November 2009

Dia de los muertos Show and Sale

Aydee Art Studio
538 E. Edna Pl.
Covina, CA 91723

Date: November 1, 2009

Community altar! Refreshments! Come in your Day of the Dead costume!

Come see new paintings, pottery, mosaics by Aydee López Martínez, Glenda Rosales, Julie Soto and Emelda Gutíerrez.

For more information call 626-915-5398.

Border Art Biennial 2010: Call for Entries

El Paso Museum of Art, City of El Paso
2 Civic Center Plaza
El Paso, Texas 79901

Dates: November 14, 2010 - February 13, 2011
Deadline: January 31, 2010

The El Paso Museum of Art and the Museo de Arte de Ciudad Juarez announce the Border Art Biennial 2010, the first juried exhibition to examine and highlight the often under-represented, but vital art and artists from the states on the US/Mexico border: Arizona, Baja California, California, Chihuahua, Coahuila, New Mexico, Nuevo León, Sonora, Tamaulipas, and Texas. To emphasize the notion of collaboration, each Museum will exhibit one of two artworks by every artist selected. All works included will be reproduced in the accompanying exhibition catalog.

2010 Jurors:

Rita Gonzalez, Assistant Curator in the Department of Contemporary Art at the Los Angeles County Museum of Art

Itala Schmelz, Director at the Museo de Arte Carrillo Gil

Click on the link below to create a username and password and apply to the exhibition.

The Anthological Exhibition of Master Enrique Gómez Campuzano (Gomar)

LaLocalidad Cultural Center
Calle 118 No. 5 -33 de Usaquén
Bogotá - Colombia

Dates: October 7-November 7, 2009

The show is composed of ceramic works, drawings and watercolors.

In the words of Carlos Alberto González, curator of the show, in his text on the “Anthological Exhibition”:

ENRIQUE GÓMEZ CAMPUZANO´s fate was to be an artist; he was mystical about his work. His pose was clearly classical and from there, he enjoyed research. His self-taught education enriched his universe in quite a particular way.

He was a drawing artist, a watercolorist, sculptor and illustrator; he performed with great skill in all fields for he had a Benedictine patience. His ceramic sculptures, product of his studious spirit made him a unique individual of his time. He inquired, from a collection of European books, about the technique of ceramics —as an alchemist of the Middle Age would have done—thus accomplishing such a perfect product that it had no technical difference from those created at the main Eastern and European centers. His hands passionately scrutinized into the material, giving great beauty to the textures and finishing details in it.

There is no doubt that GÓMEZ CAMPUZANO occupies an honorable position in the history of Colombian art, given that his work establishes a bridge between art of the 18th and 19th centuries and the modernity of the 20th century. The tile and ceramic factories that preceded him in that craftsmanship basically produced utilitarian objects.

His work, based on the classical art precepts, reveals an orthodox artist in the formal concepts of the work, counter-posing those concepts to a very personal and modern view on the theme part, since he sets his eyes on unconventional issues of the moment in which he develops his work, such as: common people, the Indian natives, peasants and the black population. Animals also have starring roles in his work.

His social reflection is broad, vigorous and eloquent in subjects that are not conventional for the artists of his time; his work is a reflexive and technical inquiry which makes an art work out of every piece, his style placed between realism and expressionism unveils his passion for Auguste Rodin, whose work he studied as that of one of the greatest artists of all times.

One can find an intimate artist in his easel works, for he transmits his universe with no vacillations in his controlled formats. His equestrian series, mostly composed of watercolors, lets us see the virtuous artist that he was. His series The Conquest is a document of major historical and visual value since his illustrations made with dexterity reveal his talent as a creative artist of drawing, a talent that left its traces behind in the illustrations of the book El Moro de Marroquín.

ENRIQUE GÓMEZ CAMPUZANO was convinced of his artistic concepts which he summarized by stating: "my text book was nature, contemplated with new eyes and questioned with no aesthetic prejudice or current fashion concerns."

For more information email

The Codex Ramírez: Volume One

Gallery X-43
Jose Vera Fine Art & Antiques
2012 Colorado Blvd.
Los Angeles, CA 90041

Dates: October 3-November 15, 2009

A codex is an ancient form of manuscript, which was in use both in the "new" and "old worlds" simultaneously. In Mayan culture, a codex was both a sacred document and a historical record; codices were used to both describe events, predict agricultural cycles, detail ceremonies, or to forecast prophecies. In all cases, however, the scribes whose hieroglyphs adorned the page were trained artisans thought to have a direct connection to the spiritual world. As products of holy men, codices themselves were seen as divine objects.

The Codex Ramírez draws its inspiration from these ancient manuscripts. Volume One is a series of paintings on paper that explore color and aesthetic juxtapositions in many of the same ways that color and form were used for symbolic purposes in earlier eras. However, these images are not intended to be read; they do not conform to a specified language. Instead, they aim to capture a bi-national, bi-cultural set of landscapes that continue to haunt many Chicano and Chicana artists. In this case, Ramírez aims to confront images from the land to which his family is tied. Volume One momentarily captures the haunting presence of Jalisco within the cultural landscape of Los Angeles. Volume Two of the Codex Ramírez, which is currently under production, focuses on unearthing aesthetic juxtapositions that make up Los Angeles. Together, Volumes One and Two will depict a story rooted in the agave filled hills of Jalisco and, simultaneously, in the continuously shifting urban-scape of Los Angeles. These images, then, are fragments of a larger map that helps to orient the artist and his work.

The term codex is appropriate here; codices of the type found in Meso-America represent an older continuously running text but the term itself (codex) refers to something more akin to the modern book. This is not to say that the Mayan and Aztec texts were not codices; similarly formatted documents were in use at the same time by Romans. But, by the middle ages in Europe, the continuous strip of paper that had previously been folded back upon itself was now cut into individual sheets and bound-much like a conventional book. It is in this sense that Codex Ramírez may be thought of as a codex; it is a collection of individual but inter-related sheets of pages. Without their binding, the images are allowed to float-they can be mixed, rearranged, edited out. Their order is not fixed and, thus, their meanings are not bound to a beginning or end.

It is interesting to note that in the Pre-Columbian context codices were destroyed in an attempt to stifle ideas, to kill cultures, and to make histories invisible. What one finds in Codex Ramírez is a kind of reclamation project involving a set of images that unearths histories that span borders between North and South, between Past and Present, and between Visible and Invisible. These paintings are representative of an urban archeology-of a process of digging to find that which has been lost, a process of understanding through re-construction not in order to discover but, rather, to know again.

José L.S. Gámez, Ph.D.

For more information call 323-258-5050.