Mexican Folk Art From Oaxacan Artist Families, by Arden Aibel Rothstein and Anya Leah Rothstein

Aficionados of folk art of the state of Oaxaca indress.
southern Mexico are already familiar with Arden AibelThis gem should easily entice any reader with an
Rothstein and Anya Leah Rothstein's Mexican Folk Artinterest or background in anthropology, history or
From Oaxacan Artist Families (Atglen, PA: Schiffergeography. The importance and influence of indigenous
Publishing Ltd, 2007). It was surprising to learn, however,Zapotec ancestry and its present-day cultural
that some people with an interest in the crafts ofmanifestations shines through many of the
Oaxaca's central valleys, are not even aware of thisethnographic accounts. The genealogies (referred to
seminal work - particularly since it was first publishedas Family Trees) comprising one of the appendices
back in 2002.are in-depth, and date as far back as the 19th century.
The 2007 edition of Mexican Folk Art is aThey assist the reader in better understanding the
comprehensive compilation and detailed examination ofhistorical and generational context of Oaxacan craft
each major type of contemporary Oaxacan folk art,development.
set out in a refreshingly user friendly format. The bookTo help those with an interest in exploring the craft
is divided into ten chapters, each devoted to avillages and visiting the artists on their own, without the
different medium: Ceramics, Textiles, Woodcarving,assistance of a Oaxaca tour guide, throughout the
Metal (including tin work, cutlery and knives), Miniaturesbody of the book the address and all available
and Toys, Jewelry, Candles, Basketry and Driedadditional contact information for each artist is
Flower Crafts, with the final chapter devoted to Dayprovided, such as phone number and email. A second
of the Dead.appendix consists of a series of easy-to-read pueblo
Generally, each chapter begins with a broadmaps, detailing the precise location of each featured
description of an art form, including significant variationsartist, further facilitating contact.
within. In the Ceramics chapter, for example, theAuthors Arden and Anya Rothstein correctly caution
divisions are Terra Cotta, Green Glazed, Multi-Colorthat their presentation of artists constitutes "a sampler"
Glazed, Black (barro negro) and Painted Red. Often aof what's available to those interested in exploring
village in Oaxaca's central valleys is known for theOaxaca's hinterland. They in fact encourage getting
production of a specific type of folk art. Accordingly, inout and exploring on your own, finding that next folk
some cases a chapter then proceeds to describe aartist who might rise to international stature. They are
particular pueblo, giving the reader additional context.careful to qualify that their inclusions are based on
We find descriptions of, amongst others, the ceramicswhich craftspeople are the most innovative, or
towns of Atzompa, San Bartolo Coyotepec andproduce work which is of especially high caliber
Ocotlán.according to certain criteria. The Rothsteins recognize
Where a family is noted for a special innovation or itsthat the work of any innovator of an entire class of
adeptness at creating a certain craft, a family historyfolk art, and of those producing quality a cut above
follows. The individual craftspeople are then highlighted.that of the rest, is often out of the financial reach of
For the black pottery of San Bartolo Coyotepec, wemany. Therefore, they feature additional artists whose
find descriptions of the De Nieto Castillo family, ofworks are more affordable, yet also of exceptional
which the famed Dona Rosa was a member, alongquality.
with biographies of her son Don Valente Nieto RealCollectors of folk art often need a reminder that
and members of his clan; and of the Pedro Martinezbuying the work of a recognized name does not
family with biographies of acclaimed Carlomagnonecessarily mean that the product is the best, in terms
Pedro Martinez and his relatives.of coloration or patina, form, design, or the imagery it
All told, Mexican Folk Art showcases the works of 100provokes, and that what strikes the fancy of most, or
artists from 50 families living in Oaxaca or one of 13of the so-called experts, might not be your particular
nearby towns and villages. In most cases we'recup of tea. Along this vein, "honorable mention" is
enlightened regarding the personality, worldview andprovided for makers of certain crafts whose works
motivation of each individual carver, weaver or potter,are not featured (under the heading of, for example,
as well as provided with a biographical sketch,"Additional woodcarvers in Arrazola"). The clear
enhanced with the inclusion of a direct quote. In thissuggestion is that readers should get out there and
way the reader gains insight into the inspiration of eachexplore, and make their own determinations and
craftsperson. In many instances the authors alsochoices based upon personal preferences.
include a section on the techniques used by the artist,Is it worth purchasing the 2nd edition if you already
which variously includes the sourcing of raw materialshave the 1st? Certainly give it some consideration if
such as wool from the Mixteca region of the state foryou have not already enmeshed yourself in the
making rugs and wall hangings, or clays from otherappreciation and collecting of Oaxacan folk art by
regions of the state for changing tone and texture ofhaving explored the central valleys. Where the 2002
sculptures; and processing methods including thevolume boasts 500 photos and features 87 artists
extracting of natural dyes from fruits, plants, soils andwithin 44 families, the most recent publication, as noted
the cochineal insect.earlier, has been expanded to 700, 100 and 50,
With its glossy front cover and approximately 700respectively. Some of the craftspeople merely
photographs, Mexican Folk Art can rightfully be termedmentioned in the earlier volume under the "Additional"
a coffee table book. But it's much more. The photos inheading, have been elevated to "featured artist," with
and of themselves bring the book, and the artists, totheir works and stories duly chronicled. And in some
life: Apolinar Aguilar of Ocotlan, forging a red hot piececases where families have grown and pueblo
of recycled metal into an artistic hunting knife; a displaydemographics have been altered, the authors have
of provocatively painted clay ladies of the night madeappropriately noted changes. Wisely, at least in this
by his cousin Julian, son of celebrated Guillerminacritic's opinion, the U.S. dollar "Price Guide" has been
Aguilar; Jacobo Angeles of San Martín Tilcajeteomitted from this new volume, since more than
carving a figure from the wood of the copal tree, oranything else it likely lead to confusion for the buying
standing alongside wife Maria and their family, eachpublic, with the potential of putting up barriers between
proudly displaying an exquisitely painted alebrije;artists and prospective customers. As between
Teotitlan del Valle weaver Isaac Vasquez, working atMexican and American economies, there are so many
his loom creating a tapete, the pattern inspired by avariables and market conditions at play, best to allow
pre-Hispanic pictograph; and fine examples ofvendor/creator and purchaser do their own
multi-colored highly detailed hand embroidery from Sanassessment respecting value for workmanship.
Antonino, such as the yoke and sleeve of a wedding