and the University of Tampa.
It is unclear precisely what drew Small to relocate in 1962 to Lake Chapala, where she took a house mid-way between Ajijic and Jocotepec: Casa Alicia, Piedra Barrenada. Her stay in Mexico was marred by a personal tragedy. Her young son Edward died at the age of six in 1966 in a hospital in Guadalajara following a brief illness. (Another son, Laird, outlived her).
Known not only for paintings, but also for prints and illustrations, Small exhibited her work in numerous galleries around the world from New York (the Riverside Gallery) to Japan and Mexico (Monterrey, Saltillo, Hermosillo). She held more than 500 one-woman shows and won first prize awards for oils (Florida Art Fair); watercolors and lithographs (Wisonsin Art Fair). An inveterate traveler, and honorary president of the National Association of Women Painters, Small was known as the “traveler with a sketch book.”
Her work in Mexico was sponsored by the U.S. Information Service (USIS). Her exhibitions in Mexico were well received. For example, the Mexico City Times said that, “Diplomatic with an easel, this famed artist paints to span nations with the Bridge of Beauty.” One of her exhibitions in Mexico, in 1963, comprised fifty-five paintings illustrating an imaginary trip around the world; it was first shown at the University of Sonora in Hermosillo.
The following year, fifty of her “Around the World” paintings were on display for both HRH Prince Phillip, the Duke of Edinburgh, and former US president Dwight D. Eisenhower, when they visited Guadalajara within a few days of each other. It is presumed that this display was the exhibit which opened at the Casa de la Cultura in Guadalajara on 29 October 1964, but it is probable that some of Small’s paintings were also on display at the Hotel Montecarlo in Chapala.
[HRH Prince Phillip, the Duke of Edinburgh, visited the Hotel Montecarlo with his entourage for lunch on 28 October 1964, while three days later, President Adolfo López Mateos hosted a banquet there in honor of the members of the People to People executive. The People to People (“De Pueblo a Pueblo”) initiative was begun by Dwight D. Eisenhower in 1956 to strengthen non-governmental connections. Eisenhower himself was at the meetings in Guadalajara but did not attend the Montecarlo function, where his son John D. Eisenhower, stood in for him. Walt Disney was another of the many noteworthy dignitaries at this event.]
Small held another exhibit in Guadalajara in June 1965, at the Instituto Mexicano-Norteamericano de Jalisco, at the opening of which she referred to Mexico as “her second home”.
Possibly partly as a result of her time in Mexico, Small developed a passionate interest in the circus and would spend the next forty years bringing circus characters and scenes to life on her canvasses. Fifty of her clown paintings are on permanent display at the Adaptive Physical Education building, Monterey Peninsula College, California. Her portfolio of clown and circus stories, paintings and poems are in the Special Collections in various libraries of the University of California, as well as at Tufts University and Ringling Brothers Barnum and Bailey Clown College in Venice, Florida.
She was reportedly a very friendly woman, full of kindness and good humor, and fond of donning colorful clothes and hats.
Small published at least three books showcasing her work: Clowns (1988), Painted poems (1995) and Pierre and his present (1997).
Main Sources:
Monterey Peninsula Herald, California, 14 March 1966
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.
Dated 1981, these Georg Rauch designs for a children’s playground demonstrate the versatility of this amazing artist.
Georg Rauch: Playground designs, 1981. Click image to enlarge.
Georg’s widow, Phyllis Rauch, has kindly shared the following recollections related to Georg’s interest in playgrounds, and to these designs in particular:
“Georg designed a number of large playground pieces for a famous park in Vienna. When he arrived in the United States he was still fascinated by the topic and we visited playgrounds wherever we went – especially in New York.
When we moved to Mexico, Georg designed a very large and amazing playground for the town of El Molino, near Jocotepec. At the time there wasn’t even a church there, only a bell. The completed playground, utilizing all things that are freely available and could be replaced, was inaugurated by the then Governor of Jalisco’s first lady.
Sadly the only thing we didn’t take into consideration was upkeep, a fund for replacing tires, ropes etc., and over the years it basically disappeared. But I’m sure there are people in their late 40s and 50s who remember it well and enjoyed playing there.
Georg’s first and only stipulation was that a bathroom first be built and installed.
Sometimes when returning from Guadalajara, I think I can see it still there, among the many homes that have since been built.”
When Georg Rauch later learned that the Lakeside School for the Deaf (now the School for Special Children) in Jocotepec planned to build new play equipment, he gave the designs to Gwen Chan, the school’s director from 1985 to 1994. Some of Rauch’s designs were subsequently incorporated into the deaf school’s play equipment.
Innovative Mexican artist Ernesto Butterlin, aka Linares, sometimes Ernesto Linares, or more simply “Lin,” had close ties with Ajijic and was active in the 1940s and 1950s. Ernesto’s parents and his two older brothers were all born in Germany and moved to Mexico in 1907, sailing first class aboard the “Fürst Bismarck” of the Hamburg-America line, from Hamburg to Veracruz. The family settled in Guadalajara, but also owned a huerta (orchard) near Ajijic. Ernesto was born in Guadalajara on 4 September 1917.
The 1930 Mexican census, conducted on 15 May of that year lists the members of the household as:
Juan Butterlin 59, engineer, born in Germany
Amalia de Butterlin 49, born in Germany, speaks German, English, French
Ernesto Butterlin 12
Ma de Los Angeles Delgadillo 40, maid
Ma Guillermina Flores 16
Ma del Refugio Flores 12
By the early 1940s, Ernesto, then in his twenties and using the name Linares for his art, was living and painting year-round in Ajijic. From about 1943 to 1945, he shared his village home with American artists Charmin Schlossman Lanier and Sylvia Fein, whose husbands were on active military service overseas. American writer Neill James first moved to Ajijic in September 1943 and in an early article about the village described Linares as a “young Mexican abstract painter who is currently showing his works in a traveling exhibition in the USA.” That brief description shows that Ernesto had already achieved some success as an artist, even at this early age.
Linares (Ernesto Butterlin): Untitled; 1949. Reproduced by permission of the owner.
A more detailed description of Ernesto and his work comes from the notebooks kept by Victor Serge, a Russian living in exile in Mexico, who visited Ajijic in December 1944 and stayed over the New Year:
“Ernesto Butterlin reminds me of Pilnyak. Often with lacquer for car bodies, he earnestly makes surrealist or abstract pictures in jumbled lines and lively tones, sometimes decorative. He wants to make money in New York, be someone, and this method worries him, and he genuinely loves art, and he’s full of inhibitions and poses. Big, blond, pince-nez, the untroubled face of a good German.”
Ernesto Butterlin: Untitled; date unknown
In about 1945, Ernesto entertained visiting American artist George Buehr (1905-1983), a professor at the Art Institute of Chicago, as his house guest.
In January 1947, Ernesto exhibited in a group show at Villa Montecarlo in Chapala, alongside fellow artists Charmin Schlossman, Muriel Lytton-Bernard and Dick Kitchin. Charlotte Wax also appears to have had paintings in that show.
Shortly afterwards, in about 1947, American artist, anthropologist and author Tobias Schneebaum arrived on the scene. Schneebaum lived and painted in Mexico, including several spells in Ajijic, from 1947 to 1950. In Ajijic, he quickly became friends with Ernesto. In Wild Man, Schneebaum writes, “A young blond painter, born in Guadalajara of German parents, also lived in Ajijic. He was twenty-seven, blue-eyed, four inches over six feet, and very handsome, and was subject to the attentions of both the men and the women who later passed through town…”
“His family owned property in Ajijic, fields of corn and beans through which he moved like a country squire. Ajijic was small, with a population of three thousand, barely a third of whom had homes in the village itself, the other two-thirds living on their farms. He knew everyone by name and was adored and respected by old and young alike. He’d changed his Germanic name to Linares to identify more closely with the country of his birth, and liked to be called Lynn. He painted during the day with bright reds and yellows in wide bands of color, freely brushed and ripped on, a technique he claimed preceded Jackson Pollock, who he insisted had seen his work. He’d had one-man shows in New York and Mexico City.” (Wild Man, 12).
Elsewhere, Schneebaum describes how Ernesto “had inherited a considerable amount of farmland on the outskirts of Ajijic, but he spent most of his time painting in a drip technique that might have preceded the work of Jackson Pollock.” (Secret Places, 7)
Schneebaum, Ernesto Butterlin and a third artist Nicolas Muzenic were all employed by Irma Jonas to teach students attending her summer painting schools in Ajijic (held 1947-1949 inclusive). According to Schneebaum, an ill-fated love triangle developed between the three artists at this time, complicated by the arrival of “haughty and radiantly beautiful” Zoe, the “fourth member of our group”, who had previously been living with Henry Miller in Big Sur, when she heard about Lin and decided to visit Ajijic:
“After my return to Ajijic from Mexico City, other foreigners came to stay, notably Nikolas (sic) Muzenic, with whom I fell in love. He had been a student of Josef Albers at Black Mountain College… Nikolas, alas, fell in love with Lynn, not with me. It was a disastrous affair that started out as if it would last forever. Nikolas remained in Ajijic for about two years…” (Secret Places, 7)].
In Wild Man, Schneebaum recalls that, “Lynn’s casual ways bewitched and irritated Nicolas, just as Nicolas’s arrogant, snobbish manner attracted and mortified Lynn. Nicolas moved into Lynn’s house and began a frenzied, volcanic affair that lasted two years.” (Wild Man, 13) Schneebaum adds that Nicolas eventually bought the property and forced Butterlin to move out, complete with his large collection of pre-Columbian art.
“Lin” (Ernesto Butterlin) in his Ajijic studio, ca 1962
In about 1948, Ernesto Butterlin, in association with one or more of his brothers, opened an art gallery in Ajijic. This is the gallery pictured in the Life Magazine article (23 December 1957) about Ajijic. The “Margo de Butterlin” or “Margaret North de Butterlin” described in that article was Otto’s lover (during his marriage to Peggy); Margo married Ernesto (who was gay) in order to acquire the Butterlin surname; she appears to have provided the financial means to help establish the gallery. In Life Magazine, she is described as “both rich and fashionable”, as well as, “US-born but Mexican by her last marriage”. The article goes on to say that “Her present husband runs the Galeria where the painters display their works and also buy drinks.”
Ernesto Butterlin: Untitled, ca 1950. Reproduced by kind permission of Katie Goodridge Ingram
Disappointingly little is known of what became of most of Ernesto Butterlin’s pioneering artworks, and whether any are held in public collections, though both Ernesto and his older brother Otto were among the 28 artists given a joint exhibition in June 1954, in Mexico City, at the Instituto Nacional de Bellas Artes’ Salón de la Plástica Mexicana. Other artists whose work was featured on that occasion include Roberto F. Balbuena,Michael Baxte,Leonora Carrinqton,Enrique Climent, José Feher, Elvira Gascón, Gunther Gerzso and Carlos Mérida.
In 1962, ‘Linares’ exhibited at the 1st Annual Exhibition of Paintings and Sculptures on Ajijic Beach, organized by Laura Bateman’s Rincón del Arte gallery. Other artists from Ajijic in this juried show with prizes, held in front of Posada Ajijic, included Antonio Cárdenas, Mary Cardwell, Juan Gutiérrez, Dick Keltner, Carlos López Ruíz, Betty Mans, Gail Michels, John Minor, Eugenio Olmedo, Florentino Padilla, Tink Strother, Digur Weber, Doug Weber, Rhoda Williamson, Sid Williamson, Javier Zaragoza and Paul Zars. Also exhibiting were José Ramos and Padre Santiago Ramírez (both from Jocotepec) and Javier Martínez (from Chapala), as well as Alfredo Santos and Gustavo Sendis from Guadalajara.
Ernesto Butterlin died in 1964. Schneebaum’s claim that Lin “…committed suicide. In order to fit his six-foot, four-inch body into the coffin, it was necessary to cut off his feet at the ankles.” (Secret Places, 7) is sensationalist and less than reliable. Ernesto Butterlin’s funeral and wake were held at the home in Ajijic of John Lee, an American writer who was a friend of the artist in the early 1960s. Lee has written that Ernesto, who “stayed single and was a friend of Eric, the Hildreths, the Hoppers, and me”, “died of cancer”, a version of events substantiated by others who were around at the time, including the art gallery owner Katie Goodridge Ingram.
Partial list of sources:
Colony Reporter (Guadalajara), 16 July 1964.
El Informador: 24 Jan 1947, 6; 2 June 1962, 11.
Tobias Schneebaum, Wild Man, Viking Press, 1979
Tobias Schneebaum, Secret Places: My life in New York and New Guinea, University of Wisconsin, 2000
This article was updated on 1 May 2016 to include mention of Ernesto Butterlin’s wife. As always, we would love to receive any comments, corrections or additional information.
Clement Woodward Meighan (1925-1997) was an archaeologist who undertook field research in southern California, Baja California and western Mexico. His main link to the Chapala area is that he was the lead author (with Leonard J. Foote as co-author) of the monograph, Excavations at Tizapán el Alto, Jalisco (University of California Los Angeles, 1968).
Tizapán el Alto is the largest town on the southern shore of Lake Chapala. Foote led two fieldwork seasons at the site, and among the research students and volunteers helping on the dig was painter and muralist Tom Brudenell.
Photo from cover of Onward And Upward!: Papers in Honor of Clement W. Meighan
Born in San Francisco, Meighan also lived in Phoenix, Arizona, (to recover from double pneumonia contracted before he was five years old) and in California’s San Joaquin Valley.
He first visited Mexico at age 17, when he spent several months in the country, traveling by the cheapest means he could find, which included 4th class trains. The following year, at age 18, he was drafted into the U.S. military. He was severely wounded while on active service in the second world war and spent three years in and out of military hospitals, before finally being discharged, still with a permanent limp. After the war ended, he used G.I Bill funding to study at the University of California, Berkeley, gaining undergraduate and doctoral degrees in anthropology, in 1949 and 1953 respectively.
In 1952, Meighan was appointed instructor in anthropology at the University of California, Los Angeles (UCLA). He remained at UCLA for close to forty years before retiring from that institution in 1991. His contributions to UCLA (and to archaeology) were considerable. He founded the university’s archaeological survey, chaired its anthropology department, and played key roles in several regional and national organizations.
In addition to his work in California and Mexico, Meighan also undertook archaeological fieldwork in Utah, Arizona, Belize, Costa Rica, Chile, Guam, Nubia and Syria.
Meighan made important contributions to the fields of faunal analysis, rock art studies, and obsidian hydration analysis. He was one of the first modern archaeologists to recognize the importance of scientifically excavating sites in western Mexico. Since Meighan’s early work, several archaeological sites in Western Mexico, including El Ixztepete and Guachimontones have been partially restored and opened to the public.
Among his more noteworthy students at UCLA was writer Carlos Castaneda (The Teachings of Don Juan; a Yaqui Way of Knowledge, 1969). Taking Meighan’s class “Methods in Field Archaeology”prompted Castaneda to undertake a deeper study of Shamanism.
Meighan accompanied the 1962 expedition funded by mystery writer Erle Stanley Gardner to record painted rock shelters in central Baja California. That expedition led to Gardner writing an article for Life and the book The Hidden Heart of Mexico (1962) as well as Meighan’s later academic account of the paintings in a 1966 journal article.
Meighan’s books on archaeology include: Californian Cultures and the Concept of an Archaic Stage (1959); A New Method for Seriation of Archaeological Collections (1959); Archaeology: an Introduction (1966); Prehistoric Rock Paintings in Baja California (1966); Indian Art and History. The Testimony of Prehispanic Rock Paintings in Baja California (1969); The Archaeology of Amapa, Nayarit (1976); Messages From the Past: Studies in California Rock Art (Monograph XX) (1981); Archaeology for Money (1986). Meighan was also co-author of numerous works including Sculpture of Ancient West Mexico: A Catalogue of the Proctor Stafford Collection at the Los Angeles County Museum of Art (University of New Mexico Press, 1989) and Discovering Prehistoric Rock Art: A Recording Manual (1990).
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.
John Macarthur (“Jack”) Bateman was a painter, author and architect who was born on 9 October 1918 in Pittsburgh, Pennsylvania and died on 15 March 1999. Bateman moved to Ajijic with his wife Laura Woodruff Bateman and three young children in 1952; the couple quickly became pillars of the local community, making exemplary contributions to the local social, cultural and artistic scene.
The Batemans were living in New York City prior to moving to Mexico. They responded to an advert in The New York Times which offered a home in Ajijic, together with five servants and a boat, for the princely sum of 150 dollars a month.
Jack Bateman studied architecture at the Carnegie Institute of Technology (now Carnegie Mellon University), prior to be called up for military service in January 1942. He served in the U.S. Navy from 21 January 1942 to 22 September 1945 at various Naval Air Stations, including a spell in North Africa flying submarine-hunting dirigibles. After the war, he completed his studies and then set up an industrial design studio in New York to produce, among other things, molded architectural elements made of plaster.
According to a blog post by Jack’s son-in-law Tom Vanderzyl, this led to Bateman having an unexpectedly significant impact on the work of the great German-born abstract expressionist artist Hans Hofmann who was living on the floor below:
…the painter/architect John MacArthur Bateman had a studio just above Hans Hoffmann (sic). In his studio, John poured large heavy 55-gallon drums of plaster into molds for architectural elements. It seems one day a plaster mold broke and sent 55 gallons of plaster pouring across his wooden plank floor that was also the ceiling of the studio under him, and the plaster dripped through the ceiling of the studio below. At the time, Hans had all of his paintings out looking them over for his upcoming show. Hans shouted upstairs in German for it to stop and that he needed help covering his work from the dripping plaster. Bateman along with his klutz brother-in-law, who had dropped the mold in the first place, came down to help. They used blankets and canvas in an attempt to cover the paintings, but it was too late. The plaster was setting up and the damage was done. Bateman put the best spin on it by telling Hans that his paintings needed that texture made by the pressed fabric and wet plaster and that the new tactile surface was in many ways more interesting. Now, he only needed to paint over the white plaster to get a far more interesting surface. Hans Hoffmann’s show was a success, and he would pop up to borrow plaster from time to time and talk with Bateman about materials.
For the first few years in Mexico, Jack Bateman commuted back and forth to New York, spending about one week a month in the U.S. At home in Mexico, he spent time on his art and began to write. He authored five books including Loch Ness Conspiracy (New York: R. Speller & Sons, 1987), as well as a play, Caldo Michi, first performed in Ajijic in November 1998.
When the Lakeside Little Theater needed a new home in the mid-1980s, Bateman was a strong supporter of a plan to build a purpose-built facility on land donated by Ricardo O’Rourke, and acted as architect. The theater opened in 1987 and became the permanent home of Mexico’s most active English-language theater.
At various times sailor, artist, pilot, architect, writer and marketing consultant, whatever he turned his mind to, Jack Bateman made many unique contributions to the world.
For her part, Laura Bateman was a patron of the local arts scene in Ajijic, opening the village’s first purpose-built gallery, Rincón del Arte, at Hidalgo #41, Ajijic in about 1962. (For a couple of years prior to that, she had arranged shows in her own home). Rincón del Arte, which ran for many years, had monthly shows, featuring dozens and dozens of artists.For example, Whitford Carter exhibited at Rincón del Arte in both February 1967 and August 1968, while Peter Huf and his wife Eunice (Hunt) Huf held a joint exhibit there in December 1967 .
Jack and Laura Bateman’s eldest daughter, Alice M. Bateman, studied in Guadalajara, London (U.K.), New York and Italy before becoming a successful professional artist-sculptor based in Forth Worth, Texas.
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.
Peter Everwine (born in Detroit, 14 February 1930) is an American poet who spent a sabbatical year in Mexico in 1968-1969. While living in the Lake Chapala area, Everwine (who had traveled previously in Mexico) became friends with (Don) Shaw and Tom Brudenell, both then living in Jocotepec.
Of all Everwine’s poems, the one most obviously related to Lake Chapala is “The Fish/Lago Chapala”, which was published in Keeping the night: poems (Atheneum, 1977) and reprinted several years later in From the Meadow: selected and new poems (University of Pittsburgh Press, 2004). “The Fish/Lago Chapala” opens with the following stanza:
Sunrise, the tiny
almost transparent fish of Chapala
drawn in nets.
All afternoon shining and steaming
on the roadsides, scattered
or in small mounds
like fingers of broken glass.
The poem goes on to depict a child’s funeral procession, before ending with a more abstract third section.
Everwine was raised by his Italian-speaking grandmother in western Pennsylvania. He earned his BS from Northwestern University in 1952 and served in the Army from 1952 to 1954. After military service, Everwine undertook graduate studies in English at the University of Iowa, which awarded him a PhD in 1959.
After teaching English at the University of Iowa from 1959 to 1962, he taught English and creative writing at California State University, Fresno, retiring from that post in 1992. He was a senior Fulbright lecturer in American poetry at the University of Haifa, Israel, and in 2008, was a visiting writer at Reed College, Portland.
Everwine’s poetry has appeared in The Paris Review, Antaeus, The New Yorker, and American Poetry Review, and he has published seven collections of poetry, including Collecting the Animals (1972), described by one reviewer as “calmly dazzling poems”, Keeping the Night (1977), Figures Made Visible in the Sadness of Time (2003), From the Meadow: Selected and New Poems (2004) and Listening Long and Late (2013).
His work has brought him numerous awards, including Guggenheim and National Endowment for the Arts fellowships; the Lamont Poetry Prize in 1972; a Horizon Award in 2008; Best American Poetry 2008; and Pushcart Prize XVII.
Everwine has also published two books of translations of Nahuatl poetry: In the House of Light (Stone Wall Press, 1969) and Working the Song Fields (2009), and is responsible for translations of two works by controversial Israeli poet Natan Zach: The Static Element (1982) and The Countries We Live In: The Selected Poems of Natan Zach 1955-1979 (2011).
Everwine’s work is included in several poetry anthologies, including The geography of home: California’s poetry of place (edited by Christopher Buckley, Gary Young for Heyday Books, 1999) and How Much Earth: The Fresno Poets (edited by M. L. Williams, Christopher Buckley and David Olivera for Heyday Books, 2001).
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.
Lily Dulany Cushing was born in Newport, Rhode Island, on 13 January 1909 and passed away on 21 September 1969 in Fishers Island, New York. She was married three times, but throughout her artistic career appears to have signed most paintings “L.C”.
Lily Cushing, 1942. Photo by Horst P. Horst.
Her first, brief, marriage in 1929 was to George Crawford Clark Jr. After their divorce, in 1932 she married William Temple Emmet Jr. The couple had two daughters. Following their divorce, Cushing took Navy Captain Alston Boyd as her third husband, in 1953. As a result, her art is listed under various names including Lily Emmet Cushing and Lily Cushing Boyd.
Cushing, whose father Howard Gardiner Cushing (1869-1916) was a noted figure and mural painter, began painting at the age of 5, and went to Europe at age 16 to study in Paris with Alexandre Jacovleff. She also took classes in New York with American artist Walt Kuhn, then at the forefront of the modern movement.
In 1930, a few weeks after her twenty-first birthday, Cushing had her first of many solo exhibitions, at the Arden Gallery in New York. Cushing is best known for landscapes and still lifes of flowers, but subsequently took to watercolors and then oils later in her career.
Her paintings can be found in the collections of the Metropolitan museum, the Whitney, and the Museum of Modern Art, in New York City, and in many private collections.
Lily Cushing. “Guadalajara.” n.d.
In the early 1960s, she spent some time in Mexico, visiting various locations including Lake Chapala. A landscape painting of the central Mexican volcano of Popocatapetl dates from this time, as does a painting sold at auction entitled “Guadalajara” (see image).
Much more interesting for our purposes are two paintings – “Chapala Beach” and “Posada Garden with a Monkey” – listed in the 1971 and 1986 Annual Reports of the National Gallery of Art in Washington D.C. as being on extended loan to the Supreme Court of the United States. We have not managed to find photos of these two paintings and would welcome more information about them, including the year they were painted.
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Novelist and acclaimed creative writing instructor Smith Kirkpatrick spent several summers in Ajijic, with his wife Barbara, in the early 1960s and at one point was apparently working on a novel set in the village. The novel was never published.
Kirkpatrick was born near Paris, Arkansas, on 28 November 1922, and passed away in Gainesville, Florida, on 6 June 2008. As a child he became fascinated with natural history and determined to make his career based on writing. A former merchant seaman, he served in both World War II and Korea as a U.S. naval aviator, flying torpedo planes. He apparently survived seven crash landings before ending up in a VA hospital. Following his discharge in the mid-1950s, he studied English at the University of Florida in Gainesville, under novelist and critic Andrew Lytle, who had established the Creative Writing program there in 1948.
Kirkpatrick, known simply as “Kirk” by many of his students, became a creative writing instructor at the university in 1956, took over from Lytle as Director of the Creative Writing Program in 1961 and finally retired from teaching in 1992. In the interim, he had taught an entire generation of students, many of whom went on to become fine writers. Perhaps his most famous student was Harry Crews, author of more than twenty novels. Crews’ first novel, The Gospel Singer, was dedicated to Kirkpatrick. While his liberal teaching style was not always appreciated by the university administration, the tributes paid to him after his death by former students speak for themselves.
Among other accomplishments during his tenure, Kirkpatrick founded The Florida Writers’ Conference, an annual week-long symposium attracting participants from far afield, including not only writers, but also agents and editors.
Kirkpatrick only published one novel, The Sun’s Gold: A Novel of the Sea (Boston: Houghton, Mifflin, 1974), which was favorably received by critics. The novel, partly autobiographical, is about a young Arkansas boy (named “No Name”) who goes to sea aboard the “Ekonk”, a particularly undistinguished merchant vessel, seeking adventure. The ship, with her cast of memorable characters, is bound for a war-torn port in Africa, carrying munitions and beer. The youth’s voyage is one of self-discovery, becoming much more complicated after he kills a man in a brawl ashore. As the Kirkus reviewer summarizes, Kirkpatrick’s point “is that a worm-ridden mankind can turn to gold in the sun”.
Kirkpatrick also wrote several published essays and short stories, including “Silence,” (The Southern Review, Winter 1968) and had plans at one stage for a book of children’s poems.
Sources:
Sources include the inaugural issue of The Christendom Review, which was dedicated to the memory of Smith Kirkpatrick.
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.
American artist and author Paul Alexander Bartlett (1909-1990) was a frequent traveler to Mexico who developed an obsession with Mexico’s ancient haciendas. Bartlett devoted years of his life to studying and documenting these haciendas (the mainstay of the colonial-era economy), gradually compiling an artistic record covering more than 350 of them throughout the country.
While it is not entirely clear precisely when Bartlett lived in the Chapala region, during his time there he painted and drew exquisite pen and ink drawings, such as this one of the Hacienda de Zapotitán, a short distance north of Jocotepec.
Pen-and-ink drawing by Paul Bartlett of Hacienda de Zapotitán, Jalisco
Bartlett explored Mexico with his wife, poet and writer Elizabeth Bartlett (1911-1994). The couple first met in Guadalajara in 1941 and married two years later in Sayula. Their son Steven James Bartlett (born in Mexico City and now a widely published author in the fields of psychology and philosophy) subsequently accompanied them as they roamed all over Mexico looking for photogenic and noteworthy haciendas.
Steven Bartlett recalls that the family definitely lived for some months in the Chapala-Ajijic area in the early 1950s. He remembers that his father knew author Peter Lilley (who, with first one writing colleague and then another, used the pen-name of Dane Chandos to craft, among other works, Village in the Sun and House in the Sun, both set at Lake Chapala). The Bartlett family also revisited the Chapala area several times in the 1970s, during the time they were living in Comala, Colima. During these later trips, his father gave lectures about haciendas while his mother gave poetry readings.
Bartlett eventually compiled the beautifully-illustrated book The Haciendas of Mexico: An Artist’s Record, first published in 1990 and readily available now as a free Gutenburg pdf or Epub. The book has more than 100 photographs and illustrations made in the field from 1943 to 1985 and is an excellent starting point for anyone interested in the history, economics, art and architecture of Mexico’s colonial haciendas. For a brief review of this book, see The Haciendas of Mexico: An Artist’s Record on the Geo-Mexico website.
Bartlett’s hacienda art work has been displayed at the Los Angeles County Museum, the New York City Public Library, the University of Virginia, the University of Texas, the Instituto Mexicano-Norteamericano in Mexico City, and at the Bancroft Library, among other places.
An archive of Bartlett’s original pen-and-ink illustrations and several hundred photographs is held in the Benson Latin American Collection of the University of Texas in Austin. A second collection of hacienda photographs and other materials is maintained by the Western History Research Center of the University of Wyoming in Laramie.
Paul Alexander Bartlett (1909-1990) attended Oberlin College and the University of Arizona, before studying art at the National University of Mexico (UNAM) and in Guadalajara. He was an instructor in creative writing at Georgia State College and Editor of Publications at the University of California Santa Barbara (1964-70).
Bartlett had dozens of short stories and poems published in magazines such as Southwest Review, Crosscurrents, Antenna, Etc, Greyledge Review, Prospice, and Queen’s Quarterly, and also wrote the short novel Adios, mi México (1983), and the novel When the Owl Cries (1960). Free online editions of several of his books are available via his author page on Project Gutenberg.
Acknowledgment
Sincere thanks to Steven Bartlett for sharing his memories of the family’s time in Mexico.
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.
Distinguished American poet and painter John Brandi (born in California in 1943) and his wife Gioia lived in Jocotepec for about eighteen months, from the winter of 1968-69 to mid-1970. The couple’s youngest child, Giovanna, was born in Jocotepec.
Brandi graduated in 1965 from California State University, Northridge, with a B.A. in art and anthropology, before working as a Peace Corps volunteer with Andean farmers in Ecuador from 1966 to 1968. In Ecuador, he began to keep detailed, illustrated journals, a practice he continued while in Mexico. He was an early proponent of “do-it-yourself” self-publishing, producing hand-sewn mimeograph editions.
During his time in Jocotepec, Brandi composed illustrated “myth masses”, as well as hand-made poetry books.
In April 1969, Brandi took part in a collective exhibit that opened 18 April 1969 at La Galería, Ajijic. The announcement in Guadalajara daily Informador (20 April) lists the artists as John Kenneth Peterson, Charles Henry Blodgett (guest artist) and “El Grupo” (John Brandi, Tom Brudenell, Peter Paul Huf, his wife Eunice (Hunt) Huf, Jack Rutherford, Shaw, Cynthia Siddons and Robert Snodgrass).
In June 1969, and in a bid to challenge the artistic status quo in the Lake Chapala area, John Brandi joined with Brudenell and Shaw (all three artists were living in Jocotepec) in staging the Chula Vista “happening”. Brandi contributed drawings, milagros (folk charms) and poems to the happening, which opened, perhaps appropriately, on Friday 13 June.
Sketches by John Brandi for Chula Vista Happening
Brandi, a life-long political activist who joined protests against the American War in Vietnam, was living in the San Francisco Bay area, when he found his first publishing success, with a collection of poems entitled Desde Alla (Christopher’s Press, 1971). While he was living for a summer in a miner’s shack in the Sierra Nevada foothills of California, he met Gary Snyder, immortalized by Jack Kerouac in The Dharma Bums as Japhy Ryder. Snyder introduced him to Japanese poet-wanderer Nanao Sakaki.
In 1971, Brandi moved to New Mexico, where he built a cabin in a remote canyon, and founded Tooth of Time Books, which became a nationally-recognized poetry press.
John Brandi has had numerous collections of his poetry published, including Desde Alla (Christopher’s Press, 1971); Chimborazo: Life on the Haciendas of Ecuador (Akwesasne Notes Press, 1976); That Back Road In (Wingbow Press, 1985); Shadow Play: poems 1987-1991 (Light and Dust Books, 1992); Weeding the Cosmos (La Alameda Press, 1994); Heartbeat Geography: Selected & Uncollected Poems (White Pine Press, 1995); A Question of Journey: travel episodes India, Nepal, Thailand (Book Faith, India, 1999); Reflections in the Lizard’s Eye: High Desert Notes (Western Edge Press, 2000); Empty Moon : Belly Full, Haiku from India & Nepal (Pilgrims Publishing, India, 2000); In What Disappears (White Pine Press, 2003); One Cup and Another (Tangram Press, 2004); Water Shining Beyond the Fields (Tres Chicas Press, 2005); Staff in Hand, Wind in Pines (Tangram Press, 2008); Facing High Water (White Pine Press, 2008); Road to the Cloud’s House (with Renée Gregorio, La Alameda Press, 2009); Seeding the Cosmos: New & Selected Haiku (La Alameda Press, 2010); and The World, the World (White Pine Press, 2013).
Brandi has also undertaken translations, including parts of An Eye through the Wall: Mexican Poetry, 1970-1985 (Tooth of Time Books, 1986).
Brandi’s paintings have featured in numerous exhibitions including: San Francisco Public Library; Roswell Museum of Art, Roswell; New Mexico History Museum, Palace of the Governors, Santa Fe; Loka Cafe Gallery, Taos; Harwood Art Center, Albuquerque; Cruz Gallery, Santa Fe; Randall Davey Audubon Center, Santa Fe; Claudia Chapline Gallery, Stinson Beach, California; North Columbia Cultural Center, Nevada City, California; Woodland-Pattern Book Center, Milwaukee; Laurel Seth Gallery, Santa Fe; University of New Mexico Thompson Gallery, Albuquerque; Return Gallery, Taos; Moody Gallery, Houston, Texas.
Source
http://www.johnbrandi.com/art-oils-acrylics.html [14 May 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.
Artist Ray Cooper, a friend of Tom Brudenell, traveled with Brudenell from Berkeley to Jocotepec in late 1967 and remained in the town for several months until April 1968. It was during the town’s annual January fiestas in 1968 that Brudenell drew a barefoot Cooper, working by candlelight at a desk, under the protection of a typical Jocotepec tiled roof:
Tom Brudenell: Ray Cooper in Jocotepec, 1968
Brudenell recalls his Berkeley friend as long-haired, usually barefoot, and absorbed in his art and his family.
Cooper has vivid memories of their trip to Mexico, perhaps because it was his first trip abroad. He remembers that he did not want to be seen as a hippie, given that at that time “hippies were being deported” from Mexico. To that end, he kept his hair short, never wore shorts, and “wore long sleeve white or light blue dress shirts and clean Levi’s… We dressed to a middle class Mexican standard, avoided marijuana and were sober.”
Cooper, born in 1942, studied at the Cornish School of Allied Arts in Seattle (1962-1963) and the California College of Arts and Crafts in Oakland (1964-1967). Disillusioned by the direction art education was taking, and demoralized by the Vietnam War, Cooper dropped out of art school, and jumped at the chance to travel with Brudenell to Mexico.
Cooper recalls that they entered Mexico after a detour to Phoenix to collect a dark-haired, bespectacled girl named Peggy who was on her way down to San Miguel de Allende to start a photography class. He remembers that, after an adventurous trip, they left Peggy in San Miguel and returned to Lake Chapala, where they looked for a house to rent. Deciding that rents were too high in Chapala and Ajijic, they settled on a small home in Jocotepec, where both painters soon became immersed in their work.
(Coincidentally, Ray Cooper’s brother Stanley and one of his brother’s close friends, the artist Billy King, would both later live in the Lake Chapala area for many years.)
Cooper loved Mexico. He liked the people, enjoyed the food and found new artistic freedom in being there. His trip turned out to be the start of extensive travels in various parts of the world, including Costa Rica, Mauritius, France, Greece, Italy, Tunisia and Egypt.
Ray Cooper: Travelers (ca 1970). Reproduced by kind permission of the artist.
While in Mexico, Cooper discovered Huichol Indian art for the first time. He greatly admired the ceramics skills of pre-Columbian potters in Colima, renowned for their beautifully-proportioned portrayals of animals and zoomorphic figures. Spending time in Guadalajara, contemplating the striking, large-scale murals by artists such as José Clemente Orozco, also had a powerful influence on his art.
Shortly after his return to the U.S., Cooper utilized his memories of the art of Huichol Indians, Colima potters and Mexican muralists, to help him draw a stage backdrop of imaginary figures for a Halloween Ball fund-raiser for the (later controversial) Synanon rehabilitation program in San Francisco.
Cooper’s fine paintings have been featured in many exhibitions, including at the California Biennial Competitive Show, Richmond, California (1968); San Francisco Museum of Modern Art (1968); Geyser Peak Winery Reception Center, California (solo show, 1975); Napa Sonoma Wine Industry Competitive Exhibit, California (Prize-winning, 1975); Oregon Episcopal School Faculty Exhibitions, Portland (1979-1993); Botanical Garden, Asheville, North Carolina (solo show, 2002); Muse Salon, Haywood Park Hotel, Asheville (2003); The Casbah, Tunis, Tunisia (2004); Holy Ground, Asheville, North Carolina (solo show, 2007); Converse College, Spartanburg, South Carolina (collaborative exhibit with Tunisian artist Hamadi Ben Saad, entitled “Trans-Atlantic Voyages”, 2010); Opportunity House, Hendersonville, North Carolina (solo show and workshop, 2012); Starving Artist Art Supply and Gallery, Hendersonville, North Carolina (2012); The Arts Arena Gallery, Delray Beach, Florida (2014).
Ray Cooper: Temple (2013). Reproduced by kind permission of the artist.
Alongside his art, Cooper worked for many years in landscape design. This is especially evident in many of his later paintings which are powerfully simple depictions of the natural world.
On his website, Cooper explains that,
My work explores the mystery of life using easily read symbols that imply passage of time and evolution. The earth, sky, water, clouds, ferns, flowering trees, and fruit are essences abstracted to represent everything.”
While we cannot know how all this came to be, we must wonder. Science can only describe, it does not explain. A transcendent element in science is possible, and faith without rational thought does not necessarily rise above superstition. To know anything, both are necessary.
Questioning the nature of Nature, plus having faith in the existence of a Divine ultimate reality are equal in my attempt to understand the world. The profound mystery of life requires a leap of faith and my paintings are about that.”
Want to learn more?
Ray Cooper’s website – http://www.raycoopergallery.com/ – had numerous examples of recent work but is no longer active.
Sincere thanks to both Tom Brudenell (first interviewed at his home, 1 Feb 2015) and Ray Cooper (first interviewed by phone and email, 15 April 2015) for sharing their memories of Mexico.
The art group known as Grupo 68 was founded in 1967 and initially comprised Peter Huf, his wife Eunice (Hunt) Huf, Jack Rutherford, John Kenneth Peterson and Shaw (the artist Don Shaw). Jack Rutherford dropped out after about a year, but the others remained as a group until 1971.
Grupo 68 exhibited regularly (most Sunday afternoons), from early in 1968, at the Hotel Camino Real in Guadalajara, at the invitation of the hotel’s public relations manager Ray Alvorado (a singer) and also held many group shows in Ajijic, both at Laura Bateman’s Rincón del Arte gallery, as well as (later) in “La Galería”, the collective gallery they founded at Zaragoza #1, Ajijic. In addition, the group also showed in Guadalajara with José María de Servín, El Tekare, and at Ken Edwards store in Tlaquepaque.
January 1968 – 20 January 1968 – All four artists included in a group show at Ken Edwards (El Palomar), Tlaquepaque – 9 artists in total. Opened Saturday 20 January 1968. Artists: Eunice Hunt, Peter Paul Huf, Shaw, John Kenneth Peterson, Coffeen Suhl, Hector Navarro, Gustavo Aranguren, Rodolfo Lozano, Gail Michaels [“Michel” on invite].
1968 – 1971 Camino Real Hotel, Guadalajara. Grupo 68 members held weekly shows most Sundays by the hotel pool. Participation varied, but usually included works by all four artists.
July 1968 – Tekare penthouse, 16 de Septiembre #157, 10th floor, Guadalajara. All four members of Grupo 68 (Eunice Hunt, Peter Paul Huf, Shaw, John Kenneth Peterson). Opened on Tuesday 23 July 1968, and was very favorably reviewed by Allyn Hunt in “Art Probe” (Guadalajara Reporter, 27 July 1968) :
“four highly independent artists (with four very different styles) who have the discipline, while regularly showing together, not to adopt a group means in approaching pictorial problems.”
“Most immediately charming are Eunice Hunt’s acrylic and pen and ink pieces, “Fleurs du Mal”, “Ophelia” and “Aurora”.”
“Peter Huf exhibits two serigraphs of exceptional strength… these are among the show’s best works.”
“Donald Shaw is probably this group’s most exploratory imagination, the one that when working at peak thrust, dominates technique and pictorial concepts most thoroughly.”
“John Peterson displays several mosaic-like watercolors, the best of which are his ferris wheel pictures and “Butterfly”.”
September 1968 – “re-opening” of the Rincon del Arte gallery in Ajijic – Calle Hidalgo 41, 21 Sep 1968 – 10 October. Group show, including all four Grupo 68 members, opened Saturday 21 September – Eight painters, one sculptor (Joe Wedgewood, recently arrived from Santa Monica, California). Artists: Tom Brudenell, Alejandro Colunga, Coffeen Suhl, Eunice Hunt, Peter Paul Huf, John K Peterson, Jack Rutherford, Donald Shaw, Joe Wedgewood. [by then Shaw had been identified as Donald Shaw]
October 1968 – Works of Jose María de Servín and Grupo 68, at Galería del Bosque, Calle de la Noche 2677, Guadalajara; opened 24 October 1968. All four members of Grupo 68 (Shaw, John Kenneth Peterson, Eunice Hunt, Peter Paul Huf) in a joint show, as part of the Cultural Program of the International Arts Festival for the XIX Olympics.
December 1968 – “Art is Life; Life is Art” at La Galería, Ajijic. All four Grupo 68 members joined with other artists in a group show “The Group” (“El Grupo”) at the re-opening of La Galeria in Ajijic; show ran from Friday 13 December 1968 to 10 January 1969. Artists: Tom Brudenell, Alejandro Colunga, John Frost, Paul Hachten, Eunice Hunt, Peter Paul Huf, John Kenneth Peterson, Jack Rutherford, José Ma. De Servin, Shaw, Cynthia Siddons, Joe Wedgewood. A review in Guadalajara Reporter said that,
“The very entryway bristles with such attention-grabbing pictures as Paul Hachten’s etching of the map of the United States, John Frost’s delicate photoprint nude, Eunice Hunt’s haunting “Labyrinth” – in which webs of gentle orange have been deftly squeezed against a gray and black background. One of the best works in the show is hung here: Donald Shaw’s tour de force serigraph, “Spore Box”, presenting us with brilliantly-conceived chromatic ideas and imaginative forms which do not relay on optical illusionism, excessive optical vibration or three-dimensionality. This is undoubtedly the best serigraph Shaw – who has executed several series of rewarding prints – has produced.”
February 1969 – Three of the Grupo 68 exhibited at the Tekare penthouse restaurant-gallery, 16 de Septiembre #157, 10th floor, Guadalajara; opened 4 February. Artists: Eunice Hunt, Peter Paul Huf, Shaw.
April 1969 – All five members of the original Grupo 68 showed works in a collective exhibit that opened 18 April 1969 at La Galería, Ajijic. The announcement in Guadalajara daily Informador (20 April) lists the artists as John Kenneth Peterson, Charles Henry Blodgett (guest artist) and “El Grupo” (John Brandi, Tom Brudenell, Eunice Hunt, Peter Paul Huf, Jack Rutherford, Shaw, Cynthia Siddons and Robert Snodgrass).
June 1969 – Grupo 68 show at Instituto Aragon, Hidalgo 1302, Guadalajara, opened 25 June. All four Grupo 68 artists (Shaw, Eunice Hunt, Peter Paul Huf, John Kenneth Peterson) were involved (see image).
September 1969 – (3 September for a month) – Three Grupo 68 artists exhibited together at Galeria 1728 (owned by Jose María de Servin), Hidalgo 1728, Guadalajara. The show was entitled 7-7-7 (7 works each by Eunice Hunt, Peter Paul Huf and Shaw, the show’s title derived from the Olympics scoring system); opened on Wednesday 3 September.
Sources:
Peter Paul Huf and Eunice Hunt (interviewed in 2014); photos and gallery invitations in collections of Peter Paul Huf, Eunice Hunt, Tom Brudenell and others.
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.
In June 1969, three young Jocotepec-based artists – John Brandi, Tom Brudenell, and Shaw – joined forces to stage a Cocktail Party “happening” [1].
What exactly did the artists have in mind?
According to Shaw, the prime instigator of the event, the purpose of the Chula Vista happening, or “performance”, was to challenge the artistic status quo in the Lake Chapala area. It was intended to be deliberately provocative, hence the choice of venue being Chula Vista, the first retirement real estate development in the area. The idea was to target American retirees, many of whom, Shaw felt, were only there because land, building materials and labor were far cheaper than in the States. Though they chose to live there, many of them “hated the people who worked for them”: the campesinos, maids and gardeners.
Brudenell’s motives were somewhat different. He wrote at the time that all three artists had independently come to believe that observers needed to do more than simply observe, they needed to be drawn into the artists’ work. The artists’ terminology differed but shared ample common ground: Brudenell’s idea of “Hypnosis” was essentially the same as Brandi’s “Participation” and Shaw’s “Ritual”. In consequence, Brudenell (who prefers to call the event a “Myth-Mass”) says that this “ritual” event was aimed at creating an atmosphere that might stimulate the audience to venture beyond passive viewing.
All three artists intended this to be a trial run for a series of later “Myth-Mass” events targeted at diverse groups and communities, from small-town America to the Oakland chapter of the Hell’s Angels. (For a variety of reasons, these plans were never realized).
Where, when, and how?
The Chula Vista Cocktail Party happening was held in a partly-completed building alongside the Chula Vista motel, mid-way between Ajijic and Chapala, and took place, perhaps appropriately, on Friday 13th June 1969.
Whatever the precise motivation, this seems to have been Mexico’s first ever artistic happening, occurring a few years after the earliest happenings in the U.S., but at about the same time as the first to be held in Canada.
A couple of weeks prior to the event, the three artists spent three or four days in the Chula Vista area, interviewing residents, gathering ideas and taking photos of the people, workers and area. Some of this material became an integral part of the happening.
The three artists made somewhat different contributions to the overall event. John Brandi contributed drawings, milagros (folk charms) and poems. Brudenell contributed paintings and set up stations (echoing rituals of a mass) with pebbles, bowls, slides and smell-bulbs (olfactory triggers for the recall of past experiences). Shaw made prints of symbols and constructed 3-D scenes involving large transparent plastic symbol forms, stuffed with various figures (many of them dolls) which could be walked through and around.
Brudenell’s journal entries from the months prior to the Chula Vista event offer some fascinating insights into his thinking about how the 1969 Chula Vista event should be organized. The three key elements that Brudenell conceptualized were Setting, Symbols and Ritual.
He saw the Setting as preparatory, but essential to establish “anticipatory impulses”. The Symbols, devices for Affect, needed to “create a following,” while the elements associated with Ritual/Hypnosis/Participation [RHP) needed to grab and hold people’s attention:
“Setting must be familiar stimuli but must prepare O [Observer] for unfamiliar or unacceptable stimuli.”
“Symbols must evoke following or they will become decoration.”
“RHP must be operable in presentation of symbols and can most easily be applied using the mechanisms of the Setting.”.
For this multi-room event to succeed, Brudenell was convinced that the links between elements must be stressed:
“For example, magazine on table in Setting could be photographed on table exactly as it is. The photo would serve (in the Symbol room) as a link between the familiar object and the associated symbolism.”
[The overall purpose is] “not a matter of introducing the NEW (i.e. blowing minds). It is the matter of EXTENDING the ritual beyond the point of its freezing – that point beyond which the People do not wish (fear) to go.”
In autobiographical notes written later for the Emily Carr College Outreach program, Brudenell summarized his own contribution as searching for “universes beyond the limits of the biologist’s microscope and the astronomer’s telescope.”
The invitations (see first image, click to enlarge) said that the event was hosted by “U” (underlined several times, perhaps alluding to an I-Ching symbol, used thousands of years earlier, for opening the mind to receiving answers to fundamental questions). Shaw prepared some unique hand-printed prospectuses, priced at $30 pesos and available on request.
The artists’ plan, by Shaw, for the site was positively architectural, and it was organized so as to ritualize the event, with well-defined steps and symbols, akin to a religious Mass:
The cocktail party was the ritual. The four “ritual objects” or “symbol objects” for the event were steak, screen, check, flower-seed. These were “transition” objects “for leading the viewer deeper into underlying or new perspectives embodied in each symbol. This well-known “symbol search” method has been used in Expressive therapy and art to facilitate an individual’s “inward” awareness, to bring the unconscious into the conscious.”
It was a walk-through event, in which visitors were first offered a cocktail and then ushered along a route through various rooms to view, be exposed to, or take part, in a variety of artistic stimuli. The “manual” written by the artists set out specific requirements for how the various slides, printed images, sense-challenging objects, and so on, should be presented.
All visitors were given an “Instructions” sheet to help explain what they needed to do in order to appreciate the happening to the fullest:
The set-up plan for the first room at the entrance looked like this:
The set-up plan for Room 3 involved slides projected through filters and visitors were asked to place their pebble and read a label before the relevant slides began to be shown:
Room 5 was the show-stopper. Visitors had earlier watched a short movie and studied various still photos. Now they were confronted with sights ranging from a vintage 1910 Ford truck, complete with campesino driver sounding the vehicle’s horn every few minutes, to an indigenous woman in one corner preparing hand-made tortillas over a wood fire.
Was it a success?
Shaw recalls that the event was attended by about 150 people, 90% of whom clearly enjoyed it. He professes himself particularly delighted that the campesinos understood it, and that Mexicans loved it..
He says that the powerful ponche served at the event certainly loosened the audience’s tongues, to the point where one particular American became overly aggressive and had to be repeatedly told to quieten down by other visitors. A few weeks later, when Shaw visited a Mexican official in Guadalajara, the official told him that his office had received a phone call from someone at the U.S. consulate asking that Shaw and his fellow artists be kicked out of the country. The official then laughed and said “That will never happen!” since the event had clearly been enjoyed by everyone else, especially those Mexicans present.
On the other hand, Brudenell doubted that it had been a success. He felt that most of the audience misinterpreted the artists’ intentions, and mistakenly thought they were attending a “light-show” or a “mean-spirited [artistic] ambush”.
His notes, made immediately after the 1969 Chula Vista Myth-Mass, suggest how future events could be improved:
“Person-to-person relationship was neglected. Apparent feeling that the “machine” would do it all was primary cause of failure. Unprepared hostesses did not provide guidance for the audience.”
“ORIENTATION is MOST important. Without knowing the ritual beforehand the audience cannot be expected to focus attention on the content of the ritual.”
“Some people felt the rite to be an unsophisticated light-show. The mere use of electricity gives hints of “mind blowing light-show.” Need to avoid being categorized as “light show” – must eliminate electricity in every possible way. Need to emphasize tactile ritual setting – primitiveness.”
What is the event’s significance?
As both Shaw and Brudenell stressed to me, the Chula Vista “Myth-Mass” needs to be viewed against the backdrop of the 1960s. The happening took place at a time when the U.S. had become extremely divided, on account of events such as the Vietnam War, the War on Drugs, and the Civil Rights Movement. It also took place only a year after the killing of up to 300 students in the Tlatelolco massacre in Mexico City. In their various ways, all three artists were caught up in the “Art imitates life” revolution of the 1960s.
Soon after the Chula Vista event, the trio staged two more happenings, both in Guadalajara, but they abandoned plans for similar events in the U.S. Within a year, Brudenell and Brandi had both left Jocotepec and headed north, though Shaw remained in Jocotepec for several more years.
The event also holds significance because it was, almost certainly, Mexico’s first ever artistic happening. It certainly challenged the local community to engage more with local artists.
The entire approach was clearly meant to be provocative, and might almost be considered presumptuous. This particular happening was almost guaranteed to alienate many of those witnessing it! Fortunately for the artists who would follow, it had no obvious adverse impact on the region’s art community.
Lake Chapala had a flourishing artistic and literary community during the 1960s and early 1970s. The area had attracted a good number of talented young artists and writers from Europe and the U.S. This 1969 Chula Vista event was held right in the middle of this particularly fecund period of artistic experimentation and exploration. By the mid-1970s, many of the artists had moved on, taking their experiences from Mexico to look for new challenges and inspiration elsewhere. As we have seen in this series, many would soon became well-recognized artists in their new homes.
The artistic vacuum they left behind at Lake Chapala took some time to fill. It created opportunities for other artists to achieve some degree of commercial success. This was especially true for those who focused on producing art that matched the tastes of the growing tide of incomers moving into the many new residential developments springing up along the lakeshore.
– – –
[1] Footnote: While a “happening” has no precise definition, Wikipedia calls it “a performance, event or situation meant to be considered art, usually as performance art. Happenings occur anywhere and are often multi-disciplinary, with a nonlinear narrative and the active participation of the audience. Key elements of happenings are planned but artists sometimes retain room for improvisation.” –
My sincere thanks to both Don Shaw and Tom Brudenell for commenting on an early draft of this piece, for discussing their memories of this event with me, and for allowing me access to many documents and artworks from their private collections. Unfortunately, my attempts to contact John Brandi, the third artist, for his perspectives, have so far been unsuccessful.
Comments, corrections or additional material welcome. Please use the comments feature at the bottom of individual posts, or email us.
Tom Brudenell (Thomas James Brudenell), a painter, muralist and qualified art therapist who now resides in Canada, was born 18 July 1937 in Kansas City, and lived in the Lake Chapala region for several years in the late 1960s.
When he was a child, Brudenell’s family moved frequently, living for extended periods in Chicago, Sheboygan (Wisconsin) and Kansas City (Missouri). His father was a mechanical engineer, whose own education was cut short by the second world war when he was sent to Caterpillar to help design tank engines.
Brudenell was an active and mischievous child, with great curiosity for the world around him. He excelled in athletics, drawing, desert lore, and all branches of science.
The earliest transformative experience he remembers came when he was seven years old and first saw the Rocky Mountains. Coming from the Great Plains, in the family Plymouth en route to California along Rte. 66, he was awestruck, initially thinking that the mountains were cloud formations.
Brudenell left high school on a full scholarship to study chemical engineering at Rensselaer Polytechnic Institute (RPI), a private research university located in Troy, New York. Coming to the realization that he wanted more than a pure science education, he transferred to the University of California at Berkeley.
At Berkeley, he roomed with archaeology student Len Foote, beginning a lifelong friendship. Brudenell took courses in psychology, the history of art and architecture (given by Walter Horn), literature, and studio art courses taught by Glenn Anthony Wessels (1895-1982), then close to retirement.
After completing his bachelor’s degree in psychology in 1961, Brudenell was drafted into the U.S. Navy, was made an officer, but resigned his commission in 1962 at the time of the Cuban Missile Crisis. He returned to Berkeley and spent the next several years there.
In mid-1965, Brudenell was one of several volunteers who joined Foote, now a qualified archaeologist, on a summer dig in Tizapán el Alto, on the southern shore of Lake Chapala. Brudenell’s job was to live on an isolated rancho, sift earth for pot shards, and explore some caves in the nearby hills.
In September 1965, Brudenell started work as a research assistant in psychology for Dr. Gordon Paul at the University of Illinois. He still found plenty of time to paint, and held a two-person show, with Eva Wei, in 1966, before cutting his research short. By a strange coincidence, four years later he met one of his Illinois professors unexpectedly at the Chula Vista Myth-Mass. Paul asked what he was doing in Mexico, and Brudenell replied that he was painting, writing and experimenting with sensory stimulants – smell bulbs – as olfactory triggers for the recall of past experiences; in fact, he was doing precisely what he had not been able to do in the graduate psychology program at the University of Illinois.
After Illinois, and prior to Mexico, Brudenell spent most of 1967 working in Pueblo Pintado, under the auspices of VISTA (Volunteers in Service to America), with the Navajo Nation, New Mexico.
Move to Mexico
Brudenell moved to Mexico in late 1967. The truck he was driving broke down on the south side of lake, just beyond Jocotepec. He sold it on the spot to a local mechanic for $150, and rented a house in the village. He remained in Jocotepec until mid-1970, painting and filling a series of sketch books and journals.
Even a severe bout of hepatitis served as fuel for his thoughts; it resulted in an extraordinarily intense series of journal entries, “hepatitis dreams”, musings and ideas. Brudenell credits his recovery from hepatitis to the conscientious nursing of Beverly Johnson, a free-spirited young woman with a brood of children, who was also Ajijic’s unofficial village photographer.
Brudenell credits fellow Jocotepec-based artist Donald Shaw, a “vigorous, larger-than-life” painter and sculptor, with convincing him to meet other artists and display his work. Brudenell recalls how Shaw remarked, in a very early conversation, and on account of Brudenell not reciprocating visits or offers of friendship, that he had never previously met anyone who had no ego.
In March 1968, works by Brudenell were included in the inaugural show, entitled “10 Jalisco artists”, at Galeria Ajijic Bellas Artes A.C., organized by Hudson and Mary Rose. That gallery was at Marcos Castellanos #15 in Ajijic, at the intersection with Calle Constitución.
Tom Brudenell: Passage of the patient tortoise (1968). Reproduced by kind permission of the artist
Later that year (31 May-21 June), Brudenell was given his first solo exhibition at the same gallery. His artwork was enthusiastically reviewed by Allyn Hunt for Guadalajara’s Colony Reporter. Hunt urged readers in Guadalajara to take a trip out to the lake: “The most impressive work in this show is the recently-produced “Passage of the Patient Tortoise” which is stunning for its daring compositional structure, its brilliant color use, and its lucid and intelligently-styled forms. This single piece is more than worth the trip to the lake.” Brudenell was familiar with tortoises from his time in the desert south-west and, indeed, shared his Jocotepec home with one.
A few months later, in September 1968, Brudenell was one of 8 painters and a sculptor displayed at the “re-opening” of Laura Bateman’s Rincon del Arte gallery at Calle Hidalgo #41 in Ajijic. The single sculptor was Joe Wedgewood, recently arrived from Santa Monica, California. The other artists were Alejandro Colunga, Coffeen Suhl, Peter Paul Huf, Eunice (Hunt) Huf, John K Peterson, Jack Rutherford and (Donald) Shaw. (Shaw preferred to be known only by his surname.)
Friday 13 Dec 1968 saw the “grand opening” of La Galería, Zaragoza #1, Ajijic, a gallery run by a co-operative of local artists, including Peter Paul Huf and Eunice Hunt. The opening show entitled “Art is Life; Life is Art”, ran through to 10 January 1969 and featured works by Tom Brudenell, Alejandro Colunga, John Frost, Paul Hachten, Peter Paul Huf, Eunice Hunt, John K Peterson, Jack Rutherford, José Ma. de Servin, Shaw, Cynthia Siddons and sculptor Joe Wedgwood.
Brudenell’s works were also shown in Guadalajara, at the Galeria 8 de Julio. At the opening of one show in that city, a brawl erupted when a friend of Brudenell’s, visiting from Oakland, took offense at what he considered a discourteous act towards his girlfriend. The provocateur, who had no invitation to the opening, was a local street-gang leader, and the two men quickly squared off. Things turned nasty when the other members of the street gang turned up. A fist fight broke out, and rocks were thrown. When the gallery guests, and members of the musical band, pulled his friend inside, and barricaded the windows and doors, Brudenell was left behind in the street, where he explained to the street youths why he was sad, not angry, that the people inside the gallery, who painted and collected Mexican-inspired works, were so disconnected from most Mexicans. That was the night when the seed of Brudenell’s “People’s Murals” was planted, a seed that would germinate and flourish in the next few years.
North of the border, Brudenell’s work has been shown in galleries in San Francisco (Puma Gallery), Los Angeles (Ankrum), Victoria, B.C. (Beau Xi) and Friday Harbor, Washington (The Cannery Gallery) and the San Diego Art Museum. Brudenell generally declined to attend openings, preferring to simply send his works from whichever remote studio-home he happened to be in at the time.
Examples of pen and ink drawings from Brudenell’s time in Jocotepec
Tom Brudenell: Blue Heron (1975), serigraphed print
The image to the left shows one of a series (1974-1984) of pen-and-ink drawings by Brudenell, meant to appeal to a broader range of tastes and more decorative and salable than his meditative, more personal works.
The drawings were used for serigraphed prints and lithographed cards in the period 1974-1984. Most of them were sold in the Royal British Columbia Museum, Victoria.
By the early 1970s, Brudenell, who had never signed his name on the front of a painting, stopped signing them at all, preferring to use a circumpunct (a dot enclosed by a circle) which came to signify the state of observing without the observer.
The original drawing for Cows (below) dates to the late 1960s, though the print is dated 1970.
Tom Brudenell: Along the Road (1970), reproduced by kind permission of the artist
The Re-Creation of Adam (serigraphed print from original ink drawing of 1969) was “also somewhat commercial, but for a more reflective audience, this was the product of doodling and just letting forms appear without direction. Notice the tortoise or turtle coming into the picture!”
Tom Brudenell: Re-Creation of Adam (1969), reproduced by kind permission of the artist
By the time he left Mexico, Brudenell’s canvas painting was exploring “the edge”, where matter and energy meet. His “Hepatitis Dreams” writing and his “Micro-macro edge” paintings date from this period.
The Chula Vista Myth-Mass
On 13 June 1969, Brudenell joined with Shaw snd John Brandi (all three artists were living in Jocotepec) in staging a Cocktail Party Myth-Mass or “happening”, in a building alongside the Chula Vista motel, mid-way between Ajijic and Chapala.
In autobiographical notes written later for the Emily Carr College Outreach program, Brudenell summarizes the event as follows:
“Worked with poet John Brandi and painter Donald Shaw to create early forms of “audience participation” shows such as the highly ritualized light-show “Myth-Mass” (Ajijic, Mexico, 1969) where Mr. Brudenell’s brush searched for universes beyond the limits of the biologist’s microscope and the astronomer’s telescope.”
Quick trip back to Berkeley in summer 1969
Shortly after the Chula Vista event, Brudenell made a trip north to Berkeley to complete his mixed-media “book objects” for a San Diego Art Museum Show. A private showing, sponsored by Gene and Lee Novak, was held at the Berkeley residence of Mr. William Turner. The Novaks, who apparently published various off-beat works and poetry, subsequently issued limited edition versions of two of Brudenell’s “visual books”: Thaw and Mim.
It was on this trip that Brudenell met and fell in love with Suzie. Suzie later visited Brudenell in Jocotepec and the couple traveled in her VW Bug through several parts of Mexico, from the Gulf coast to the Baja California Peninsula. Brudenell painted “Artist” on the side of the Bug, which never failed to attract great interest from passers-by. (Similar to the experience of Mary Fuller McChesney years earlier.)
Besides Shaw and John Brandi, Brudenell became acquainted in Jocotepec with several other local artists including photographer John Frost, and the bearded, khaki-loving John Thompson. Ray Cooper, a painter Brudenell had known in Berkeley, visited and spent some time with him one winter.
Two other artists then living in Jocotepec, painter Bruce Sherratt and his wife sculptor Lesley Jervis Maddock, both from the U.K., apparently kept themselves so much to themselves that Brudenell, reclusive by nature, never met them.
Tom Brudenell: Detail of mural at La Primavera, painted 1970, photographed 1979; reproduced by kind permission of the artist.
Brudenell’s first mural
In 1970, during his third and final year living in Jocotepec, Brudenell painted his first ever murals, at the Rio Caliente hotel-spa in the Primavera Forest, just west of Guadalajara, at the invitation of the spa’s owner, Dr. B. Lytton Bernard. Brudenell may not have had any previous experience of murals, but he did have considerable experience of house painting and wall preparation.
Sadly, in spite of the paint chemist of Sherwin-Williams in Guadalajara giving Brudenell PVC emulsion, these particular murals, on an exterior wall, lasted less than a decade, due to spalling of the walls’ concrete substrate and the spa’s sulfurous moisture. They were decorative murals and, given the Mexican sun and geothermal steam, were never likely to remain pristine for long.
The Rio Caliente murals may have been Brudenell’s first, but they were certainly not his last.
Leaves Jocotepec to return north
By mid-1970, Brudenell and Suzie had left Mexico, and were traveling up the coast of Oregon, for Washington State and British Columbia, Canada. Brudenell painted murals in exchange for rent, food and beer money, while Suzie worked as a cocktail waitress. A fishermen’s tavern in Astoria, Oregon, was the site of Brudenell’s first “People’s Mural” in the U.S., and was painted in exchange for all the beer he could drink and $20 on completion.
Over the next few years, he conducted the painting of more than 80 school and community murals, mostly for the Washington State Arts Commission. Brudenell supplied the wall preparation and the organization; the students supplied the ideas and art.
He also painted several murals in the early 1970s in the city of Portland, and two 30 foot x 40 foot murals on the 8-story Belmont Building in Victoria, B.C. (1973), which can still be admired today, forty years later.
In 1978, Brudenell emigrated from Shaw Island, Washington State, to British Columbia, complete with his pick-up truck and donkey! While building a pole-frame cabin, he lived in a tent during an unusually snowy winter on Hornby Island.
Shortly after meeting Dianne (later to become his wife), the couple built a home on ten acres of raw forest land on nearby Denman Island, where they lived during the 1980s as homesteaders. Brudenell spent several months each year conducting his collaborative murals in remote areas of Washington State.
Tom Brudenell: Microedge. Reproduced by kind permission of the artist
Throughout his career, Brudenell has alternated between painting large-scale works such as murals, followed by a period of smaller, more intricate, highly detailed paintings of subjects such as an individual rock or a single clump of moss.
Tom Brudenell. Kuakumé (1974). Reproduced by kind permission of the artist
Brudenell’s three years painting in Jocotepec at the western end of Lake Chapala were creative and formative years. Much of his later work, especially his paintings, are evidence of a lasting Mexican influence on his composition and use of color. In Brudenell’s words,
“Color-vibrations are seen everywhere in Mexican and Indian designs. The natural flora exudes purples in sharp contrast with lime greens, reds flashing next to blues. Intense sunlight can dominate flat surfaces and color-vibrations, strong forms and colors shout back so that they find a happy balance.”
In the words of one reviewer, “All of Tom’s murals show a strong Mexican influence with earth colors…”
Brudenell himself treasures the words of Allyn Hunt, Editor of the Guadalajara Colony Reporter, who, after studying one of his early works, The Passage of the Patient Tortoise, informed his readers that Brudenell’s work, “for all of its simplification is much too sophisticated for a few seconds’ attention.”
This post was updated in October 2015.
Sources:
Tom Brudenell, first interviewed at his home on Vancouver Island in February 2015.
Allyn Hunt. Review of group show “10 Jalisco artists”, in “Art Probe”, Colony Reporter, 27 April 1968.
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.
Georg Rauch was born in Salzburg, Austria, on 14 February 1924, and lived thirty years in Jocotepec, on the mountainside overlooking Lake Chapala, prior to his death on 3 November 2006.
Rauch had an adventurous early life. His memoirs (translated from their original German by his wife, Phyllis), described his wartime experiences. They were first published, as The Jew with the Iron Cross: A Record of Survival in WWII Russia, only a few months before his death. The self-published book was reissued in February 2015 by mainstream publisher Farrar Straus Giroux, with the new title of Unlikely Warrior: A Jewish Soldier in Hitler’s Army. The memoirs are based on 80 letters sent home from the Russian trenches telling how Rauch, despite being officially classified as one-quarter Jewish, was drafted into Hitler’s army at age 19 in 1943 and sent to the Russian front. He was captured and spent 18 months in a Russian POW camp, where he contracted bone tuberculosis. After the war, Rauch spent two years recovering in Stolzalpe, an alpine sanatorium.
Rauch studied architecture for two years and life drawing with Professor Bőckl at the Akademie der bildenden Kűnste in Vienna, and was encouraged by his mother to pursue a career as an artist. He was awarded travel scholarships by the Austrian government. He exhibited and became a member of the prestigious artists’ association, Wiener Secession, and soon was showing his paintings in Vienna, Paris, London, Germany and Scandinavia.
In 1966 Rauch married his soul mate Phyllis Porter in Ohio. The couple, who had met in Vienna, lived briefly in New York before returning to Vienna in the winter of 1966/67, because Georg had been commissioned to produce the main sculpture for the Austrian Pavilion at the upcoming Montreal World Expo (1967).
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In summer 1967, the Rauchs, together with fellow artists Fritz Riedl and his girlfriend (later wife) Eva, spent two months driving through Mexico, as far south as Tehuantepec. On their return trip north, the group stopped off in Guadalajara to visit the Austrian consul. The consul, an architect, purchased several watercolors completed during the trip, as well as 4 or 5 oil paintings that Rauch had with him. In the fall of 1967, the Rauchs returned to Guadalajara when the consul commissioned a sculpture for a shopping center being built in the city. The Rauchs remained in Guadalajara until 1970.
George Rauch. Red Trees. 2002.
In 1968, Rauch was invited to do a series of posters for the Guadalajara Committee of the 1968 Mexico City Olympics. (Mexico City had commissioned its own Olympics posters, but Rauch was responsible for all the posters produced in Guadalajara). One of these Olympics posters is mentioned in Al Young’s novel Who is Angelina?, during a description of a living room in Ajijic. Another Rauch poster (not of the Olympics) would later feature in the movie 10 (1979) starring Bo Derek and Dudley Moore, shot on location at the Las Hadas resort in Manzanillo. And yet another Rauch poster was once shown in an episode of the TV series Ironside.
It was during their stay in Guadalajara, that Rauch first met artist and photographer John Frost, who had a studio in Jocotepec and would later introduce Rauch to some of the finer points of silk-screening.
Georg Rauch. The Dream House. 2003.
The Rauchs spent most of the next six years (1970-1976) in Laguna Beach, California, where Phyllis headed the San Clemente Public Library and Georg participated in the city’s famous Pageant of the Masters. Georg made several yearly visits to Puerto Vallarta, where his work was regularly shown in Galeria Lepe, the resort town’s only art gallery at the time. (This is where Rauch drew portraits of both Elizabeth Taylor and Richard Burton, as well as Liz’s son Christopher Wilding.)
In 1974, the Rauchs purchased property in Jocotepec and began to build their future home and studio. They moved into their (as yet unfinished) home, designed by Georg, in October 1976. Rauch had finally found a place he could call home, and he would remain here for thirty years, painting a succession of expressionist oils, watercolors and silk screens, as well as building several extraordinary kinetic sculptures. Rauch was a prolific artist (completing more than 2000 oils in his lifetime), driven to paint, and to paint “only that which he needed and wanted to express.”
He also exhibited in a 1981 group show at Marchand Galeria de Arte, Guadalajara, where his paintings were shown alongside works by Tomas Coffeen, Victoria Corona, Penelope Downes, Paul Fontaine, and Gustavo Sendis.
His clown-faced self-portraits bored deep into his soul. The influence of Lake Chapala was clear in many of his haunting and sensuous Mexican landscapes. On the other hand, his watercolors revealed his particularly keen sense of observation and his delicate touch. (Of course, I’m biased because I chose a Georg Rauch watercolor of Ajijic as the cover art for my Western Mexico, A Traveler’s Treasury, first published by Editorial Agata in 1993).
Georg Rauch was a consummate professional artist, one who was sufficiently successful throughout his career to live by his art alone. In conversation, he would sometimes interject a truly outrageous statement, but his wry sense of humor masked a considerable political perspicuity and an intense desire to interrogate the world around him.
In the 1980s, Georg and Phyllis Rauch expanded their home and opened the Los Dos Bed & Breakfast Villas, where Phyllis continued to welcome visitors, especially those with an interest in her husband’s art.
Georg Rauch’s work can be found in the collections of many major international museums. His numerous exhibitions include:
1952 Konzerthaus in Vienna (first solo exhibition); and the Kűnstlerclub, Vienna.
1953 to 1968 : London; París; Stuttgart; Vienna; Dusseldorf.
1968 New York (Gallery York)
1968, 1970 Galería Lepe, Puerto Vallarta
1973 Toronto; Los Angeles
1975 Guadalajara: Galería Pere Tanguy
1977 Ajijic (Galeria del Lago)
1979 Mexico D.F. (Alianza Francesa)
1980, 1989 Puerto Vallarta (Galeria Uno)
1982 Tucson, Arizona (Davis Gallery); Acapulco Convention Center
1983 Guanajuato (University of Guanajuato)
1984 Mexico City (Galeria Ultra)
1986 Aarau, Switzerland
1987 San Miguel de Allende
1988 Guadalajara (major retrospective at Instituto Cultural Cabañas)
1990 Munich (2)
2000 Guadalajara (Ex-Convento del Carmen)
???? Guadalajara (Galería Vertice) year-long traveling show, called Austrian Artists in Mexico, including works by Rauch, Fritz Riedl, Ginny Riedl and others.
2007 Chapala (Centro Cultural Gonzalez Gallo)
2014-2015 Guadalajara (Palacio del Gobierno del Estado); Chapala (Centro Cultural Gonzalez Gallo)
Born 9 November 1906 in Richmond, Indiana, Charles Frederick Surendorf was an artist and printmaker, whose intricate linoleum block prints have been favorably compared in quality to the much-acclaimed work of Thomas Hart Benton.
Surendorf studied at the Art Institute of Chicago and the Art Students League in New York, as well as two semesters at Ohio State University in the Fine Arts program, before moving to California in 1929, arriving in Los Angeles “seated on an orange crate strapped to a Model T Ford chassis.”
He moved to San Francisco in 1935, where he studied at Mills College, was active in the local art scene, and was director of the first San Francisco Art Festival. By 1937 he had made his first painting excursion to Columbia, an evocative ghost town in the Sierra foothills of California, which appealed to his social realist leanings. He would eventually settle in this town with his second wife, Barbara Stoner, whom he married in May 1949.
Charles Frederick Surendorf: Ajijic (linocut)
During the 1940s, Surendorf traveled throughout the South Pacific, painting numerous watercolors and making woodcut views of places such as Bora Bora and Moorea. He traveled widely (including trips to New Zealand, Tahiti, New Orleans, Arizona and Mexico) and used sketches made during his travels to produce linocuts on his return home.
After the family settled in Columbia, California, Surendorf made his living as an artist and lived in the town for the remaining thirty years of his life.
Between 1934 and 1971, Surendorf produced more than 250 woodblock prints and linocuts. While best-known for his linocut images of Northern California, Surendorf also produced oils, watercolors, pastels and sculpture, in a variety of styles, ranging from naturalistic scenes to abstracts, surrealism and fantasy.
In 1956, Surendorf served as director of the short-lived Mother Lode Art School. In 1959, Art Digest called him one of the top twenty-five woodblock artists in the world.
Surendorf’s first visit to Mexico was in 1963 when he took the entire family—his wife, Barbara, and their four children, Charles Jr, Tamara Karla, Stephanie, and Cindy—on a 6000-mile month-long trip to “make a survey of the most paintable spots in Mexico for longer work in the future.” Surendorf quickly decided that Mexico offered a treasure trove of subject matter for painters, and saw innumerable painting opportunities: “Some of the most interesting painting spots are the ghost towns of the early Mexican mining days.” During that first trip to Mexico, Surendorf completed 35 watercolors from which he planned a series of linoleum-block prints.
He definitely visited Lake Chapala on this trip, as shown by this account of an attempted shake-down, reported shortly after returning home: “While painting a fishing boat on the shores of Lake Chapala, two Mexicans tried to extract a fee from me for allowing their boat to be used in the painting. While we argued in vain, the owner of the boat came up and paddled away.”
His daughter Cindy recalls a family trip to Mexico in 1968, when she was ten years old. During their time in Ajijic, Surendorf made the preliminary block print sketches needed to carve his printing blocks back in California.
Surendorf has been described as “a rugged and opinionated character”, who “was known to have torn down his art exhibitions in the middle of previews (in one case at the prestigious Maxwell Gallery in San Francisco.)” He alienated many critics which may explain why his work was under-appreciated during his lifetime.
His work was exhibited in many locations, including the Los Angeles County Museum of Art (1936); the 1940 Golden Gate International Exposition (1940); San Francisco Museum of Art (1936-46); the De Young Museum in San Francisco (1946); the Art Institute of Chicago, and the National Academy of Design, New York.
His work is in the collections of the San Francisco Museum of Modern Art, the Monterey Museum of Art, California; Oakland Museum; Mills College Art Museum (Oakland); Frederick R Weisman Art Museum (The University of Minnesota); Print Club of Albany (Albany, New York); Richmond Art Museum (Richmond, Indiana); The Saint Louis Art Museum (Missouri); University of Michigan Museum of Art; Wichita Art Museum.
Charles Frederick Surendorf died in California 0n 28 May 1979.
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Acknowledgment
My sincere thanks to Cindy Surendorf for sharing details of her father’s art and their 1968 trip to Mexico.
Source
Stockton Daily Evening Record, 8 August 1963.
Comments, corrections and additional material welcome, whether via comments feature or email.
Arthur H. Lewis was born in Mahanoy City, Pennsylvania, on 27 September 1906, and died in Philadelphia, Pennsylvania, 25 January 1995.
He spent about five weeks in Mexico, in Ajijic on Lake Chapala, in the spring of 1964, working on his book Lament for the Molly Maguires, published later that year. His wife Juliet Blum accompanied him. On that occasion he stated that he wished to return to Mexico to work on a novel, but it is unclear if he ever actually did so.
Lament for the Molly Maguires tells the true story of the violence wrought by a secret society of Pennsylvania Irish coal miners and how they were eventually brought to justice by an undercover detective of the Pinkerton Detective Agency. The book was nominated in 1965 for an “Edgar” award by the Mystery Writers of America, and was made into a 1970 movie starring Sean Connery and Richard Harris.
Fellow journalist Andy Wallace described him as, “tall and slender, with close-cropped white hair, a shaggy mustache and bushy white eyebrows. Deep furrows crossed his forehead, slid down between his eyes, and dropped from beside his ample nose to the ends of his mouth. He wore glasses. His fingers were long and graceful and carefully manicured.”
Lewis, who disliked being called an author and preferred to be known as a journalist, attended Franklin and Marshall College, and Columbia University, from 1924-26, but never completed a degree. He left university to work as a reporter with The Philadelphia Inquirer, a position he held, with gaps, until 1938.
From 1939 to 1952 he was the press representative for four Pennsylvania governors: Arthur James, James Duff, Edward Martin and John S. Fine.
He also taught journalism at the University of Pittsburgh in 1950, and at Harcum Junior College, in Bryn Mawr, and had a weekly radio show in Pittsburgh.
In the early 1950s, he became a free-lance writer. He was a highly self-disciplined writer, beginning work every day at 5:30 am. He specialized in researching and writing non-fiction books based on people and events in Pennsylvania. Lewis, himself, in a 1980 interview admitted that, “Most of my people are eccentrics. Why? I think eccentrics are the only people who accomplish anything…. They’re the most fascinating.”
His first book, The Aaronsburg Story (1956) told the history of an inter-faith, inter-race program in a small Pennsylvania town. The Worlds of Chippy Patterson (1960) was the biography of a Philadelphia socialite and recovering alcoholic who was one of the city’s best-known criminal lawyers.
He also wrote Bill Scranton of Scranton, Pennsylvania (1962); The Day They Shook the Plum Tree (1963), about Hetty Green, reputed to be the richest and one of the most detested women in America; La Belle Otero (1967), the biography of a courtesan whose clients included the world’s wealthiest men; Hex (1969), a tale of witchcraft; Carnival (1970) which described life on the carnival circuit; Copper Beeches (1971), a mystery story involving The Philadelphia Sherlock Holmes Society; Childrens Party (1972), a suspense mystery; It Was Fun While It Lasted: A Lament for the Hollywood that Was (1973); Murder by contract: the people v. “Tough Tony” Boyle (1975); and Those Philadelphia Kellys: With a Touch of Grace (1977), the biography of the family of Princess Grace.
Lewis’ research materials, newspaper and magazine clippings, correspondence, photographs, notes and cassette recordings of interviews, are now held in a special collection at Temple University in Philadelphia.
Main source:
“Arthur H. Lewis, 89, Author Of Philadelphia Stories” By Andy Wallace, The Philadelphia Inquirer, 27 January 1995
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.
Alfredo Santos spent some time painting, and dealing in art, in Ajijic (and elsewhere in Mexico) in the early 1960s. However, before we look at that period of his life in more detail, it is worth considering his extraordinary backstory.
Alfredo Santos was born in San Diego in 1927, the third of five children. He spent his early childhood in Tijuana, where his father was a union activist. The family moved back to the U.S. when Santos was 8. His early education came to an abrupt halt when he was expelled from high school for hitting a school official.
An infection that left him with fragile bones prevented him from enlisting in the U.S. military. Santos then had a series of scrapes with the law, including a prison term for helping smuggle illegal immigrants from Mexico cross the border. (Santos later said, “To me, I didn’t see anything immoral. I was sort of a Robin Hood, I thought.”)
He turned from people-smuggling to drug dealing, but was arrested again, and, in 1951, at age 24, began a four-year stint in San Quentin prison in California that would transform his life. Santos acknowledges that “San Quentin is where I became an artist.” (see this link)
His bone infection meant that he spent his entire time in prison in the hospital cells, where he read voraciously and even had his own small art studio. He drew caricatures of his fellow inmates in exchange for cigarettes.
Santos’ “Big Break” came when the prison doctor encouraged him in 1953 to enter a contest to paint some murals on the dining room walls. His quickly-sketched proposal (for a single wall), showing the transformation of California between the 1850s and the start of the second world war, was a clear winner, and he was given all three double-sided walls to work with. Because the dining room was in constant use during the day, painting was done almost entirely at night. The six murals – each about 12 feet high and 95 feet long – took two years to complete, with Santos absolutely determined to finish them before his parole date.
Alfredo Santos: detail from murals in San Quentin Prison
The murals, done in browns and blacks, show a kaleidoscope of Californian history, ranging from a cable car (that follows viewers across the room) to a wartime airplane and whimsical images of a sombrero-clad immigrant crossing the border and a soldier looking through a telescope at a woman undressing in a high-rise window further along the wall. The 1906 San Francisco earthquake is depicted, as is the golden age of Hollywood.
Alfredo Santos: detail from murals in San Quentin Prison
When he left San Quentin in 1955 Santos took with him some 50 paintings completed during his incarceration. He worked as a caricaturist at Disneyland for two years, saving enough money to return to San Diego in 1957 and open his own art studio and gallery. By 1960 the gallery “had become a mainstay of that city’s nascent arts scene.” (Russell) However, in 1961 the law caught up with him once again. He was arrested, and admitted to, one count of marijuana possession (a felony at the time). The night before he was due to appear in court for sentencing, Santos decided to go on the run. He married his 19-year-old girlfriend and they eloped to Mexico.
They appear to have first lived in Guadalajara, where a press release for the opening of his gallery in the city in 1961 proclaimed that the artist had come to Mexico to “have more freedom to express himself artistically.” At least one newspaper article [SFWeekly, 23 July 2003] includes a photo of him in his Guadalajara studio in 1961. In 1962, an exhibition of paintings by Tink Strother and other artists was held at the Alfredo Santos gallery in Guadalajara. That same year (1962), Santos exhibited his own work at the 1st Annual Exhibition of Paintings and Sculptures on Ajijic Beach, organized by Laura Bateman’s Rincón del Arte gallery. Other artists in this juried show with prizes, held in front of Posada Ajijic, included Antonio Cárdenas, Mary Cardwell, Juan Gutiérrez, Dick Keltner, “Linares” (Ernesto Butterlin), Carlos López Ruíz, Betty Mans, Gail Michels, John Minor, Eugenio Olmedo, Florentino Padilla, Gustavo Sendis, Tink Strother, Digur Weber, Doug Weber, Rhoda Williamson, Sid Williamson, Javier Zaragoza and Paul Zars.
Santos’ marriage did not last long. His homesick bride returned to California after eight months, where the marriage was annulled. Santos, though, remained in Mexico and his art flourished.
Among those highly impressed by Santos’ wood sculpting and abstract paintings was Joan Woodbury, an ex-actress turned Palm Springs art critic. In one of her regular newspaper columns, she described Santos as “one of Mexico’s foremost impressionists”. She helped arrange a month-long showing of his work at a Palm Springs gallery.
Alfredo Santos. 1961. Mural in Cafe Madrid, Guadalajara
During his time in Guadalajara, Santos, who liked to listen to jazz as he painted, became friends with the owner of the Café Madrid, a downtown restaurant on Av. Juárez that became, and remains, a Guadalajara institution, much loved by the literary and artistic crowd. At the owner’s insistence, one night Santos painted a picturesque mural, known as “Ciudad de mujeres” (“City of women”) in the restaurant. It depicts imagined daily life in the Spanish capital Madrid, full of beautiful women. Santos is said to have completed this mural in a single, liquor-fueled, fun-filled night. According to one version, the women in the mural were originally portrayed in the nude, but the wife of the café’s owner wife insisted that clothes be added. The mural is still there, and both restaurant and mural are well worth visiting.
After Guadalajara, it seems that Santos moved to Ajijic, though the precise circumstances and timing remain unclear. By 1963/64, Santos, accompanied by a young lady, had taken up residence in Ajijic’s Hotel Anita, then the social center of the village. Katharine Couto, whose parents owned the hotel from 1963/64, recalls that, “He was always quite charming and nice, but I was only 13 years old. Now I read he was “on the lam” which would explain why he and his beautiful girlfriend always stayed secluded in their suite.” She also recalls that Santos paid her parents, in part, with two paintings, one of which she later donated to the Latino Center in Omaha, Nebraska.
Another Ajijic resident of the time, Randi Atchison, recalls how, in the early 1960s, their family “spent time at his gallery in Guadalajara, watched him paint and enjoyed his colorful character.” Atchison has several paintings by Santos, on one of which “Alfredo wrote a personal note to my mother on the back… in her lipstick, that remains legible 44 years later.” Atchison notes that, “Alfredo also came to our house in Ajijic one day and painted a large Mariachi band mural on the living room wall.” it is unclear if this mural still exists.
In 1964, Santos decided to try his luck in Mexico City. He opened a studio-gallery on Calle Niza, in the city’s trendy Zona Rosa district. The following year, he married Mary Ann Summers; the couple (who divorced in 1977) had two sons, the elder of whom (Chris Santos) is now a professional artist in New York. Summers has described Santos’ studio-gallery at this time: “Alfredo had this fantastic gallery above a Chinese restaurant with four huge rooms downstairs and a big sunny studio loft above it… Between the two levels, sort of hidden away, was his bedroom, the walls of which were completely covered with photographs and paintings of nudes.”
This 5-minute Youtube video, Broken Mold: the Life and Art of Alfredo Santos, shows him at work:
In 1966, Santos moved his gallery to Acapulco for a year, before deciding to return to the U.S. In 1967, Santos settled into a rented apartment in New York, with his wife and infant son. He undertook commissions for various New York clients who had discovered his work in Mexico. One of them convinced Santos to relocate to the village of Fleischmanns, in the Catskills and close to Woodstock. Santos’ studio-gallery in Fleischmanns became “a magnet for every hip person for miles around,” according to one of his longtime friends and patrons.
In the 1980s, following his divorce from Summers and a heart attack, Santos moved back to San Diego. In 2011, the Zoom Gallery in Fleischmanns, held a retrospective of the works of Alfredo Santos, “The People’s Artist”.
In 2003, arrangements were finally made for Alfredo Santos to revisit San Quentin, this time as a distinguished guest rather than as an inmate, and see his murals again for the first time in almost fifty years. Only then, did the full extraordinary story of these amazing prison murals make the mainstream press.
Alfredo Santos died on 15 March 2015.
Sources:
Hidden Treasure by Ron Russell, Wednesday, Jul 23 2003
Hidden Beauty(with images of the San Quentin Prison Murals) August 17, 2007
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Born 26 March 1912 in Chiquinquirá, Boyacá, Columbia, Carlos López Ruíz (sometimes simply Carlos López) lived and painted in Ajijic for several years in the early 1960s. He came from a well-connected family, but disappointed his father by not entering the military or the church. Instead he became an artist.
He began his artistic career by drawing cartoons for newspapers in Bogotá, as a sideline while working in the Cartography Department of the War Ministry from 1944-1951. His drawings and caricatures appeared in several newspapers including El Liberal, humor section of Sábado and the sports section of El Tiempo.
In 1948, he displayed two artworks – a pencil drawing entitled “Tumaqueña” and an oil painting, “Indígenas del Pacífico” – in the first annual group show for artists from Boyacá.
By the early 1950s, he had become an established illustrator and caricaturist in Colombia, though his radical cartoons had gained him a certain notoriety. He left Colombia in 1952 for the U.S.
In 1953, he began a two year scholarship at the Corcoran Art School in Washington, D.C.. He was awarded first prize for oil painting in a collective exhibit arranged by the school. He spent the next five years studying the old masters in the finest U.S. museums, as well as modern art in galleries from Philadelphia to California.
In 1956-1957, he had several solo shows in Washington D.C., including shows at the Collectors Corner Gallery and the ArtSmart Gallery. He also exhibited in New York in the mid-1950s.
He returned briefly to Colombia in 1957 to participate in the 10th Annual Show of Colombian Artists. In 1959, he moved to Ajijic, Mexico, looking for new subjects to study and paint. During his time in Ajijic, he held several exhibitions in Guadalajara as well as in local Ajijic galleries. It was in Ajijic that he first met fellow artist Tink Strother (1919-2007), a relationship that lasted about seven years.
Carlos López Ruiz in his Ajijic studio, ca 1962
Tink Strother’s son Loy remembers that his mother first met the hard-drinking López Ruiz when the artist was living with an aging, alcoholic, silent screen star… in the fabled “Casa Estrella”, a large house overlooking the village. When the movie star’s family arrived and insisted on taking her back to the U.S. to a detox clinic, Carlos moved down the hill and installed himself in the Hotel Anita, a couple of blocks from the village plaza.
López Ruiz gradually melded into the local art scene, and painted prolifically, specializing in fine portraits of horses and toreadors, as well as village scenes.
Carlos López Ruiz in his Ajijic studio, ca 1962
After he and Tink Strother became “an item”, they lived together in Ajijic, and exhibited together in a group show at the Alfredo Santos gallery in Guadalajara (1962). That year, both López Ruiz and Strother also exhibited at the 1st Annual Exhibition of Paintings and Sculptures on Ajijic Beach, organized by Laura Bateman’s Rincón del Arte gallery. (Other artists from Ajijic in that juried show with prizes included Antonio Cárdenas, Mary Cardwell, Juan Gutiérrez, Dick Keltner, “Linares” (Ernesto Butterlin), Betty Mans, Gail Michels, John Minor, Eugenio Olmedo, Florentino Padilla, Digur Weber, Doug Weber, Rhoda Williamson, Sid Williamson, Javier Zaragoza and Paul Zars. Alfredo Santos and Gustavo Sendis.
In July 1962, López Ruiz returned for a short time to Colombia. The Galería “El Automático” in Bogotá held a one-man show for him later that year with twenty oil paintings.
Tink Strother and Carlos López Ruiz left Mexico and moved to California in 1963/64, where they opened a joint studio and gallery, first in Pico Rivera and then in Whittier. López Ruiz lived in Whittier until his death in 1972.
Loy Strother knew Carlos López Ruiz in the latter stages of his life as well as anyone, and still has the artist’s notebooks, drawings and personal writings. He admires Carlos as a fabulous painter, whose rapid brushwork was in no way inhibited by his copious consumption of brandy. López Ruiz was choosy about selling his work and would refuse to part with anything unless he decided he liked the purchaser.
The magnificent works of Carlos López Ruiz have been exhibited in Washington D.C., New York, Virginia, Texas, California, Mexico and Colombia.
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Fred Lape, born at Holland Patent, about 10 miles north of Utica, New York, in 1900, spent several months every winter from about 1966 until his death in 1985, in Jocotepec on Lake Chapala. He died in Jocotepec on 1 March 1985, aged 85, and was interred in the local cemetery the following day.
Fred Lape (Credit: Landis Arboretum website)
Lape attended Cornell University and received a degree in English literature in 1921. He then divided his time between teaching English as a university professor (at Cornell, Stanford and the Rensselaer Polytechnic Institute), freelance writing, running his farm, developing his skills as a horticulturist, and functioning as the historian of the small town of Esperance (population 2000), his chosen place of residence in Schoharie County, New York.
In 1951 Lape, who never married, transformed the family farm into the non-profit George Landis Arboretum. The arboretum’s website states his mission: “He aimed to grow every species of woody plant from temperate regions around the world that would survive in the hills of Schoharie County.” Fred Lape served as its director until his death. The arboretum closed every year from 1 November to 1 April, allowing him ample time each winter in Jocotepec.
His great love was guiding visitors around the arboretum. His obituary in The Altamont Enterprise describes how, “The arboretum director, a tall, angular figure topped by a plain, undecorated wide-brimmed straw hat shielding a craggy, deeply-tanned face, would lead visitors past that landmark on regular weekend woodlot tours.”
Lape’s published work included one novel, Roll On, Pioneers (1935), and three non-fiction works, A Garden of Trees and Shrubs (Cornell Univ. Press, 1965), Apples and Man (Van Nostrand, 1979); and A Farm and Village Boyhood (Syracuse Univ. Press, 1980).
He also authored at least 8 volumes of poetry and founded a quarterly poetry and prose magazine, Trails, which published local nature verse from 1932 to when it ceased publication in 1951. His poetry titles include Barnyard Year (Poems) (1950), A Bunch of Flowers (Poems) (1954), My word to you, J.Q.A: Seven scenes in the life of John Quincy Adams (1965), At the Zoo (1966), Along the Schoharie (poems) (1968), Poems from the Blue Beach (1976), and Hill Farm (1976).
While researching the history of the artists associated with the Lake Chapala region, I came across more and more references to the “two Butterlin brothers”. The problem was that different sources, including otherwise reputable art history sites, gave them quite different first names: Ernesto and Hans? Hans and Frederick? Linares and Otto?
There was very little evidence and it seemed impossible to tell which source was accurate, and why different accounts gave such different names, ages and details. They were usually described as “German”, but it was unclear whether they had been born in Germany or were the sons of German immigrants to Mexico.
Eventually, I compiled enough evidence to prove conclusively that there were not two Butterlin brothers, but three! Two had been born in Germany and were brought by their parents to Mexico. Safely ensconced in Guadalajara, the parents then had a third son, several years younger than his siblings.
The picture was complicated by the fact that two of the brothers used different names at different stages of their life, with the older brother rarely using his first name on his art once he arrived in Mexico, while the youngest brother adopted a surname for much of his artistic career that had no obvious connection to his family name.
Small wonder, then, that confusion reigned about the Butterlin brothers on many art history sites, some of which even failed to identify correctly the country of birth of each of the three brothers.
There are still great gaps in my knowledge of this family, but the picture that finally began to emerge showed that the Butterlins deserved wider recognition as an artistic family of some consequence.
In future posts, I will show how all three Butterlin brothers contributed significantly to the development of the artist colony in the Lake Chapala area, albeit it in rather different ways.
Artist Robert Bateman Neathery and his wife Ellie moved from California to Jocotepec in February 1965, and lived there the remainder of their lives. Bob Neathery continued to paint until about 1983 when his health began to deteriorate. He painted mainly genre scenes of Mexican village life, as well as portraits, and is especially remembered for his “voluptuous golden nudes” (see image), which often rely on a palette of brown-beige colors.
Robert Neathery: Young Bather (1968)
Born in Muskogee, Oklahoma, on 8 September 1918, Bob Neathery died in Guadalajara on 15 March 1998. Eleanor “Ellie” Florence Schwindt, who would be his wife and best friend for almost 60 years, was born 23 December 1919 in Larimer County, Colorado, and died in Guadalajara on 8 August 2001.
Bob’s early life was spent partly in El Paso, Texas, (where the family resided when he was 12 years of age in 1930), partly in Muskogee (where they were living in 1935) and by age 19, Bob was living in Denver, Colorado, where he attended art school at the University of Denver.
Bob supported his art by working at a series of jobs including telegraph operator for the Denver and Rio Grande Railway, a sign painter of giant ice cream cones, automobiles and ladies drinking milk, a technical illustrator for North American Aviation, a sculptor of lamps at Gumps in San Francisco, and as manager of a co-op art gallery in Redondo Beach.
Bob and Ellie married on 28 November 1939 in Denver, Colorado, but by 1946 had moved to San Diego in California.
In November of that year, an exhibit at La Jolla art center in San Diego featured two “arresting sculptures”, one the work of Bob Neathery and the other sculpted by his elder sister Paula Nethery Rohrer (aka Paula Neathery Hocks) . The pieces are mentioned in a review of the exhibition in the San Diego Union.
From the mid 1950s, Bob and Ellie Neathery lived in Redondo Beach, where Bob Neathery worked for North American Aviation Corp and gave private art classes.
In November 1958, Neathery exhibited at the second Palos Verdes Outdoor Art Show, sponsored by the South Bay Community Art Association, and at a Book and Art Fair, sponsored by the Pacific Unitarian Church of Torrance.
Robert Neathery. Self portrait (1961). From Palos Verdes Peninsula News.
After retiring from North American Aviation Corp. in 1959, Neathery became a full-time artist. He was a founding member of the Artists Cooperative Gallery at 121 S. Pacific Ave., Redondo Beach, which opened in July 1959. Along with Gladys Bruchez and Marco Antonio Gomez, Neathery participated in a three person show at the gallery in January 1960.
The following year, in May 1961, several members of the Artists Cooperative Gallery, including Neathery (who was by then the Gallery Manager), showed their works at the the opening of the Peninsula Center in Palos Verdes. The Cooperative Gallery moved their gallery to the Peninsula Center later that year, to “the contemporary, handsome TKM building, designed by Carver L. Baker & Assoc., at 27715 Silver Spur Road, Rolling Hills Estates.” Interviewed by a local journalist at about that time, Neathery declared that, “In a time of tension and strife and hate, my belief must be in the good and beautiful. I paint and create beauty as an antidote for the bad forces at work in the world.”
Neathery held a two man exhibit, with Byron Rodarmel at the Artists’ Co-op Gallery in August 1962; later that month both men showed works in a group exhibit at the Western Bank office in Torrance.
In November 1963, Neathery held a solo show of his paintings at the Angus Paint store in the Peninsula Center. By then, Neathery was president of the South Bay Art association and was represented in Los Angeles by Village Galleries in the Crenshaw district, in Carmel by Zantman Galleries, and in Monterey by Hidden Village. He was continuing to give painting classes in oils and watercolors. The following month, Neathery exhibited in a group show, the Holiday Art Festival, held at a private home in Palos Verdes, an event held for 475 guests, and at which Donald Totten (another artist with a connection to Lake Chapala) was a fellow exhibitor.
Bob and Ellie Neathery continued to live in California (in Redondo Beach) until their decision to relocate to Jocotepec in about 1965.
Two years later, in 1967 a thief entered their lakeside home, while they were out, and stole one of Bob’s paintings: a 24 x 30″ oil painting, from the couple’s bedroom, of a mountain landscape with a woman washing in a stream; the thief ignored appliances, clothes and everything else.
Bob Neathery in his studio. Photo: John Frost. Used with permission.
Bob Neathery held a solo show of 31 drawings and paintings in Guadalajara, at La Galeria (Galeria 8 de Julio) in April 1968. Author and art critic Allyn Hunt‘s review of the show in the Guadalajara Reporter praised Neathery as, “a sensuously exploratory painter”, adding that, “When he’s good he’s immensely exciting”. Hunt felt that Neathery’s most successful works included “Blue Plant” and “Kaleidoscope”, “in which six nude figures seem to move languorously in front of and behind one another in a sensual haze of muted blues, yellows and oranges.” According to Hunt, Neathery “feels highly influenced by the country’s “pow” lighting, as he calls it, and by the different cultural aura he finds here.”
In August 1968, Neathery had his works on show at the Holiday Inn in Chula Vista, mid-way between Chapala and Ajijic.
Later that year, in November, “La Galería” in Guadalajara held another show of Neathery’s works, immediately before a showing in the same gallery of works by Neathery’s Jocotepec neighbor John Frost. Allyn Hunt is again on hand to review the latest works by an artist who “possesses an excellent drawing hand and an ingenious drafting eye”, and is “at his best when pushing these talents into new territory.” Among Hunt’s favorite works were “The Vault” and “Model Resting”. In The Vault, “we see segments of walls, stairs, vaults, dim forms that are organized in such ways as to be haunting without being menacing, shadowy without being darkly somber.”
In 1973, Neathery was appointed “gallery director” for the Galeria del Lago de Chapala, A.C., whose president was Arthur Ganung. In September of that year, Neathery exhibited “recent oils and watercolors” at El Tejaban (Zaragoza #1, Ajijic). That display comprised 32 works including nudes, landscapes, character studies and scenes from Mexican village life.
A group exhibit, the “Nude Show”, opened in February 1976 at the Galeria del Lago in Ajijic, which included a painting by Robert Neathery, as well as works by a long list of local and Guadalajara artists, among them Jonathan Aparicio, Arevalo, Dionicio, John Frost, Guillermo Guzmán, Gail Michel, John Peterson, Georg Rauch and Synnove Schaffer (Pettersen).
Bob Neathery’s work has been exhibited in Los Angeles County Museum, Downey Museum and Long Beach Museum. He won seven first and second place awards and purchase prizes in the annual North American Aviation Corp. art shows prior to retirement.
[Note: Bob Neathery’s elder sister Paula Neathery Hocks (1916-2003), a noted book artist, poet and photographer, visited him several times in Mexico, presumably staying in Jocotepec. As her obituary states, “Her artist books and photographs have been featured in shows internationally and are included in numerous collections such as the Tate Gallery and the Victoria & Albert Museum in London, U.K.; the Whitney Museum and the Museum of Modern Art in New York; contemporary book art collections at the Getty Museum in Santa Monica California, and the Ruth and Marvin Sackner Archive in Miami, Florida.; as well as special collections at the University of Iowa and the Bridwell Library at Southern Methodist University in Dallas.”]
Sources:
Guadalajara Reporter: 4 March 1967; 4 May 1968; 31 Aug 1968; 30 Nov 1968; 21 Nov 1970; 3 Feb 1973; 22 Sep 1973; 31 January 1976
Hollywood Riviera Tribune, Number 5, 13 November 1958
Informador: 26 Nov 1968
Palos Verdes Peninsula News, 30 October 1958; 16 July 1959; 31 December 1959; 5 December 1963; 12 December 1963.
Rolling Hills Herald, Number 71, 16 February 1961
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Ramón Martínez Ocaranza was born in Jiquilpan, Michoacán, 15 April, 1915, and died in Morelia 21 September 1982.
He was a poet, essayist, social fighter and teacher, who used to joke that only a wall had stopped him from becoming President of Mexico–this was because Lázaro Cárdenas (President of Mexico 1934-1940) had been born in the house next door!
Martínez christened his native city of Jiquilpan as the “city of jacarandas”, a name that is still widely used today on account of the city’s many blue-flowering jacaranda trees.
He published numerous volumes of poetry, including:
Al pan, pan y al vino, vino, 1943; Ávido Amor, 1944; Preludio de la muerte enemiga, 1946; Muros de soledad, first part 1952, second part 1992; De la vida encantada, 1952; Río de llanto, 1955; Alegoría de México, 1959; Otoño encarcelado, 1968; Elegía de los triángulos, 1974; Elegías en la Muerte de Pablo Neruda, 1977; Patología del Ser, 1981. Works published after his death include the poetry volumes La Edad del tiempo, 1985; and Vocación de Job, 1992, which formed part of El libro de los días (1997).
He also wrote an autobiography, finally published twenty years after his death in 2002. He studied (and later taught) at Colegio de San Nicolás de Hidalgo (Morelia) and studied at UNAM. His poems contain many pre-Columbian element and he researched and wrote about Tarascan literature.
Sadly, a campaign in 2010-2011 to turn his former house (Río Mayo #367, colonia Ventura Puente, Morelia) into a small museum and exhibition space has apparently failed, owing to lack of funds.
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Artist and photographer John Frost was born 21 May 1923 in Pasadena, California. John and his wife Joan Frost, an author, lived for more than forty years in Jocotepec, before returning to California in 2012.
John is the son of John and Priscilla (Morgrage) Frost and grandson of the famous American illustrator A. B. Frost. [1]
John became interested in photography and the magic of the darkroom at age 14. He attended Midland School, a small boarding school near Los Olivos, California. After military service in the Pacific during the second world war, Frost studied art at Occidental College under Kurt Baer (1946) and at Jepson Art Institute under Francis de Erdely and Rico Lebrun (1947-1949), gaining a degree in Graphic Art. In the mid-1950s, he settled into artistic and commercial photography.
John’s first solo exhibition, of mixed media pieces, in which drawings were photographed, enlarged and chemically treated to transform colors, was at Bobinart Gallery in Los Angeles in the early 1960s. This exhibition moved to Purdue University in 1966, shortly after Frost had relocated to Jocotepec with his wife. At Purdue, the opening of the exhibit was accompanied by a lecture about the “beat generation”. At the time, Purdue was embroiled in a bitter city versus university battle, on account of the Police Chief having ordered the university library to withdraw from circulation all books by Henry Miller, the American author then living in France.
John Frost (then 41 years old) married Joan Van Every (35) on 26 September 1964 in San Bernadino, California. In 1966, the couple relocated to Mexico, living for a short time in Uruapan in Michoacán before establishing their permanent home and photographic studio in Jocotepec.
In 1968, an exhibition of his silkscreens at La Galería in Guadalajara prior to the 1968 Olympics attracted the attention of TV broadcasters. Frost declined to give them permission to film his silkscreens since they asked him for $200 towards the production costs!
For several years, John Frost focused on his paintings and silkscreens. He worked closely, and shared his silkscreen techniques, with several other Jocotepec-based artists, including (Don) Shaw, Georg Rauch and Ra Rysiek Ledwon. Georg Rauch went on to experiment with his own silkscreen techniques using non-toxic materials, producing his own masterful silkscreens for many years. John also had a profound influence on the young painter Synnove Pettersen (1944-), who attributes her decision to return to doing silkscreen (serigraph) pieces at that stage in her career to his enthusiasm and encouragement.
Starting in 1979, John Frost became the premier aerial photographer in western Mexico, amassing an impressive collection of images (now housed in the University of Colima), especially of the Lake Chapala region, the volcanoes of Colima and the rapidly developing mid-Pacific coast of Colima and Jalisco, including the area around Manzanillo.
His aerial photographs have featured in several exhibitions, including four solo exhibitions in the state of Colima, three in the state capital and one on the university campus in Manzanillo. John Frost’s photos can be found in the collections of several Colima and Jalisco state agencies. A selection of his photographs graced the Guadalajara airport at the time of the 1986 World Cup, and his photos were exhibited in one of the lateral galleries of the Cabañas Cultural Institute in Guadalajara. This may have been the first time any Lakeside artist had ever been invited to exhibit in the Institute, arguably Jalisco’s single most important exhibition space. (Several years later, the Institute would invite fellow Jocotepec artist Georg Rauch to hold a retrospective of his work there, occupying the main galleries).
Once, when chatting with me, John Frost remarked that “I never quite met my family’s expectations”. If that is really true, then I can only conclude that his family’s expectations were utterly impossible to meet, since John’s superb photographs and silkscreens, as well as his quiet encouragement of many other artists and photographers, speak for themselves.
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[1] Arthur Burdett Frost (1851-1928) (ABF), was an early American illustrator, graphic artist, and comics writer. He was also well known as a painter. ABF’s work is well known for its dynamic representation of motion and sequence. ABF is considered one of the great illustrators in the “Golden Age of American Illustration”. ABF illustrated over 90 books, and produced hundreds of paintings; in addition to his work in illustrations, he is renowned for realistic hunting and shooting prints.
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Small began painting from an early age and attended the Derby School of Art before completing a Master of Fine Arts degree at the University of Washington. She also studied at Cranbrook Academy of Arts (Michigan), Chicago School of Design, University of California at Berkeley, the University of Havana and the University of Tokyo.
Known not only for paintings, but also for prints and illustrations, Small exhibited her work in numerous galleries around the world from New York (the Riverside Gallery) to Japan and Mexico (Monterrey, Saltillo, Hermosillo). She held more than 500 one-woman shows and won first prize awards for oils (Florida Art Fair); watercolors and lithographs (Wisonsin Art Fair). An inveterate traveler, and honorary president of the National Association of Women Painters, Small was known as the “traveler with a sketch book.”
