To see the print series, please go to the Relief Print Gallery»

If you wish to purchase prints, please contact me and indicate what print you wish to buy. The prices are reasonable for hand pulled prints done on handmade paper.

I have most prints on hand, but if there is a special demand for certain ones I may need to reprint. It requires three to four weeks to do the reprinting, dry the print properly and get it to you.

See more information on purchasing prints here»

“We looked at the damage in Flor de Campo but this may change as the rains continue. We know for sure we have to help 2 families relocate as their homes are not usable. Several other families have had their crops wiped out and cannot use the land until there is something figured out. This is a lovely little community but I dread what the next few months hold for them.” –Diane Nesselhuf, Executive Director, Sharing the Dream

By writing about the recent calamitous Hurricane Agatha, I want to alert visitors to that recent event in Guatemala and to encourage those who are able to contribute to relief. For my part, all proceeds of my print sales during the 2010 hurricane season will be donated for storm relief efforts in Guatemala

Many in the US know about the devastation suffered in Guatemala after the May 30 Hurricane Agatha. Especially in the Guatemala City area, a combination of the heavy rains with large amounts of ash from the eruption of the volcano Picaya made an already bad situation still worse. In June, slippery volcanic ash closed the Guatemala City Airport for five days as ash had to be removed to prevent planes from sliding off runways. Photo: A weaver member of the cooperative Flor Del Campo with the remaining wall of her destroyed house. Courtesy of www.sharingthedream.org

The total loss of life in Guatemala does not approach those of earth quake ravaged Haiti and Chile, still thousands of subsistence farmers have lost their next years food supply. Homes and schools have been destroyed. With widespread road and bridges infrastructure destroyed, communication was and still is cut off in many areas of the country. Flooding of rivers was exacerbated by heavy rains which continued to fall after the storm itself was over. Certain areas of the country, depending on terrain, altitude and proximity to rivers, were affected much more than others.

After having suffered the devastating Hurricanes Mitch (1998) and Stan (2005) many Guatemalans people now recognize that the new severity and frequency of severe storms coincides with increased global warming. Many would agree with their assessment. Weather predictions call for more severe storms during the 2010 rainy season which extends to at least until September. Photos: The road to Patzaj with mudslides. Courtesy of www.sharingthedream.org

The example of the village of Patzaj, near Comalapa, which suffered damage from Agatha, gives us a typical situation. Houses were filled with mud, others destroyed, animals killed, crops washed away. Members of the Patzaj weaving coop “Flor Del Campo” (Flowers of the Field) suffered all this and give us a personal and direct understanding of the situation. The coop is supported in part by Sharing the Dream which sells coop members’ production in their store. For more details in letters written by people on a recent trip — sponsored by Sharing the Dream — to the affected area, go to: www.sharingthedream.org

On a more positive note, communication structures — such as the mainly Maya supported community radio stations — have proved to be lifelines between people and whole communities. The stations serve as a way to help to connect people to one another during this crisis. Read more at www.culturalsurvival.org/news/guatemala-radio-news

Find still more information about the aftermath of the storm in Guatemala — and organizations who have capabilities of giving aid to those in great need — by going to the Network of Solidarity with the People of Guatemala at www.nisgua.org

To recap my 2009 efforts, I mounted three shows and reprinted, with the help of colleagues here and in Guatemala, the Maya/Spanish coloring book. Also with the help of friends and colleagues, I posted craft education materials in PDF form on my website

The Print Series: A Little History

I started my printmaking project around ten years ago. And as I’ve worked on the series, the both initial idea and its scope has changed. At first, I anticipated that thirty images would give a good overview of the range of arts and crafts in Guatemala. Then, I did not think about depicting other artisans making such things as brooms, roof tiles or candles. Gradually, as my understanding grew about the relationship crafts have to Guatemala’s culture, people, environment and economy, I began to develop images of these other kinds of crafts in addition to those that have the most visibility, as is the case with Guatemalan weaving. (Image: Rattan Furniture Maker, by Marilyn Anderson)

The project has also given me an even greater respect for how all artesanal work has requirements of expert knowledge and experience. Even though not all crafts demand the skills needed by complex weaving — to do a relatively simple craft such as braiding palm leaf, the workers must know many things.

For example, a palm leaf braider must know:

• If cutting their own raw material, they need to understand the growth cycle and qualities of palm so as to know when and how to cut it, and that cutting too much could damage the tree.
• If buying already cut palm leaves in a market, they must how to treat them before braiding.
• They must learn the several types of plaiting techniques that are used.
• The braiding has to be be done with attention to preparing even width strips and, as work proceeds, when the palm strands being used become too short, proper insertion of new ones needs to be done to add to the total length.
• When making already braided palm leaf into rolls, it must be a uniform 20 yards length for the demands of the buyers making hats.

The amount of detailed knowledge artisans of all kinds had to have do their work well always impresses me. Without doubt, I have left out still more details involved in doing palm leaf braiding.

Projection for Print Series Completion

My plan is to finish a series of over forty blocks with accompanying text. Thirty-six prints are completed, with four more nearly ready to transfer to wood blocks for cutting the relief image.

The new prints include:

• a maguey spinner making twine using a “talavera” — using a rather a simple wooden apparatus rather than a spinning wheel
• a marimba maker
• a roof tile maker
• paper makers
• a kite maker
• a fine furniture artisan
• a wood carver

My deadline to complete the prints is September, 2010.

The print series will never cover all of the arts and crafts of the artisans of Guatemala. Doing the series is my attempt to honor the makers of handmade textiles, containers, wood, metal workers and the many other kinds of artisans. I hope my work will tell a story about their significance in history and helps others to understand their place in the lives of people today.

1. Printmaking

The wood and linoleum relief print series of artists and artisans of Guatemala nears completion at forty prints.

Hammock Maker by Marilyn Anderson.
Woodcut, 9 1/16 x 11 7/8.

2. Exhibits

In 2008-2009, four shows of prints, entitled “Hecho a Mano” (Made by Hand) took place in two universities, a college and one alternative space. Two showings also included drawings, photos, and weavings by Maya women artists. (A new exhibit will take place from October to December 2009.)

3. The Pro Arte Maya Education Project

In Guatemala, the Maya/Spanish language coloring book: Artes y Artesaniás Mayas de Guatemala was recently reprinted and distribution has begun. Especially for use in the United States and Canada, PDFs for the Teacher’s and Parent’s Guides “Kids and Fair Trade” and “Learning From the Maya” are now available to download.

1. Printmaking

Making prints is a process of discovery for me. (Many would say all art making is just that!) As I make my prints and write about my images of Maya and other Guatemalan artists and artisans, new ways of thinking and looking at them occur to me because each expression — printmaking and writing — can inspire and inform the other.

As I work, I also feel kinship with the artists and artisans depicted in the prints. Inspiration for the images stems from several kinds of experiences including photos I have taken of craftsmen and women as they work and memories and notes made while observing and conversing with them. Personal use and affection for the handmade articles shown in the images also influence my printmaking. But another dimension of the “kinship” I feel with Maya artists and artisans seems to happen because of the use the medium — relief prints, which, in my practice, is an amalgam of art and craft. It is also one of the most basic and ancient ways to make prints and — makes a connection to many of the print’s subjects who are shown doing ancient crafts whose origin dates back millennia.

The writing of scholars gives important general background for both writing captions as well as influencing my printmaking. Here are two fairly recent and widely reviewed books and their authors. The first is: Women’s work: the first 20,000 years : women, cloth, and society in early times by Elizabeth Wayland Barbour. It is full of history and fascinating information, such as this: spun and plied cordage from 15 thousand years ago has been found in the caves of Lascaux! The second book is The Craftsman, by the sociologist Richard Sennett. He writes with enormous erudition and in an engaging style about past and present history, place and meaning of craft making. Both books will engage and inform readers interested in arts and crafts.

But always whether writing, doing research about crafts, or making my prints, these efforts give constant challenge and personal rewards. Whether it is solving problems of composition and execution or being able to make much more complex prints than when I began the series — more than ten years ago — it also gives the satisfaction to be able to use my skills in ways that have a social purpose. That gives yet another reason for the joy of doing my work!

2. Exhibits

Exhibiting work seems both a necessary part of being an artist as well as being an expected one. It is a way to share one’s work with others and it can be said, that until sharing takes place, a piece of art is not fully completed.

In 2008 and 2009, with the title of “Hecho a Mano”, (Made by Hand) my four exhibits of work about Guatemalan artists and artisans took place in Rochester, New York area college and university library galleries — the fourth in a community space. (A fifth show will be on view from October 10 to December 31.) These venues offer the opportunity for educational outreach, such as lectures, something not always possible in commercial spaces. Each spaces, of course, has different room size and wall configurations. This gives the opportunity to learn from each gallery coordinator — all are talented individuals with creative ideas about show design and interesting ways of handling publicity, invitations and openings.

Arranging exhibits and mounting them takes time away from actual art making but brings other rewards. Hearing and reading the reactions of visitors to my “Hecho a Mano” exhibit stimulates and encourages me. A good number of viewers told me that arts and crafts — such as those done by the Maya — have a value not measured in monetary terms. Others volunteered that globalization has to affect artisan production. Still other remarks of viewers indicated that I am not alone in thinking about the importance of making things. In this twenty first century globalized post economic “meltdown” era, indeed the very idea of “making things” has taken on new meaning as people of the United States realize that much factory production has moved off shore. Even without speaking of artisan production — factory closings and huge job losses propel new awareness about the implications of “making or not making things.”

Still another kind of societal shift in the United States has happened within the last few years that has encouraged a surge of interest in making and selling crafts. (I remember a similar widespread movement in the 1970s.) Then as now people are discovering that learning how to make something well can transform one’s life and affect others in positive ways. All aspects of creating my prints — and photos and other art — do that for me. And it is a privilege to use my own abilities to celebrate the dazzling skills of the artists and artisans of Guatemala.

3. The Pro Arte Maya Educational Project in Guatemala and in the United States

In Guatemala, since 2001, the Maya/Spanish coloring book Artes y Artesanías Mayas de Guatemala has had three printings. The most recent of 3000 copies was completed in July 2009 and already books are being used in schools.

The short history about the book below comes from the back page of Artes y Artesanías Mayas de Guatemala. It lists donors, collaborators and describes the project to produce, reprint and use the book.

“Scholars, teachers, artists and others have long believed that the arts and crafts of Guatemala constitute a vital cultural treasure — some say one of her most valuable. To help pass on knowledge and appreciation of them, ten years ago, members Virginia Ajxup Pelíco, Juan Zapil Xivir of the Consejo de Escuelas Mayas Jun Ajpu Ixb’alamke and artist Marilyn Anderson first shared their ideas for production of an educational coloring book for children about the arts and crafts traditions of Guatemala. The first edition in 2001 of Artes Y Artesanías Mayas de Guatemala appeared with drawings and text by Anderson and with Dr. Fernando Peñalosa’s vital work as editor and designer. The work of the translators from Spanish to the Mayan language texts were crucial to the aims of the book”

“For the second edition in 2004, Ajpub’ Pablo Garcia of ILE at the Universidad Rafael Landívar and Laura Martin of Cleveland State University took on organizational and editorial tasks. Fernando Peñalosa once again worked as editor and designer. As in the past, in 2009, we are able to do a third printing because of the continued fiscal support from the Agostino Foundation, other educational, cultural organizations and individual donors, who have made possible the actual production of books. Teachers in schools and educational programs using the coloring books also deserve thanks for their important role.”

I am happy to report that as of August 2009, only a month after reprinting, already a new donation for yet another has been received.

In the United States my impulse to provide educational materials for children here — not only in Guatemala — resulted in the production the Teacher’s and Parent’s Guides “Kids and Fair Trade” and “Learning From the Maya.” Several years of presenting programs about the Maya in elementary schools of Rochester, New York, helped give me background to write them. They now are on my website in PDF form for easier printing. Some revisions have also recently been made to the Resource and Links pages. I hope that the guides will help teachers and parents give children a better understanding of both Fair Trade and Maya culture!

To end this short update with a quote of words by Rigoberta Menchu, the 1992 Guatemalan Nobel Peace prize winner:

“We have lived a long darkness… since 1492. Nevertheless, there are millions of us in the world and we have a great deal to give the present and the future.”

Among the many things that we we who live in so-called “developed” societies can learn from Indigenous People such as the Maya, is how to be a “maker” not only a “consumer.” At the least, being a “conscious consumers” will help to leave a better world behind us.

A big thank you to all who contributed funding to reprint 3000 coloring books. The total money raised — nearly $4000.00 came from several sources — friends, colleagues, and several small foundations and a portion of my sales over last year. The reprinting was only accomplished through collaborative effort of the original coloring book designer, and others providing expert translations of changes in the text. Rights Action (www.rightsaction.org) provides us our non-profit status.

A network of Maya schools in Guatemala (Consejo de Escuelas Mayas Jun Ajpu Ixb’alamke) and other programs with affiliation with the Instituto de Lingüística y Educación. Universidad Rafael Landívar in Guatemala collaborate to distribute the coloring books. Always, the goal is to affirm and celebrate the cultural importance of Maya languages and the arts and crafts of Guatemala and to increase consciousness and knowledge of them by the children who use them.