Tag Archives: Mexican artists

Mata Ortiz: Las Historias No Contadas, Parte Dos

LAS HISTORIAS NO CONTADAS DE PAQUIMÉ Y

MATA ORTIZ (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”.

Blog photo green hills Sept 2012

MATA ORTIZ: OPEN LETTER

Open Letter

 Ay Ay Ay

The Mexican Consulate in El Paso is preparing to commemorate an American presence in Mata Ortiz, Chihuahua, Mexico. It is important to note that along with economic development, the U.S. presence brought with it paternalistic myths and misbehavior. The male Anglo-centric legend of Mata Ortiz pottery neglects the critical initial role of women utilitarian potters in the region. Additionally, the myth excludes early Mexican traders and entire groups of early commercial potters, such as those in Nuevo Casas Grandes and the Porvenir neighborhood of Mata Ortiz, in the recklessly incomplete American version of the development of Mexican Mata Ortiz pottery tradition. Why the Mexican Consulate chooses to commemorate exclusionary and irresponsible non-native behavior in their beautiful country is a mystery. The contemporary pottery of Mata Ortiz is indeed some of the best in the world. The Mata Ortiz artists, from the earliest Olivas, Ortiz, Quezada and Silveira potters to those of today, are recognized internationally. But generally speaking the American “‘I’ ‘I’ ‘I’” version of the U.S. presence in the region is not exemplary. Mexican potters, and Mexican potters alone, are responsible for the extraordinary ceramics renaissance in and around Mata Ortiz.

MATA ORTIZ: MORE ANGELS AMONG US (This is what we’re talking about!)

Bravo to Silver City’s Clay Festival, already a stellar annual event! Check out the program the Festival offers on Sunday, August 3, 2014,10 A.M, at Seedboat Center for the Arts. For the first time, a Mata Ortiz artist, Diego Valles, will participate in a panel discussion about Mata Ortiz  Pottery. Diego’s pottery was the talk of last year’s Festival. This year Diego has the opportunity to speak on stage about the success he and other Mexican artists are having with contemporary pottery techniques as a 21st Century Mata Ortiz strives for continued excellence. And Clay Festival listeners will have the first of what will no doubt be many opportunities to hear a Mata Ortiz potter broaden our perspectives on their living Latino Art.  Congrats to the Clay Festival on this important first!

Another first time panel participant, Western New Mexico Professor Emeritus Claude Smith, also a professional potter, will join Diego in the discussion. Even as we post this, Claude is hard at work creating his own ceramic magic for the Festival! His vases, mugs and decorative plates will delight viewers and tempt buyers alike. Claude’s knowledge of pottery is sure to enlighten listeners and help us all to better appreciate clay creations showcased in the 2014 Clay Festival. Claude is truly a Silver City treasure.

In the meantime, check out the amazing contemporary work of Diego Valles downtown at Seedboat Center for the Arts, 214 W. Yankie St., Silver City, New Mexico. Enjoy Claude’s outstanding pieces when they are featured at Western New Mexico University Museum, Saturday, August 2nd, 3-6 PM. Let’s go!

OUR NEIGHBORS IN MATA ORTIZ: VIEWED THROUGH A STERLING LENS

OUR NEIGHBORS IN MATA ORTIZ: VIEWED THROUGH A STERLING LENS

 

By Nancy Andrews, Silver City, New Mexico

Copyright Nancy Andrews 2014

(In early 2014 Donald Sterling was the owner of the Los Angeles Clippers of the National Basketball Association or NBA. He was banned for life after he made racist remarks. His paternalistic remarks were equally disturbing and are the topic of this discussion.)

 

When Donald Sterling asked, “Who makes the game?” he gave voice to his flawed perception that a pale, maturing owner was the essence of a professional basketball team, a team rich with young Black talent. “Do they make the game?” Sterling queried. And a league of strong voices countered together, Yes! We make the game! We make basketball! In one telling day, Sterling was on his way out and the Los Angeles Clippers prevailed without him. Regardless of Sterling’s view, basketball players do make the game. It’s unfortunate that many of us, although well meaning, view the artists of Mata Ortiz through our own similarly flawed lenses.

        Mexican artists make Mexican art; Mexican potters deserve full credit for their ceramics. Seven hundred years ago, Casas Grandes civilization flourished for several centuries in what would become Mexico.  The center of Casas Grandes, a city we call Paquime, stood near the site of present-day Mata Ortiz, Chihuahua. A number of Casas Grandes people were exceptional artists and left a legacy of fine ceramics. In the twentieth century, a loosely aligned league of Mexican potters, Manuel Olivas, Emeterio Ortiz, Felix Ortiz, Salvador Ortiz, Juan Quezada, Nicolas Quezada, Nicolas Silveira, Rojelio Silveira and others, pioneered the renaissance of Casas Grandes ceramics, now known as Mata Ortiz Pottery. Visitors from the United States played important roles in making the pottery known to people north of the border. Still, as artist Juan Quezada suggests in the Journal of the Southwest, the potters of Mata Ortiz were destined for success with or without connections to any particular agents. Mata Ortiz Pottery was already on the road to greatness when strangers arrived. Mexicans, working together and learning from one another, brought forth the rebirth of Casas Grandes pottery. It took a village, a Mexican village.

Today that village is a vibrant community of artists. Phones, paved roads, email and social media are fast-flowing arteries of communication for this society of worldly potters. They are wise and eloquent professionals, some are English-speaking, and many travel frequently to the United States. They live but a few hours from Silver City, Las Cruces and Tucson. Yet, go to almost any Southwest U.S. forum on Mata Ortiz and observe the speakers. Pay close attention. Are they the best spokespersons for this Mexican art form? Is the history inclusive and complete? Are artists’ dreams and the community’s plans discussed first hand? When needed, do objective translators facilitate direct exchange between presenter and audience? Or is communication impeded by a kind of wall of white, a construct disproportionately non-Latino? Is lopsided attention given to Anglo experience, opinion and influence? Listen carefully. Does the narrative reinforce a subtly colonial point of view? Perhaps emphasis is placed on what we outsiders have done in, and for, Mata Ortiz, rather than what Mata Ortiz potters have done in, and for, the world of art. Have we grown paternalistic and comfortable with that scenario? Maybe like Donald Sterling, some of us cling to lenses that have no place in today’s new forum.

Some of us like to envision the Mata Ortiz of a romanticized past. However, the people of Mata Ortiz are twenty-first century multidimensional individuals, not potters in a stagnant exhibition. Their art is ever-evolving. Each Mata Ortiz potter, like any successful artist, is the creator of her own authenticity, the master of his unique destiny. Only an artist from Mata Ortiz can speak compellingly of his creative desires. Only a Mexican potter can adequately share the truth of her heritage. Mata Ortiz pottery is theirs, an endeavor over which they alone have genuine command. Their art and lives develop in ways only they can articulate. We must listen to their voices. In the words of Mata Ortiz artist Diego Valles, “I believe there should be a potter or citizen of Mata Ortiz in every discussion about it. Don’t you think?” Who can disagree?

As gracious Americans, let’s move to the sidelines. Our view is limited, our commentary incomplete. Let’s make way for the people who are crafting their own extraordinary pottery movement. Let’s hear new voices respectfully revise the outsider-embedded account by presenting a balanced narrative that honors all players in the Mata Ortiz story. It’s 2014 and time for a broad vision of Mata Ortiz and its living Latino art, an image not distorted by Sterling lenses. Let’s welcome a chorus of “Nosotros hacemos las ollas, nosotros hacemos el arte.”  “We make the pots, we make the art.”

 

 Nancy Andrews is the author of the award-winning children’s book, THE POT THAT JUAN BUILT / LA VASIJA QUE JUAN FABRICO, as told to her by Juan Quezada, and illustrated by David Diaz. A percentage of the book’s royalties goes to Mata Ortiz to be used as individuals there determine.