No need to travel afar to engage with contemporary art

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Above: Detail of “11th-Century Persia to 19th-Century America,” from “The Black God Tapestry,” Sandra M. Sawatzky, 2008-2017

Today many of us have become so accustomed to abstractions in contemporary art that any kind of figurative work comes almost as a shock. Yet, how are we to connect to the many non-human worlds that surround us if not through figurative imagery?”

Amitav Ghosh writing about Sandra Sawatzky’s “Black Gold Tapestry”

Through the years, I find myself increasingly drawn to figurative art. After wandering around the Blanton Museum of Art this past weekend, I realized those were the only pieces that caused me to pause and read the descriptive text accompanying them. The only ones I snapped pictures of to share.

The other unifying factor of these images is that all the artists are from North America. And all, save Mexican muralist Sequieros, are living, contemporary artists. Several I have been fortunate enough to meet or hear them speak about their works.

When we travel, we enter as many art museums as we can squeeze into our trip. Yet, when home in Austin, we often fail to make time to see the art available in our own backyard.

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Postcard from Oviedo, Spain: Things that matter along the streets

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Above: Souvenir display in a shop window

Mass-manufactured souvenirs might be tacky, but they often serve as indicators of what distinctive symbols a community values. Assigned positions of prominence here are replicas of the pair of treasured bejeweled crosses from the Cathedral, the ancient ones recovered and repaired following a brazen 1977 theft. And the beloved Virgen de la Esperanza (Hope) from Capilla de la Balesquida across the plaza.

And then there is apple cider. Almost a religion as well. The ritualistic way to pour cider is to hold the glass at waist level and pour from above one’s head, essentially aeration. Obviously, a talent best left to the experienced waiters circling within the sidrerias, which are far from difficult to locate. You are supposed to down this serving immediately before it goes flat and then wait patiently for a server to stop to pour another glug from your bottle. The cider has about the same alcohol content as standard American beer.

And there, completing this cherished trinity, perched front and center in the window, is Mafalda. Argentinian Quino created the wise-cracking six-year-old girl, usually with a smile on her face, to voice satirical criticism of her enemies: Fascists, militarists and, for some strange reason, soup.

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Postcard from Morelia, Mexico: Polishing off a few more meals

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Above: Chiles capones filled with salsa de guacamole at La Guarecita de San Agustin

The first time we peeked into La Guarecita de San Agustin, I rejected it. Having lived in San Antonio for about four decades, the restaurant’s interior decor, waitress uniforms and even logo reminded me too much of some old-school, Tex-Mex restaurants from home. In other words, it gave me the impression it was designed to attract gringo tourists. But later, some friends wanted to try it, and we found it packed with locals.

A platter of plump fried charales caught from nearby Cuitzeo Lake as a starter improved my attitude. Then, La Guaracita introduced me to stuffed chiles capones (the featured photo), which I loved. Instead of a specific type of chile, the name is derived from “gallo capon,” a term for a rooster emasculated for fattening. For chiles, emasculation refers to reducing the heat factor by removing the inner ribs and seeds. The chiles in this case, I believe, were regional dried chilacas – pasillas – deeply rich in flavor but not overly spicy.

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