Category Archives: Anglo influence

The Storm, the Protesters, and the Would-be Purge

The Storm, the Protesters, and the Would-be Purge
(The purge never happened. But a more authentic history emerged.)

The following thoughts were originally published by Joseph Wilder, Editor, Journal of the Southwest, Volume 56, Number 4, Winter 2014, and were written about what he regarded as Jim Hills’s “landmark” perspectives on the history of Mata Ortiz. Wilder is responding here to what he calls “orchestrated” criticisms of the groundbreaking work.

Per Joseph Wilder:
The Journal of the Southwest (54, 1, Spring, 2012) published a special issue on the pottery-making traditions of Mata Ortiz, Chihuahua, Mexico. “Forgotten Tributaries of the Palanganas: Untold Stories from Mata Ortiz” was edited by Jim Hills , and included articles across a broad spectrum of Mata Ortiz life and production, including interviews with potters, photo essays, discussion of the social life of the village, analyses of art and craft practiced over decades. It was a landmark issue on a significant place and its meaning. Central to the issue was a section dedicated to “New Perspectives” on the phenomenon of Mata Ortiz, and at the heart of that section was Jim Hills’ 78-page essay, “Reconstructing a Miracle: New Perspectives on Mata Ortiz Pottery Making.” Publication of this article ignited a storm. A group of American residents of Mata Ortiz or Americans with deep personal and professional ties to the village and its craft production made their displeasure with Hills’ revisionist history and the beginnings of modern Mata Ortiz pottery-making plain. Besides email and letters to me personally, as editor of the journal, there was an orchestrated letter campaign to various officials at the University of Arizona, our academic home, including to our college dean and the president of the University. There were also, I hasten to add, positive – indeed, glowing – reviews and responses sent to me. I responded at length to a number of the protestors, who often called for us to retract the publication (after admonishing us that the publication should not have been published at all, despite normal peer review); usually the critical letters focused on the putative lack of objectivity in Hills’ piece, and this was something I took particular pains to address. I quote from one of my responses:
“Jim’s piece makes real claims – but he does not claim to have spoken the final word; instead, as his publisher, Jim’s effort opens a conversation and it is a powerful opening that is the essence of scholarship. You state a concern with “objectivity”, implying that this issue (and Jim’s essay in particular) fail on that score. Again, while you do not support this charge, you also do not specify what “objective” might mean in this case. The term, of course, is loaded, and there exist literally shelves of materials accumulated over the last 150 years of social science research contesting, analyzing, and plain worrying about that concept. A useful way to think about “objectivity” in human affairs (as opposed to observing molecules through a microscope) is to think in terms of transparency, openness, and intersubjectivity and to remember that in human sciences the “theorist” is a part of that which he theorizes: we do not stand outside of the history we seek to understand; rather we of necessity inform and belong to that history – such are our limitations, and Jim Hills never transgresses those limitations – indeed he respects them, as do I and as does Journal of the Southwest.”
The key of course is the notion of dialogue or conversation. In another correspondence I wrote:
“Jim has written a new narrative history of aspects of Mata Ortiz. He, admittedly, does not pull punches, nor should he. It counters a prevailing, dominant narrative that has held sway for several decades. No doubt this version may be challenged – and further developed – especially since it seems that Jim’s essay has broken through an insularity that is a working danger of small communities of knowledge – and this is a good thing. Ultimately it will be nice to hear the voices – directly – of the Mexicans themselves and how they might construct the narration of their recent history. All of this is the normal intellectual development of the history of time and place, and it shocks me that it seems to be unacceptable to some. It goes without saying – or should – that the way to respond to new narratives to which you might disagree is with your own carefully researched, thought out article – that is reviewed, refereed, and published in the scholarly literature. Indeed, in all of the social sciences, this is exactly the way scholarship proceeds. We are not publishing coffee table books – nor are we publishing magazines or op ed newspapers. We are the arena for academic, scholarly engagement, in all its messy glory. There is a lovely concept of Hegel’s about history – the loving struggle of opposites – the “agon” or agony that provides continually renewed, provisional “truths” of history. This is at bottom what the intellectual enterprise is about: we challenge reigning paradigms, we challenge ourselves and our complacency, we risk ourselves in the marketplace of ideas, and out of that struggle do emerge hard-won truths that imperfectly begin to describe the world we live in and create. My job as an academic publisher is to reflect that struggle and to provide the means for it to occur.”

Mata Ortiz History

Mata Ortiz History, Notes from Ron Goebel and Nancy Andrews

“There’s the story, then there’s the real story, then there’s the story of how the story came to be told. Then there’s what you leave out of the story. Which is part of the story too. “   Margaret Atwood

From the late 1970s: “An Odyssey Complete and Continuing” written by Spencer MacCallum. Only one potter is mentioned. MacCallum claims that the modern Mata Ortiz pottery tradition was started by one person. Research shows that this claim is false.

In 1994 Walter Parks wrote the “Miracle of Mata Ortiz..” As usual, several people helped him with his book. In Acknowledgements Parks wrote:  “…MacCallum was especially generous, opening all of his files to me and reviewing the text.” This was the first edition of the book. MacCallum reviewed the test; essentially MacCallum approved the text of the book.

Many years later a second edition of this book was published. Per Ana Livingston in the Journal of the Southwest, “Mr. Parks reprinted “The Miracle of Mata Ortiz….”

This second edition is a larger book beautifully reprinted with a stunning pot by Juan Quezada on the cover. However, there was “a complete deletion of a section by author and former village pottery trader and business owner Michael Allan Williams [Mike Williams].”

The first edition states that Parks helped to finance the hotel of Mike Williams.

The second edition of his book deletes any mention of Michael Williams. Veterans of Mata Ortiz confirm that Williams was a scandalous exploiter of children. Williams was purged from the second edition. Parks did not want to be associated with Williams. Why?




They Were Written Out of Their Own History

2012-09-18 14.39.472012-09-17 15.34.52

Written Out of Their Own History


All research was done in Mata Ortiz. This post is inspired by Ana Livingston’s article in the Journal of the Southwest, Winter 2016.

The first time Ana Livingston visited Mata Ortiz, Spencer MacCallum told her: the modern pottery began with one man. Then that man taught many others. Livingston thought this was “a well-fashioned traders tale” intended to market the pottery. As a student in my class at Western New Mexico University stated, “It was a marketing ploy.”

Months after talking with MacCallum, Ana was told by a laborer from Mata Ortiz: “What has been said about how the pottery began is not true. It was several people, my extended family and family friends [who started the pottery].”

MacCallum tells a story. That story is appealing in many ways. The story may help to sell the pottery. But there are a lot of problems with MacCallum’s narrative. As Livingston says, “…many of the initial potters had been written out of their own history.”


Omitido De Su Propia Historia

Toda la investigación se realizó en Mata Ortiz.

Esta publicación está inspirada en el artículo de Ana Livingston en el Journal of the Southwest, Invierno 2016.

La primera vez que Ana Livingston visitó a Mata Ortiz, Spencer Mac- Callum le dijo: la alfarería moderna comenzó con un solo hombre. Solamente una persona. Entonces ese hombre enseñó a muchos otros. Livingston pensó que se trataba de “un cuento de comerciantes bien diseñado” destinado a comercializar la cerámica. Como estudiante de mi clase en Western New Mexico University, declaró: “Fue una estratagema de marketing.”

Meses después de hablar con MacCallum, un trabajador de Mata Ortiz le dijo a Ana: “Lo que han dicho de como comenzó la cerámica no es verdad! Fueron varios, mis familiares y sus amigos [que comenzaron la cerámica].”

MacCallum cuenta una historia. Esa historia es atractiva de muchas maneras. La historia puede ayudar a vender la cerámica. Pero hay muchos problemas con la narrativa de MacCallum. Como dice Livingston, “… muchos de los alfareros iniciales habían escrito de [borrado] su propia historia”.


Mata Ortiz, Anglo Influence and Omissions

According to research by Mata Ortiz expert Jim Hills of Tucson, Arizona, indeed several people in the Porvenir neighborhood were making pottery in the 1970s. Porvenir potters Rojelio Silveira, Emeterio Ortiz, Félix Ortiz and Salbador Ortiz all made Mata Ortiz pottery in the early 1970s. In his paper, “Reconstructing a Miracle” in the University of Arizona’s Journal of the Southwest, Hills states, “Spencer MacCallum continually customized his story over the years in an attempt to promote a single narrative, which required omitting, modifying or diluting facts.” The Ortiz and Silveira potters were among those omissions.  Thus, according to Hills, “a blend of well-meaning entrepreneurial strategies, reticence, forgetfulness, imagination, exaggeration and romantic notions of reality have shaped the Mata Ortiz narrative.” Essentially, two U.S. writers shaped an incomplete history of the Mata Ortiz pottery tradition. In 1993 American Walter Parks wrote a book based on MacCallum’s notes. In the book’s acknowledgements, Parks states, “Spencer MacCallum was especially generous, opening all of his files to me and reviewing the text.”

Based on new voices and evidence, that history is deficient. It tells only part of the story. Many significant families were excluded from their writings.


DVD COVER“Efforts Made to Rescue the Ceramics of Paquime” by

Julián Alejandro Hernández Chávez


“In 1952, in Casas Grandes, Manuel Olivas began to produce low temperature ceramics decorated with the designs from the pieces found at the archaeological sites. His grandmother taught him how to find the clay deposits, how to prepare the clay and fire his pieces the way his family did to produce clay articles. This is how the new traditional Paquimé ceramics were born; after this, the ceramics appeared spontaneously in several communities in the region and the new potters exchanged the information they had. They sold their pieces as utilitarian and decorative objects, first to locals and later to tourists. There was a flurry of activity at the beginning of the seventies [1970s] which was centered on the town of Juan Mata Ortiz where Juan Quezada, Félix Ortiz, Rogelio Silviera and others worked full time as potters.”

Julián Alejandro Hernández of Nuevo Casas Grandes is a preeminent pottery expert focusing on the Casas Grandes and Mata Ortiz pottery traditions. Mr. Hernández has written two books about the art and archaeological ruins of Paquime in Casas Grandes, Chihuahua, Mexico. He is a working potter, having taught dozens of people about pottery. Hernandez started the first pottery school in Nuevo Casas Grandes. In addition, he is the director of the Francisco Villa Preparatory School.



Historia y Alfareria de Mata Ortiz

Felix Ortiz and family

Felix Ortiz and family

Jerardo Tena effigy. Jerardo is a nephew of Felix Ortiz.

Jerardo Tena effigy. Jerardo es sobrino de Felix Ortiz.

Historia y Alfareria de Juan Mata Ortiz

La historia completa de la alfarería Mata Ortiz necesita voces nuevas. Una reexaminación histórica es la base en gran parte de este contexto. James McPherson, presidente de la American Historical Association, dice que “la revisión es el alma de los estudios históricos. La historia es el diálogo contínuo entre el presente y el pasado. Las interpretaciones del pasado están sujetos a cambio en respuesta a nueva evidencia, preguntas nuevas que se hacen a la evidencia y nuevas perspectivas que se adquieren con el pasar de los años. No hay una sola, eterna y inmutable ‘verdad’ sobre los eventos en el pasado y su significado”.

Esta ampliada documentación histórica pasa a través de algunas suposiciones aceptadas. La documentación incluye las voces de muchas personas, entre las cuales, las de los alfareros del área de Mata Ortiz y Nuevo Casas Grandes.

Kiva es una revista trimestral que publica la Sociedad Arqueológica y Histórica de Arizona. En la edición de otoño de 1994, Scott Ryerson escribió que ningún alfarero del barrio de El Porvenir de Mata Ortiz fue incluido en una lista de Spencer MacCallum hecha en 1977 de alfareros que estaban trabajando con barro.

Sin embargo, gracias a la investigación de Jim Hills en 2010 en Nuevo Casas Grandes, Casas Grandes y Mata Ortiz, sabemos que habían muchas personas en el barrio de Porvenir haciendo ollas en los anos 1970. Alfareros del Porvenir como Rojelio Silveira, Emeterio Ortiz, Felix Ortiz, y Salvador Ortiz hacían la alfarería de Mata Ortiz en los años 1960 y 1970. También en reciente entrevistas en 2015 con muchos alfareros revelo que la tradición de la ceramica de Mata Ortiz surgió como un esfuerzo de grupo, y no de la inspiración de un solo hombre.

Se sabe de sobra que el muy conocido Juan Quezada estaba trabajando en barro en otra área de Mata Ortiz en la misma época.  Así mismo, de acuerdo a la investigación de Julián Hernandez de Nuevo Casas Grandes, Manuel Olivas de Nuevo Casas Grandes, hacía ollas contemporánea al estilo Paquime, lo que ahora se llama alfarería Mata Ortiz, a principios de los años cincuenta. Manuel aprendió a trabajar con ollas de su abuela, Leonor Parra.  En la revista Southwest, edición primavera 2012, Hernandez dijo que Manuel “estaba haciendo alfarería con diseños Paquimé a finales de 1951”.

De acuerdo a una investigación más reciente, “Spencer MacCallum continuamente ajustó su relato a través de los años en su intento de promover una sola narrativa, la cual requirió omitir, modificar, o diluir hechos.” Debido a este relato incompleto, se perdió la estima familiar y generó el resentimiento hacia las personas que estaban presentes en la historia de MacCallum. Ese resentimiento continúa hoy, con los actuales alfareros que hablan sobre las ramificaciones actuales, contemporáneas. Ya es hora de que sus voces estén incluidas para ampliar la historia de la alfarería tradicional de Mata Ortiz hacia una recolección mas completa.






Mata Ortiz: Las Historias No Contadas, Parte Dos



                                             Por Ron Goebel y Nancy Andrews


“Es momento de incluir más voces y expandir la historia de la tradición alfarería de Mata Ortiz en una representación más completa”.

-Del documental de 2015 “Mata Ortiz: Las Historias No Contadas”

La alfarería en Mata Ortiz surgió como un esfuerzo grupal. La documentación muestra que en Mata Ortiz la tradición alfarería comenzó como un esfuerzo grupal y no con la inspiración de un solo hombre. El profesor Julián Hernández está de acuerdo: “Comenzaron a trabajar con el barro… todos juntos… para lograr mejores habilidades y realizar sus trabajos de alfarería”.

Marisela Ortiz reafirma este esfuerzo grupal cuando habla sobre la década de 1960 y de principios de la década de 1970, los primeros años de su padre en la alfarería. “Sí, mi padre Félix Ortiz fue uno de los primeros que comenzó a trabajar con barro, él y algunos de sus amigos”, destaca. Junto con su hermano, Emeterio, entre los amigos alfareros de Félix se encontraban Rojelio Silveira y Salbador Ortiz, tío del artista contemporáneo Eli Navarrete.

Eli Navarrete recuerda sus propios comienzos, cuando aprendió a fabricar ollas en Barrio Porvenir. “Me juntaba con Félix y su hermano mayor Emeterio. Fueron pioneros con Juan Quezada. Y uno de los primeros en utilizar técnicas nuevas fue mi tío, Salbador Ortiz. Los fines de semana, pasaba tiempo con familiares y amigos y hablábamos sobre encontrar nuevos materiales y herramientas”.

El alfarero pionero de Mata Ortiz, Rojelio Silveira, coincide y afirma que en la década de1960 Salbador Ortiz era uno de los alfareros auténticos del pueblo. En una entrevista de 2012 con el documentalista Richard Ryan de Mata Ortiz, Silveira relata: “Tenía unos 21 años cuando comencé a fabricar ollas. Fue antes de casarme”. Era el año 1965. “Ahí fue cuando hice una olla con dos rostros, una esfinge. Félix [Ortiz] hizo un cuenco pequeño y mi amigo Chava [Salbador Ortiz] hizo una olla pequeña. Así fue cómo empezamos. Comenzó cuando les dije: “Hagamos una olla”. Silveira había sido un saqueador, y también resultó que pudo fabricar una olla él mismo. “Así que dijeron, está bien, intentémoslo, y así lo hicimos. Todos juntos. Félix Ortiz, yo Rojelio Silveira y Salbador Ortiz. Los tres”.

Mata Ortiz: Las Historias No Contadas, Parte Tres



Por Ron Goebel y Nancy Andrews

Del mismo modo, los artistas jóvenes de la actualidad rápidamente le dan crédito a la comunidad por sus logros y comparten sus triunfos con colegas. El premiado alfarero Héctor Gallegos Junior avanza hasta el punto de darle el crédito a la tierra misma, junto con sus padres, por su inspiración y logros. “Todos nuestros materiales”, explica, “provienen de nuestra tierra, así que es muy importante para mí. La mayoría de nuestras tierras se han cultivado por mi familia durante muchas generaciones. Además de la alfarería, la mayoría de las personas vive de su tierra. Debido a mi amor por la naturaleza, comencé a representar a los animales y insectos del norte de México en mis trabajos de alfarería”. Gallegos continúa y ilustra su devoción por la comunidad de Mata Ortiz. “Cuando viajamos a exhibiciones, mostramos nuestro trabajo, pero también hablamos de la comunidad. No solo nos promocionamos a nosotros mismos. Promocionamos a toda la comunidad. Por ejemplo, Group of Seven es una nueva asociación civil de artistas que apoya a estudiantes locales con becas”. El premiado alfarero Diego Valles cree lo siguiente: “En Mata Ortiz, somos en verdad una comunidad de artistas. Creo que es por eso que no tenemos límites”.

“La revisión es el alma de los estudios históricos. La historia es un diálogo continuo entre el presente y el pasado. Las interpretaciones del pasado están sujetas al cambio en respuesta a nuevas evidencias, nuevos interrogantes a partir de la evidencia y nuevas perspectivas obtenidas con el paso del tiempo”. James McPherson

De hecho, los alfareros contemporáneos de Mata Ortiz comprenden las oportunidades ilimitadas para aquellos que tienen ideas de diseño vanguardistas y la disciplina para ejecutarlas. Iván Martínez, un ambicioso estudiante de marketing de 24 años de la Universidad de Paquimé y oriundo de Mata Ortiz, relata su éxito de 2014. “Ese año tuve el privilegio de ir a Tonolá, Jalisco”, cuenta Martínez. “No estaba acostumbrado a ir a competencias de alfarería. Ese año, tuve el coraje de presentar una pieza. Para mi sorpresa, mi trabajo ganó el segundo lugar a nivel nacional. Gracias al premio, tengo la motivación para continuar”. Su hermana, la premiada Viviana Martínez, de 19 años y también estudiante universitaria, le da el crédito a su hermano Iván por su propia motivación disciplinada. “Mis padres, hermano y amigos me mantienen innovadora. Cuando voy a la escuela y les digo a mis amigos lo bien que me está yendo, se sorprenden por todos los premios que he ganado y me dicen lo orgullosos que están de mí”, relata.

Ahora la tecnología moderna contribuye a la amplia variedad de posibilidades de promocionar la alfarería y, por lo tanto, de ganarse la vida con el arte. La apremiada alfarería Carla Martínez de Mata Ortiz señala que alrededor del 30% de los artistas jóvenes en el pueblo están conectados a Internet y usan correos electrónicos, Facebook y otros medios de comunicación para contactarse con potenciales compradores. La apremiada Elvira Bugarini Cota es una de las promotoras en línea. Bugarini expresa: “Nuestros nuevos clientes aparecen por Internet. Tenemos clientes por Internet que llaman desde Cancún, Puerto Vallarta, Playa del Carmen y Acapulco. Sí, Internet nos ha ayudado. Gracias a él, hemos podido llegar a personas de otros lugares que no conocían nuestro trabajo, gente de Francia, España, personas que no sabíamos que podían estar interesadas en nosotros. Internet nos ha servido mucho. Estoy orgullosa de lo que hemos logrado”.

En 2013, la hermana de Bugarini, Laura Bugarini Cota, ganó el primer lugar en la competencia nacional de alfarería en Tlaquepaque, Jalisco. Elvira Bugarini enfatiza lo siguiente: “A partir de 2013, hemos visto más interés en nuestro trabajo por parte de la gente en México. Vemos que las personas de México están interesadas en hacer que nuestro trabajo sea bien conocido a nivel nacional”. En cuanto al triunfo, Laura Bugarini reflexiona: “Este es el honor más grande que he tenido. Recibí el premio en Tlaquepaque, Jalisco. Lo recibí de las manos del presidente Peña Nieto. Es un gran honor para todos, para mí y para todos los alfareros de aquí que trabajan con barro. El premio es para todos nosotros”.

Así, en el siglo XXI vemos que la alfarería de Mata Ortiz es reconocida en México y más allá. La tradición que comenzó hace siglos con los alfareros de Paquimé, las ollas que replicó Manuel Olivas en la década de 1950 bajo la tutela de su abuela, Leonor Parra, el arte que recrearon Félix Ortiz, Salbador Ortiz y Rojelio Silveira y otros en la década de 1960, el arte que se volvió más amplio con el ingenio de Juan y Nicolás Quezada, ahora recibe extendido reconocimiento nacional e internacional. Ese reconocimiento les permite a los alfareros de Mata Ortiz continuar viviendo del arte y compartir su buena fortuna con otros. Como dice el maestro alfarero Macario Ortiz de Porvenir: “El sol brilla para todos”.

Copyright © 2016 Ron Goebel. Todos los derechos reservados.

Overview of Mata Ortiz

Overview of Mata Ortiz

2012-09-17 13.27.41

Que Milagro? (What a Miracle?)

Que Milagro?  (What a Miracle?)

Today, July 27, 2016, at the Clay Festival in Silver City, New Mexico, visiting Mata Ortiz artist, Diego Valles, staged a reform of sorts: He credited the MATRIARCHS of Mata Ortiz with being the first potters in their community. At last!

For years, the role pot-making grandmothers, great-grandmothers, and great-great-grandmothers played in the Mata Ortiz region was overlooked, sustaining an American-invented tale that pottery making was re-discovered in Mata Ortiz by a man who had never seen a potter at work. Yes, it was an American-invented myth. A myth of male dominance. A myth spread largely by American men with their own business interests and reputations at stake.

“Our grandmothers made utilitarian pottery out of necessity,” Valles asserted. “Pottery was part of the community.” He went on to say that “Later, in the fifties and sixties, it was a group of potters, the Silveiras and others,” that began what we now call the Mata Ortiz Pottery Movement. Collective sigh. It has finally been said out loud that generations of Mexican men and women are to be credited for Mata Ortiz Pottery.

And, Valles went on to speak about the long-held secret of mid-twentieth century pot hunting around Casas Grandes.  “It’s not shameful,” said Valles. “What would YOU do?” he asked, explaining that people were hungry, black market demand was great for ancient pots, the laws about antiquities were looser and many people did not yet understand the cultural significance of ancient artifacts. Years later, Mexican and American researchers were told to keep quiet about early pot hunting in their papers and presentations.

It’s about a hundred years after female potters were working in Mata Ortiz. It’s sixty-five years after Manuel Olivas learned potting in Casas Grandes from his grandmother, Leonor Parra. It’s sixty years after pot hunters like the pioneer Rojelio Silveira unearthed ancient pots in order to feed their families. It’s over fifty years since Silveira, Félix and Emeterio Ortiz, Juan and Nicolás Quezada and Salbador Ortiz began making pots. Now we can breathe a collective sigh as the silence is broken by a contemporary artist who dares to tell us the truth. Mata Ortiz Pottery is not simply a mythic male miracle. It is the result of a diversity of human brilliance, hard work and collaboration. Que milagro!


Mata Ortiz: Untold Stories Part Three



By Ron Goebel and Nancy Andrews

Likewise, young artists today are quick to credit the community with their achievements and to share their successes with colleagues. Award-winning potter Héctor Gallegos Junior goes so far as to credit the land itself, along with his parents, for his inspiration and accomplishments. “All of our materials,” he explains, “come from our land, so it is very important to me. Most of our lands have been cultivated for many generations by my family. Apart from pottery, most people live off their land. Because of my love of nature, I began doing the animals and insects of northern Mexico in my pottery.” Gallegos goes on to illustrate his devotion to the community of Mata Ortiz. “When we travel to exhibitions, we show our work, but we also talk about the community. We don’t just promote ourselves. We promote the whole community. For example, Group of Seven is a new civil association of artists that supports local students with scholarships.” Award-winning potter Diego Valles believes, “In Mata Ortiz, we are really a community of artists. I think because of that, we have no limits.”

“Revision is the lifeblood of historical scholarship. History is a continuing dialogue between the present and the past. Interpretations of the past are subject to change in response to new evidence, new questions asked of the evidence, and new perspectives gained by the passage of time.” James McPherson

Indeed, contemporary Mata Ortiz potters understand the boundless opportunities for those who have innovative design ideas and the discipline to execute them. Ambitious twenty-four year old Iván Martínez, a Mata Oriz native and marketing student at the Technological University of Paquimé, recounts his 2014 success. “That year I had the privilege of going to Tonolá, Jalisco,” says Martínez. “I was not accustomed to going to pottery competitions. That year, I got enough courage to enter a piece. To my surprise, my piece won second place at the national level. Thanks to the prize, I am motivated to keep going.” His sister, nineteen-year-old award winner Viviana Martínez, also a university student, credits brother Iván with her own disciplined motivation. “My parents, my brother Iván and my friends keep me innovative. When I go to school and tell my friends how well it’s going for me, they are surprised because of how many prizes I’ve won. My friends say how proud they are of me,” she says.

Modern technology now contributes to the wide range of  possibilities for marketing pottery and therefore making a living in art. Prize-winning Mata Ortiz potter Carla Martínez says that about thirty percent of the young artists in the village are connected to the internet and use email, Facebook and other social media to communicate with potential buyers. Award winner Elvira Bugarini Cota is one of those marketing online. Says Bugarini, “Our new clients are through the internet. We have internet clients who call from Cancún, Puerto Vallarta, Playa del Carmen and Acapulco. Yes, the internet has helped us. Because of it we’ve been able to reach people from many places who didn’t know our work before, people from France, Spain, people we didn’t know could be interested in us. The internet has served us well. I’m proud of what we have accomplished.”

In 2013, Bugarini’s sister, Laura Bugarini Cota, won first place in the national pottery competition in Tlaquepaque, Jalisco. Elvira Bugarini emphasiszes that, “From 2013 on, we have seen more interest in our work from people in Mexico. We’re seeing that people in Mexico are interested in making our work well known nationally.” Regarding the win, Laura Bugarini reflects, “This was the greatest honor that I’ve had. I received the award at Tlaquepaque, Jalisco. I received it from the hands of President Peña Nieto. It’s a very big honor for everybody, for me and for all the potters here who work in clay. The award is for all of us.”

So, in the twenty-first century we see that Mata Ortiz pottery is  recognized in Mexico and beyond. The tradition that began centuries ago with the potters at Paquimé, pots that were replicated in the 1950s by Manuel Olivas under the tutelage of his grandmother, Leonor Parra, art that was recreated in the 1960s by Félix Ortiz, Salbador Ortiz and Rojelio Silveira and others, work that became even more extensive with the genius of Juan and Nicolas Quezada, is now receiving widespread national and international recognition. That recognition allows the potters of Mata Ortiz to continue making a living in art, and it allows them to share their good fortune with others. As Porvenir master potter Macario Ortiz says, “The sun shines for everybody.”