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Mexico
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"Chichiclero," 1996. Egg tempera, 23 k. gold leaf work on found cadboard, mounted on board; custom cloth-covered mat Like the works in the series "De visión y desecho" (and a number of other, parallel pieces), this work was painted on the bottom rectangle of a found cardboard carton, with the printed commercial lithography around the edges remaining visible, as a "frame within the frame" framing device, intended to contextualize the imagery I add to the "detritus" and refer directly back to the socioeconomic source of the support. These cartons are from the principally indigenous street vendors in Mexico, who sell chewing gum (and any number of other items) as a means of eeking out their substitance. The title is a reference to a vendor of "chicles" (chewing gum). It is also intended as a play on words, as "chichi" is a common slang term for a female breast and "clero" is a term meaning clergymen or cleric. Hence, the use of gold leaf to play with the image of not only the setting sun at the Pacific coast beach but also the "sanctified" character of tourists, at least in the eyes of needy Mexicans (the tourists, with their money, may represent something akin to "salvation" for indigenous vendors plying their wares along the streets and beaches of resort areas)...as well as the all-holy female breast (represented by the golden bikini top here). The found cardboard carton on which the work is painted was left as found (with the distortions of partially ripped or crumpled edges as they were). The carton was mounted on heavier stock board prior to the aplication of the gesso, bistre, gold leaf and egg tempera. The specially cut, cloth-covered artesanal mat was hand-made by the artist (who has worked as a professional picture framer) in accordance with the specific contours of the deformed edging. The actual support with the painting measures approximately 10 1/4 x 7 1/2 in. (26 x 19 cm). Matted and framed (behind glass) in a simple box-style natural wood frame, the piece measures 20 1/4 x 16 3/4 x 1 3/8 in. This painting was one of several similar ones by the artist that were selected for inclusion in the historical survey "Pintura en Jalisco 1950-2000" (Painting in Jalisco: 1950-2000), shown at Guadalajara's Instituto Cultural Cabañas and later traveling to the Museo del Ex Arzobispado in Mexico City. It appears in the catalogue for that exhibition.
Print:Giclee on Fine Art Paper
Size:8 W x 10 H x 0.1 D in
Size with Frame:13.25 W x 15.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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Mexico
Dale Kaplan (b. 1956) grew up in a rural town near Boston MA, attending public schools, and later studied at Pratt Institute in Brooklyn NY and Cornell University in Ithaca NY (BFA ‘81). He was awarded the MCC (Massachusetts Cultural Council) Artist’s Grant in 2000, in recognition of artistic excellence in Painting. In the late 1980s he established a studio in Guadalajara and has divided his life and work between Mexico and the U.S. ever since. Exhibiting professionally in both countries, as well as in Canada, his works are in numerous private collections. Also active as an art critic, essayist and translator, since 1999 Kaplan has published original writing in several Spanish-language newspapers, magazines and online sites, and has various book credits as a translator. His texts, photographic essays, and reproductions of his paintings and graphic works, have appeared in numerous publications, as well as on book and CD covers, and his work has been included in historical exhibitions and published anthologies focused on the art produced in the Mexican state of Jalisco. In both imagery and texts, Kaplan’s work takes to heart Noam Chomsky’s definition of the responsibility of the intellectual: “to tell the truth and expose lies.” ______________________________________ARTIST'S STATEMENT_________________________ The driving force behind my artmaking is the conviction that painting has as much or more potential for intellectual expression as that which is generally attributed only to verbal language. My interest in critical thought about sociocultural, political, and power relationships, as well as in occasionally using satire and art-historical references to take some air out of the overblown types who rule with a "whim of iron"—are essentially the same as they were before coming to Mexico, and my frequent forays into language play and playing with imagery are the kinds of play I take seriously. In Mexico, though, like on the African plains, one plays, like small game, with one eye out for large predators who are always lurking just off to the side. Journalism can be a most dangerous game in this country, as can be practicing social critique or just openly expressing one's honest opinion. In life, risks must be taken, though, despite dubious "risk-reward" ratios. Many of my works have a backstory related to in-depth research on topics of concern to me, sometimes utilizing investigative techniques such as Freedom of Information requests.
Artist featured by Saatchi Art in a collection
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