October 31
Join the Mulvane Art Museum and the Tonantzin Society for the primer opening of Wayne Hilton's Hermosos Huesos Exhibit. The opening reception kicks off at 6:30 pm and Wayne Hilton will speak at 7:00pm. www.facebook.com/hermososhuesos
The Mulvane will also be creating a community ofrenda dedicated to our loved ones that have passed AND the artists:
Join the Mulvane Art Museum and the Tonantzin Society for the primer opening of Wayne Hilton's Hermosos Huesos Exhibit. The opening reception kicks off at 6:30 pm and Wayne Hilton will speak at 7:00pm. www.facebook.com/hermososhuesos
The Mulvane will also be creating a community ofrenda dedicated to our loved ones that have passed AND the artists:
- Frida Khalo
- Diego Rivera
- Jose Guadalupe Posada
- Alberto Garcia M.
Wayne Hilton’s Hermosos Huesos Exhibit 2014
The Mulvane Art Museum and the Tonantzin Society (co-sponsor) are bringing to Kansas the exquisite work of Wayne Hilton and his Hermosos Huesos Exhibit. Wayne’s inspiration is drawn from the artwork/illustrations of the iconic Jose Guadalupe Posada (1852-1913).
The exhibit opens October 31 – December 15, 2014.
Posada, Mexico’s mindset, & La Calavera Catrina (Elegant Skull)
Posada was born in Aguascalientes, Mexico and spent his adult life commenting on the political, social and economic life of Mexicans through his illustrations. Aware of the vast chasm between the elites and the majority of poor and landless Mexicans; Posada’s work was sharply satirical.
Yet the stirrings of revolution in Mexico under the reign of Porfirio Díaz produced some of Posada’s most famous works. Witnessing the elite straining to deny any indigenous blood in their veins through idolizing all things European, Posada created La Calavera Garbancera.
Later know as La Catrina, her image was one Posada used to mock the upper classes attempts to be more than what they were. While there are different opinions on exactly why Posada utilized the skull imagery in his later works, one thing cannot be denied – the skull imagery tapped into the pre-Columbian mindset of humans relationship with both life & death. The skull image reduce all, no matter what social class, to the same, equal result all experienced in life – all are born and all will die. It is said that the Mexican mindset has a certain relationship with death that few other cultures have.
The works of Posada and their increasing importance after his death and to the celebrating of Día de los Muertos cannot be articulated enough. Mexican writer poet and Nobel laureate Octavio Paz wrote of Posada’s work:
"His subject was the great theater of the world of man, at once drama and farce. He was the engraver and chronicler of the daily scene. His work is vast and diverse, not diffuse. Even with the quantity and variety of his work, he maintained stylistic unity.... Posada's art has humble origins among the caricaturists who illustrated nineteenth-century Mexican newspapers and who were in turn influenced by European caricaturists, especially the French. Posada soon created his own style, endlessly enriched with surprising variations. How to define his technique? A minimum of lines and maximum of expression. By birthright Posada belongs to a manner that has left its stamp on the twentieth century: Expressionism. Unlike the majority of Expressionist artists, however, Posada never took himself seriously."
The use of Posada’s Catrina became more prevalent in Día de los Muertos celebrations both in Mexico and the United States. Much has been written about her and the connection with Aztec goddess Mictecacihuatl. Mictecacihuatl was the feminine component that ruled the underworld of death and was the keeper of the bones. Some scholars believe while there may be a correlation with skull imagery in Posada’s work and the European “Dance of Death”, the evolution of La Catrina and Posada’s other skull illustrations, have shown the playfulness, mockery and even joyful attributes again that are uniquely Mexican.
Wayne, found objects, & breathing “life” into La Catrina
Wayne Hilton was born and raised in the southwest and currently resides in El Paso, Texas. He has decades of experience in design and production, large scale event coordination and his passion is costume design.
Hilton’s love of Mexican culture came to him at an early age and an integral part of the projects he has been involved with over the years. Two of the inspirational and truly creative aspects of the Hermosos Huesos (Beautiful Bones) project are the homage the exhibit pays to Posada’s work exclusive focus on La Catrina, and the exhibit of the La Catrina figures have all been created with found objects.
From Wayne’s underwriter prospectus:
‘As we move into the age where SUSTAINABILITY, RE-CYCLING, RE-PURPOSING, and UP-CYCLING have become catch phrases and trendy practices, for Wayne…it’s like the rest of the world is finally catching on. The combinations of upbringing, education, and personal preference have already made him an artist (and citizen) whose go-to resource was the dumpster…or at least a thrift store! Finally…people are starting to understand the value of utilizing found objects, starting with the fundamental palette of “what’s there” versus just purchasing and consuming what’s presumably “needed”. Taking all that into account, it was natural, almost necessary, that Hermosos Huesos be built on this fundamental practice of utilizing found objects. Taking this one step further, there is also a metaphoric relationship between giving new life to somewhat “dead” materials, and the fact the core inspiration of the work comes from a celebration of the dead. Regardless of the metaphors and trends, it just feels “right” to re-use, period.”
Wayne’s initial creation of 13 unique Catrinas started over two years ago. The Tonantzin Society found the project from a crowdfunding website and found a project they were immediately drawn to. Communications with Hilton began and in June of 2013, Wayne and 6 of his La Catrinas travelled here to Topeka and introduced to the arts community. Topeka embraced Wayne’s art with curiosity and Mulvane Art Museum’s newest director, Connie Gibbons (also from the southwest) viewed Wayne’s work with all the potential the pieces contained. Shortly after the Mulvane booked the exhibit…and the rest is in the making!
Wayne’s Catrina figure works are best described as contemporary folk art. The exhibit consists of:
· 13 Catrinas
· 7 of the Catrinas will be housed in a full installation (see photo below)
· 6 other Catrinas will be displayed under a glass case
· 5 paintings related to Posada’s work
· 5 life size costumes of the Catrinas, designed by Hilton and in free standing form
Our Society and the Mulvane are partnered on this exhibit with the intention of providing tours for USD 501 students, lectures and arts and crafts workshops on the exhibit and Posada’s work. The Mulvane Art Museum will be the FIRST showing in the country of the Hermosos Huesos full body of work. The Tonantzin Society is thrilled to be a partner in bringing forth Wayne’s work, the history of Posada and the dualistic nature of both our indigenous and European heritage through art.
The Mulvane Art Museum and the Tonantzin Society (co-sponsor) are bringing to Kansas the exquisite work of Wayne Hilton and his Hermosos Huesos Exhibit. Wayne’s inspiration is drawn from the artwork/illustrations of the iconic Jose Guadalupe Posada (1852-1913).
The exhibit opens October 31 – December 15, 2014.
Posada, Mexico’s mindset, & La Calavera Catrina (Elegant Skull)
Posada was born in Aguascalientes, Mexico and spent his adult life commenting on the political, social and economic life of Mexicans through his illustrations. Aware of the vast chasm between the elites and the majority of poor and landless Mexicans; Posada’s work was sharply satirical.
Yet the stirrings of revolution in Mexico under the reign of Porfirio Díaz produced some of Posada’s most famous works. Witnessing the elite straining to deny any indigenous blood in their veins through idolizing all things European, Posada created La Calavera Garbancera.
Later know as La Catrina, her image was one Posada used to mock the upper classes attempts to be more than what they were. While there are different opinions on exactly why Posada utilized the skull imagery in his later works, one thing cannot be denied – the skull imagery tapped into the pre-Columbian mindset of humans relationship with both life & death. The skull image reduce all, no matter what social class, to the same, equal result all experienced in life – all are born and all will die. It is said that the Mexican mindset has a certain relationship with death that few other cultures have.
The works of Posada and their increasing importance after his death and to the celebrating of Día de los Muertos cannot be articulated enough. Mexican writer poet and Nobel laureate Octavio Paz wrote of Posada’s work:
"His subject was the great theater of the world of man, at once drama and farce. He was the engraver and chronicler of the daily scene. His work is vast and diverse, not diffuse. Even with the quantity and variety of his work, he maintained stylistic unity.... Posada's art has humble origins among the caricaturists who illustrated nineteenth-century Mexican newspapers and who were in turn influenced by European caricaturists, especially the French. Posada soon created his own style, endlessly enriched with surprising variations. How to define his technique? A minimum of lines and maximum of expression. By birthright Posada belongs to a manner that has left its stamp on the twentieth century: Expressionism. Unlike the majority of Expressionist artists, however, Posada never took himself seriously."
The use of Posada’s Catrina became more prevalent in Día de los Muertos celebrations both in Mexico and the United States. Much has been written about her and the connection with Aztec goddess Mictecacihuatl. Mictecacihuatl was the feminine component that ruled the underworld of death and was the keeper of the bones. Some scholars believe while there may be a correlation with skull imagery in Posada’s work and the European “Dance of Death”, the evolution of La Catrina and Posada’s other skull illustrations, have shown the playfulness, mockery and even joyful attributes again that are uniquely Mexican.
Wayne, found objects, & breathing “life” into La Catrina
Wayne Hilton was born and raised in the southwest and currently resides in El Paso, Texas. He has decades of experience in design and production, large scale event coordination and his passion is costume design.
Hilton’s love of Mexican culture came to him at an early age and an integral part of the projects he has been involved with over the years. Two of the inspirational and truly creative aspects of the Hermosos Huesos (Beautiful Bones) project are the homage the exhibit pays to Posada’s work exclusive focus on La Catrina, and the exhibit of the La Catrina figures have all been created with found objects.
From Wayne’s underwriter prospectus:
‘As we move into the age where SUSTAINABILITY, RE-CYCLING, RE-PURPOSING, and UP-CYCLING have become catch phrases and trendy practices, for Wayne…it’s like the rest of the world is finally catching on. The combinations of upbringing, education, and personal preference have already made him an artist (and citizen) whose go-to resource was the dumpster…or at least a thrift store! Finally…people are starting to understand the value of utilizing found objects, starting with the fundamental palette of “what’s there” versus just purchasing and consuming what’s presumably “needed”. Taking all that into account, it was natural, almost necessary, that Hermosos Huesos be built on this fundamental practice of utilizing found objects. Taking this one step further, there is also a metaphoric relationship between giving new life to somewhat “dead” materials, and the fact the core inspiration of the work comes from a celebration of the dead. Regardless of the metaphors and trends, it just feels “right” to re-use, period.”
Wayne’s initial creation of 13 unique Catrinas started over two years ago. The Tonantzin Society found the project from a crowdfunding website and found a project they were immediately drawn to. Communications with Hilton began and in June of 2013, Wayne and 6 of his La Catrinas travelled here to Topeka and introduced to the arts community. Topeka embraced Wayne’s art with curiosity and Mulvane Art Museum’s newest director, Connie Gibbons (also from the southwest) viewed Wayne’s work with all the potential the pieces contained. Shortly after the Mulvane booked the exhibit…and the rest is in the making!
Wayne’s Catrina figure works are best described as contemporary folk art. The exhibit consists of:
· 13 Catrinas
· 7 of the Catrinas will be housed in a full installation (see photo below)
· 6 other Catrinas will be displayed under a glass case
· 5 paintings related to Posada’s work
· 5 life size costumes of the Catrinas, designed by Hilton and in free standing form
Our Society and the Mulvane are partnered on this exhibit with the intention of providing tours for USD 501 students, lectures and arts and crafts workshops on the exhibit and Posada’s work. The Mulvane Art Museum will be the FIRST showing in the country of the Hermosos Huesos full body of work. The Tonantzin Society is thrilled to be a partner in bringing forth Wayne’s work, the history of Posada and the dualistic nature of both our indigenous and European heritage through art.
Below are photos from the June 2013 reception at Porterfield's. The Tonantzin Society and sponsors introduced the Topeka arts community to Waye Hilton's Hermosos Huesos Project.
