June 17

No. No. 33 June, June, 2017 2017

RT

San Miguel M A G A Z I N E

Karen Lee Lee Dunn Dunn Karen Mario Misrahi Misrahi Mario Edgardo Kerlegand Kerlegand Edgardo Fidelio Herrera Herrera Fidelio Jo Brenzo Brenzo Jo Leonora Carrington Carrington Leonora

English edition

24

In this

Edgardo Kerlegand

16 Leonora Carrington F i d e l i o H e r r e r a

10

Ezi 36 ne The movies and popcorn

4

3 38

del Editor

In Memoriam

46

La GalerĂ­a

Karen Lee Dunn

40

3 0

Mario Misrahi

Joe Brenzo

edi

tor´ s page

What was first‌. The egg or Stirling Dickinson?

The pages of our magazine are full of art in any of its visual forms. Of that art that has emerged continuously as spring flowering for many years ... by incidence, appearance or by the simple need to find artistic expression. And ... why in San Miguel? It is a question that local and strangers ask ourselves.

How is it that we have reached this point when San Miguel is well known internationally as a destination both touristic and artistic?

We owe it mainly to Stirling Dickinson who arrived here in 1934 driving a 1929 Ford with his friend Heath Bowman on a trip they called Mexican Odyssey and published in a book with illustrations of Dickinson who already wanted to be a painter.

In 1938, Dickinson was appointed director of the University School of Fine Arts (Escuela Universitaria de Bellas Artes) of San Miguel de Allende and he made a wide promotion in U.S.A. universities. This opened the door for many veterans of the war to come with scholarships to study at the School of Fine Arts. A generation was created that was called Beat with Neal Cassady, Jack Kerouac, and many other notables, who extended the name of San Miguel as an artistic cradle. San Miguel have emerged as a melting pot from which generations of artists have grown, who are enriched with new talents and with many ambitious minds to express themselves In the various artistic disciplines. In this pages, we will show those impulses in our monthly beats.

J u n e 2017

n e r a K Dunn e e L

I can´t remember not being interested in art.

.

Sweeping suspiros.

It

was just part of who I was. No one in my family was artistic. There were no art books, only the Norman Rockwell covers on Life magazine, but I drew what I saw around me. My high school art teacher gave us a wonderful course in art history, which made me aware of different artists and each one’s particular style. It was a very exciting discovery, and I still hold on to much of that visual experience to this day.

When I was about 22 I went to an outstanding exhibit of impressionists at the Metropolitan Museum of Art in New York which swept me away.

Before becoming an artist, I did many things. I worked in the fashion industry which was also very creative. I earned an associate in arts degree and was working in Connecticut as an executive trainee, became the assistant fashion coordinator at what was then G. Fox & Company, then in Washington DC as an assistant buyer at the Hecht Company.

In Mexico I devoured art books and museums. Eventually I was hired by a local advertising agency as assistant art director. I worked on layouts and storyboards for Bacardi Rum and other clients, and was later

Friends at El Jardín

referred to McCann Erickson Advertising to do illustration work for L’Oreal de Paris.

moment I picked up a brush and put my mark on the canvas I was hooked.

My work is representational art, and I paint the streets and people I see around me. I studied with Donna Dickson for 5 years, so the influence of her style as well as Tom Dickson›s is evident. I also took classes at Belles Artes when I first arrived in San Miguel, which was representational art as well, taught by Carmen Jimenez. Thus began my love affair with oil paint. From the first

The expression of feeling comes through in the work, no matter the material. There are times when the work simply flows, and there are others one struggles with. There are wonderful days where you actually get lost in the work and forget everything but your creation: you’re in a “zone”. Color, light and shadow also play a huge role in the creative process. Whatever the emotion is while you are working, it will come

The streets.

Seller girl.

I must be inspired in order to begin a painting, and once I start, it draws me back until I finish it.

Painting is my passion, my life.

Seller. through in your work, and that emotion is what the viewer connects with. The more one works, the more the emotion is evident. Painting is a lonely profession, but in the long run, it is a force of communication that speaks to the observer.

I must be inspired in order to begin a painting, and once I start, it draws me back until I finish it. I am lucky enough to have a studio on the rooftop of our home, full of light and wonderful views of the church and surrounding areas. In the spring, all is interspersed with the gorgeous color of the jacarandas.

What defines me as a painter are my surroundings. The ability to continue to see

beauty in every space, even after years of living in one spot. There are some parts of the world that are magical to me, and I never tire of them, never cease to enjoy them, and San Miguel is one of those very special places.

My greatest satisfaction was creating a body of work for my first ever show in February 2017 and getting such wonderful feedback as well as selling 3 paintings. I fell in love with painting during my year of preparation, and people connected to my work.

My goal is to continue to grow as an artist, to never tire of the challenge that a blank canvas presents, to maintain the energy and excitement that happens every time I start a new painting. I want to paint 2000 paintings. I want to keep on having fun. Sometimes I almost feel guilty about being able to have so much fun going to work each day.

The next step in my career is to continue showing and selling in Galeria San Francisco, and work, work, work. Painting is my passion, my life.

Serapes.

Fidelio Herrera

seeks incessantly

to open horizons where the gaze is a bridge that transforms reality into a parallel universe, perhaps more real, that coexists without being confused, while both are one and where the synthesis carried to its maximum expression is A pretext for the exploration of materials, textures, forms that come to life beyond imagination.

Master Herrera studied industrial engineering. For more than fifteen years, his working life was spent in the development and application of computer systems for the management

Abstract thinking.

Look of young man, look of old man.

(Front and back)

of huge databases. This complex world of classification, ordering and application of information requires not only a practical mind but also a great creative capacity.

The creativity that stimulated in the systems, was transported to the plastic, specifically to the sculpture. The systems gave way to earth, to the modeling of clay and clay, to the creation of everyday objects that over time generated the construction of more complex figures. Sculptural languages led him to discover new materials such as wood and stone, to carve, polish and intonate, generating an interesting connection between his shaped pieces and those that emerge from the carving. He has been guided by distinguished masters in sculpture, engraving and drawing of the Academy of San Carlos and the National Institute of

Third eye.

Fine Arts. And he has let himself be led by the subtle teachings of another of his passions, music, which is somehow heard in his pieces. In the sculptural work of Fidelio Herrera they emphasize

personages that remind us to the Transhumantes Corzianos, that emerge of organic architectures. Dialogue between technique and sometimes conscious dreams and others that arise in praxis. Dramatic synthesis that is expressed in structures of wires, which are sometimes covered with mud and other materials, allegories of the ephemeral and

Ceramic character.

Looking to infinity.

Retrato.

Portrait.

Leonora Carrington

El mundo mágico de los mayas.

El mundo mágico de los mayas.

The Maya´s magic world.

The Maya´s magic world.

Y luegoYvimos la hijaa del Minotauro. luegoavimos la hija del Minotauro.

And then wethen saw we thesaw Daughter of the Minotour.

And the Daughter of the Minotour.

Chanting of Chimeras.

The scene, though imaginary, is a comment

La Giganta.

The Giantess.

upon reality. I'm in a museum by myself in front of a painting. Looking through a window near the ceiling, I realize that it is a rainy afternoon; this is the day I chose to observe the painting. Soon I notice with some irritation a rather singular couple that has just arrived; the man is rather short and gives the impression of having the fragility of a bird’s skeleton, he accompanies a woman of medium stature with painted hair. He wears glasses with very thick crystals, his eyes look like jewels embedded in rock crystal. From certain movements they take, I fear that I am the target of their attention. She decides to approach me to inform me that she is writing a book about my mother. She explains that on several occasions she tried to communicate with her, but without success. Once she was even able to share some words with her. "I asked her to tell me about her paintings and she replied that if the paintings did not speak to me, she had nothing to add."

Desperately I looked around the museum to find a way out, and escape, but it was one of those architectural boxes that treat people like caged rodents. She emphatically asks me if I can interpret one of the paintings. It's just a dream, or nightmare I thought, and it will soon be over.

If this interruption had not happened, I would have tasked myself with describing the painting I was looking at.

T t a o a a a t a 1

El prestidigitador.

Conjurer.

El Artista.

The Artist.

The painting depicts a room illuminated under a golden light and different ocher shades, in the foreground a girl who gives us her back, seems to be in a dance position. In front of her, a stout governess supervises her. In the background a cat rests placidly on a wooden piece of furniture, it is not asleep and looks closely at what is happening in the room. Above the animal there is a window with a green light coming from the outside, on the other side and at the bottom stands a candelabrum with a series of long candles. To the opposite extreme a woman seems to be sowing but at the same time observes the movements of the girl. In the background and behind this woman, hangs a hammock inside which there is a child, also interested in the scene. This painting is entitled "Night Nursery Everything", painted in 1947.

Sol. Sun.

La cocina de la Abuela cabeza de pรกramo.

Grandmother Moorhead's Kitchen.

The giant governess addresses the old woman in these terms: "Blindfolded woman tell me something about the future. At some point, at a certain date, will reality be reunited with my dreams? " "At midnight," replies the blindfolded woman.

"Under what sign, Blindfolded Woman?"

"Under the sign of Fire and Air, from the dream of Ivory and Milk."

"How many will see the sign?"

"Four, the Moon."

"How will we know?"

"Because of the tiny stain of urine in the ocean."

In a mysterious way, these words entered life (Carrington, 1976-56).

In order not to interrupt the governess's talk, the girl has a telepathic conversation with the cat.

(Continue next page)

Reflexiรณn en el orรกculo.

Reflection on the oracle.

by Dr. Gabriel Weisz Carrington Translation by Daniel Weisz

«I think I have a solution or do you have

one?»

«Yes,» I reply, perplexed.

«Well, here you go. You ring the bell to call the servant, when she enters, we both throw ourselves on her and we rip her face off, so I can wear her face tonight, instead of mine.

«It is not a very practical solution,» I reply, «because she will probably die when she no longer has a face; someone will discover the body and we will both go to jail.

As the child sits in the hammock he remembers the voice of his dreams.

«This voice makes me feel sad in the stomach, it feels like an iguana trapped inside, jumping and trying to escape. I know that this feeling is really a small voice that cries in the ruin, I am afraid, the pigs are afraid « «These pigs do nothing but eat and sleep and make more pigs.

Then we kill them to make them carnitas and we put them in tortillas. Sometimes we get very sick with carnitas, especially if they have been dead for a long time « It is my opinion, that if I conjured a perceptible intention in what has been written so far, it was to reject interpretation, for I confess a feeling of exhaustion with that exerting exercise which consists in appropriating everything that one describes.

Worse still, it is an act of domestication.

So that everyone understands the objects we capture.

The savagery of the object must be upheld. It may not be acceptable to a good conscience; nor to the political respectability that today dictate rules which do not to offend.

The politically correct is much like airplane meals, which everyone can consume without disturbing anyone, tasteless and safe.

The textual mosaic that we have just assembled contains three texts by Leonora, the first is from the novel The stone door, the second is from a story «The Debutante,» and the third is taken from «A Mexican fairy tale.» The picture is here, provisionally sheltered between one word and another, but at the same time, the picture is in other places because it can be heard through the mosaic of texts.

Those who try to explain a picture, a play or an object of art seek to display the sensation of a purpose, the object serves for this or the other, it means this or that thing. The explanation orients, runs before us, a way to avoid the dangerous encounter with the inexplicable. Another alternative to the picture is to admit the risk of that which has no purpose, that which has no utilitarian purpose. We set up a finalist will and let the sensation of the strange integrate into our imaginary. But here we have an imaginary that is placed in an undetermined region. The wild object is not really a single object, well, we certainly talk about a picture and it is possible to consider it as a single object. Imposing a function on the object limits a freedom of

action. What happens when the object inflicts a wound on the imaginary? I admit, in this way, that we all have one or several imaginary bodies. An important issue is that in case of interrupting the domestication of the object, we give ourselves the opportunity to be surprised.

Finally, the wild object, which would be a way, not to name it but to imagine a game outside the functionality, suspends itself away from the interpreting machine. We obsessively impose the verbiage of our knowledge to cover the absolute ignorance of the viewer.

Interpretations are part of a system of power that legitimizes that small turf defended by specialists.

«Mr. Ambrose Barbary can tell you about very interesting things about the wild beasts you love so much. He has undertaken several studies and is a very cultured man. «A smile crept into Lobo›s face revealing his pointed teeth. Lobo gives Jemima a package, which is the person referred to in the previous paragraph. «Once alone, Jemima opens the lump ... and utters a choked cry: in her hands, she holds the head of a cock whose gaze has been fixed by death. Perhaps the wild object calls into question our systems of power, our normality, our security and desperate selfsufficiency. I do not interpret, comment or dialogue, but I cannot fix the definitive meaning of the world I read and see.

Malabarista

alTirado

photography - sculpture

Edgardo Kerlegand

Budist Monks.

Edgardo Kerlegand will present his series

Between monks, saints and teachers

ÂŤ Âť at the Museum Francisco Cossio in San Luis PotosĂ­, from June 23 to August 15, 2017. In this exhibition, the painting dialogues with the drawing through figures inspired by fractals - geometric objects whose basic structure, fragmented or irregular, is repeated at different scales - generating a kind of field that invites the observer to delve into the work and its ideology. The works that form the series contain two discourses, the

You´re not anymore with me, sweetheart.

pictorial and the drawish, that dialogue and get mixed to become one. The discourse of drawing - faces that pay tribute to the great masters, Rembrandt, Rubens, ZurbarĂĄn, DorĂŠ - is limited and contains the principles of emptiness and insipidity, as they are drawn with a vapid and pure line. In contrast, the discourse of painting is bumpy and has no limits. With piles of layers, there are no two areas of the canvas that are the same, even if they look like one; Fractals come and go at 45 or 90 degrees.

The planets creator.

Diรกlogue in black and white.

Homage to Rembrandt.

Although the painting floods the canvas,

the layers happen lightly and do not become aggressive, always leaving a place for emptiness. In the discourse of painting, there is no going back, the brushstroke that is given, stays and is respected. The lines of the figures are mixed with this sort of layers of painting, where everything dialogues with everything, where nothing comes first and everything is intermingling.

Kerlegand›s play is fun. It does not seek the right or the form, but tries to navigate naturally and naturally.

Nevertheless, eventually the brushstroke generates something that connects with the figure, like a shadow of the face, always with earth, ocher, green, cerulean, white or gray colors. The discourse of painting, with its own language, is so limitless that in each work there can be up to 200 figures, besides the faces.

In many of the paintings that form this series, the sphere appears, a

recurring element in the whole work of the painter, the sphere is the perfect form, it begins nowhere and ends nowhere; Represents the whole. «It has a certain volume and it is not known if it is solid or empty,» says the author. Nature is present in this series through the fractals and colors. In Kerlegand›s work, painting represents the natural, biology, plants, carbon, life; The face, on the other hand, is the man, the order, the norm ... The man who emerges from nature, and tries to control it, but in the end is absorbed by it again.

Mario Misrahi

Cinnamon Rolls.

Bird.

«I began to draw

and to paint for a restlessness. But not as an artist restlessness, but a restless of a child” - Mario Misrahi tells us, with his natural and joyful way of speaking, full of humor and pleasant experiences.

“The concern I had was to make mischief and the only way my parents could keep me quiet was by putting some colors in my hand and a paper in front of me. That fascinated me because that was how I could paint my dreams and my fantasies. And I took it very seriously, I already felt those incipient desires to create images of colors and to give shape to my infantile fantasies.

Tap with little duck.

That fascinated me because... so I painted my dreams and my fantasies.

A lady in the patio.

In the youthful years, my ambitions grew and my parents gave me permission to spend long hours in my aunt›s chemical laboratory. I found there liquid substances, colored pigments that I mixed to achieve the tonalities I was looking for. I discovered that the colors and textures opened for me new horizons.

It was only the beginning and I continued to forge my illusions with diverse teachers very respected in the Mexican plastic arts. With them I learned mainly what we could call technical aspects, the handling of the materials, the mixtures and their applications, the structure of the images. Then came the stages where I sought to assert myself in my painting. I admired teachers like Alejandro Arango, Enrique GuzmĂĄn (not the singer) who I immediately felt influenced my quest to find a style.

My shapes and colors, applied to the figurative elements of my pictures, were definitely achieved under the inspiration of these masters. Many of my works have those elements. My style is figurative, but I think it is best described as contemporary Mexican.

My characters are of a figurative reality. They come from a story and they are telling it to us.

I feel that I´m just doing what I want and I like it. I will continue exploring the Mexican pictorial style under this intense influence that is San Miguel de Allende, with its colors, its atmosphere and its joy.

However, I cannot help thinking, that someday I will go into the abstract expression.

Gato y marinero.

My painting has been seen in many galleries and has traveled to

Spain, France and New York.

My aspirations as a painter?

Of course, like every artist, we dream that we could be very important, famous, respected. But at this stage of my artistic life, I am very satisfied to do what I am doing. Dedicated to painting daily, exploring with my ideas, finding my characters. I want to achieve the artistic growth looking for the development of my subjects. I have the satisfaction that my

Miss bullfighter and señor bullfighter. work is exhibited in several galleries and that will remain in the hands of collectors. That›s what›s important to me. Achieving goals is necessary and I will always have goals to pursue.

One of those achievements is to have consolidated my style, into the Mexican figurative, with its traditional elements and the brilliance of its color. But I›ll never stop exploring. I want to experiment with the elemental, with the minimalist. I like my palette, but I know that from there can come new expressions that give new characters’ shape. I have a lot to learn. I want to go into the elementary, the minimalist, with my palette and my characters. Fortunately I am in San Miguel, the best place in the world to be able to do it.

Trial Lectures of Cinema, Popcorn and Other Causes por Orso Sapiens

Al Tirado, in his role as editor, on the telephone, without more protocol, let his words flow through my headset: «Hello, I invite you to write a column of art cinema (or art in the cinema) for San Miguel Art Magazine. « Uncomfortable silence on both sides, such as when you do not know if the film is like this or the audio to the «cácaro» failure (go to the link, it is worth knowing the origin of the Mexican word). (1)

the word art fluttered in my head, along with surnames Illustrious as Kubrik, Kurosawa, Buñuel, Arau, worthy representatives of the cinematographic arts.

But really, what is art, long before the personal optics of every human being? The Dictionary defines it as the manifestation of human activity through which the real is interpreted or imagined as imagined with optical, linguistic or sound resources.

«You talkin ‹to me?» I answer, accent included, with one of the most famous phrases of cinema, immortalized by Robert De Niro (Taxi Driver, Martin Scorsese, 1976).

While I imagined what I could contribute, with a career of almost five decades as an enjoyer, but not an expert, of cinema, alike the commercial, the shitty or the great masters,

Luis Buñuel

Being so, and at the risk of ending my career as a columnist before starting it, would mean that both Santo vs. The Vampire Women (Mexican film. Alfonso Corona Blake, 1962) and Citizen Kane (Orson Welles, 1941), are art, since they express real or imagined human activity.

It is the human being who, finally, interprets and dictates (or for convenience, simply accepts and assumes) what is good or bad art and with that right and, in some cases, feeling bound by some divine designation, applauds or whistle one movie or another.

So then, while our interlocutor speaks of histrionic magnificence and what the director really expressed when he flew a fly, from left to right at a 32º angle in

front of the protagonist in the summit scene, we just smiled shyly, knowing that we fell asleep, because the movie was horribly boring.

My Filter Box In some vague childhood memory, I recall that my father had in his studio many round cases, each containing a photographic filter. One was for when there was a lot of sun, another for when there was not, another for the shines to fade, one more polarized, that one raised the reds while another, just for the pleasure of opposing it, lowered them.

In this infinity of filters there was always one for every situation created or provoked.

It was fascinating to know how to play with the light.

As an adult, I have put a filter box in my brain, which allows me to «filter» almost any circumstance to have the right perception according to the moment and environment.

Cinema is no exception.

These filters help me to enjoy cinema more, or the art of cinema, when perceiving in its right dimension a film. It would be ridiculous of me to use the Coppola filter when watching a Zucker brothers movie, since it would never have even a chance to have fun. So I put on the spoof movie filter and, along with a bag of popcorn, I press the magic button to enjoy Airplane (Jim Abrahams, David Zucker & Jerry Zucker,

88 .)1980 minutes of some of the best stupid movies.

Change filter and, this weekend, will watch Terry Gilliam›s marathon. The trick is deciding whether to first Brazil (12 ,)1985 Monkeys (1995) or The Meaning of Life (1983) with the magnificent Monty Python. Everything, always, with homemade popcorn, butter flavor (if there is a psychologist in the room, who can explain this cinemapopcorn codependency).

In my very personal definition, then I think that art, and in this case, the art of cinema, should amuse you, frighten you, tear you away, at the same time that makes you think, challenges you, teaches you or, simply, leads you to another reality for a couple of hours.

Commercial is not synonymous with bad movies, as a Famous name does not imply that the work has to be good. That a film is comic does not mean that it is a minor genre, as is demonstrated in Young Frankenstein (Mel Brooks, 1974), in which they add to the argument photography and scenery of excellent levels.

And this is my proposal for San Miguel Art Magazine, that optics of the cinema, through my box of filters, shaped month by month with the only purpose that our readers, like myself, can have fun for a while talking about what we like, The cinema, without false poses nor complications. And with popcorn, of course.

Stanley Kubrick, self-portrait. 1948 (1) Cácaro http://www.wikimexico.com/articulo/el-cacaro

by alTirado

In Memoriam

Alfonso Tirado 1910 . 1991

Tropical fruits.

Painter and mountaineer.

How not to remember Alfonso

Tirado in this month that turns 26 years of having left this world to continue walking unknown paths that are the continuation of the many routes as an ambitious traveler, tireless mountain climber, dreamy and romantic in earnest.

How could I not remember him, he was my father.

Maybe he was a painter since his childhood - because he got to cut his hair

Campeche fish market.

and make a brush to paint some rough brush strokes of his imagination.

But first he was a cartoonist. He is mentioned as the first cartoonist in Mexico. That was on the beginning of the 1930›s. He did it for many years for the country›s leading publishers and in the meantime painted with the passion that characterized him, but never with the intention of showing, because he did not want his work to be for sale. It took years to realize that show his work in galleries was necessary.

His other passion was mountain climbering and he joined it with that of painting. Loading easel and paints next to the backpack and the ice ax, was carried on each ascent of mountains, to bring what he called «notes» that in the study were the base for great canvases. For his love of those mountains, it was decided to do his first solo exhibition in 1965, with exclusive mountain themes.

His canvases caught the light, the color and flavors of the Mexico that he loved so much.

Puebla cupboard.

Mexican culture and traditions were the main inspiration for his art work. Food, clothing, and crafts were elements for his paintings that began to be exhibited in various galleries of the country. I remember that my mother cooked the traditional Mexican “mole”, or the fish just in time, when my father required them to be painted, warm, releasing their aromas. He sliced the fruit at the moment, so he could catch the bright colors of the fresh juices. And so he painted the traditional dishes, the mole poblano, the fish to the veracruzana style, the cochinita pibil from the Maya culture .... And after being “models” we all savored them.

The acknowledgments appeared as a natural consequence. And the work reached horizons of Spain, France and New York.

The passage of time that fades everything, has fallen on him and his memory will remain forever among those who were avid collectors and buyers of his art, and in halls such as the Museum of Ciudad de Mexico and the Museum of the Alfeñique in Puebla, PUE. This month of June, we remember him in these pages. I know he does not rest in peace. He will be where he like and he will be happy.

Jo Brenzo All photography was taken at the Ex-Hacienda Jaral del Progreso.

Guanajuato, Mexico.

Jo Brenzo

first came to San Miguel in the summer of 1976. After that, she returned three times a year, every year, until moving permanently in 1992. She was professor of photography at Bellas Artes for the next twenty years. At the same time, she established the Academia de FotĂłgrafĂ­a, which, since 1995, has offered general photography classes in San Miguel as well as travel workshops to Xilitla, Xochimilco, Real de Catorce, Oaxaca, Patzcuaro, Guatemala and Cuba. Within the Academia is a fine art gallery established in 1998. Many of the photographers represented are the result of her portfolio reviews at Fotofest in Houston, Texas and more recently at PhotoNola in New Orleans.

Her personal work is centered around projects. She published the book

«The Lord of the Dolls: Voyage to Xochimilco» in collaboration with the writer Eva Hunter in 2009. It was the result of a ten year journey photographing the expanding and deteriorating landscape of Don Julio›s doll collection–a man who lived alone on a small island in the canals of Xochimilco. Currently she is five years into a project at the ex-Hacienda de Jaral de Berrio. Her work concentrates on experiencing and capturing the intense connection she has with the buildings and the distinct and personal vision she feels reflecting on its unique atmosphere of mystery and ambiguity– evoking ghosts and memories, a past buried in its walls where history has come to a halt.

Leonora Carrington Foundation www.leocarrington.com www.fundacionleonoracarrington.org Mario Misrahi mario@mariomisrahi.com www.mariomisrahi.com Edgardo Kerlegand edgardo@kerlegand.com www.kerlegand.com

Fidelio Herrera Fidelio_h@hotmail.com

http://fidelioherrera.blogspot.com/ Karen Lee Dunn klee_me.2006@hotmail.com Joe Brenzo acdphoto@yahoo.com Al Tirado altiradoart@gmail.com

www.altiradoart.wixsite.com/altirado

For more information about the artists presented in this issue, please contact them directly.

No. 3 June 2017 Editor al Tirado Graphic design Yanina Hernández J.O. Romero Administrative advise Daniel Tirado Navalón Social networks promotions Yair Franco Editorial advise Angus Macaulay Published by FreeLancelot SMA San Miguel de Allende. México Contact with editors: editor@sanmiguelartmagazine.com San Miguel Art magazine is an e-zine published monthly, first week of the month in San MIguel de Allende, GTO. México.

All rights reserved.

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