Raul Guerrero

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Raul Guerrero

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Raul Guerrero Curated by Allen Ruppersberg January 21 - March 13, 2010 4VQQPSUFE JO QBSU CZ ナ: +BDRVFT BOE /BUBTIB (FMNBO 5SVTU


BOARD OF DIRECTORS

CUE FELLOWS

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CURATORIAL ADVISORY COUNCIL

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Executive Director +FSFNZ "EBNT Development Director .BSOJ $PSCFUU Programs Director #FBUSJDF 8PMFSU 8FFTF Programs Coordinator 3ZBO ŁPNBT Development Coordinator 5BMJB 4QFUUFS

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CUE Art Foundation is a 501 (c)(3) non-profit forum for contemporary art and cultural exchange that provides opportunities and resources for under-recognized artists. We value the astonishing diversity of creativity that artists provide and the importance of their activity in the social context of the city. CUE provides artists, students, scholars and art professionals resources at many stages of their careers and creative lives. Our programs include exhibitions, publications, professional development seminars, educational outreach, symposia, readings and performances. Since 2002, we have operated from our 4,500 square foot storefront venue in the heart of New York’s Chelsea Arts District. CUE exhibiting artists are chosen by their peers who are themselves selected by a rotating advisory council from across the country. This pluralistic process ensures that CUE consistently offers diverse viewpoints from multiple disciplines of artistic practice. Simply put, we give artists their CUE to take center stage in the challenging world of art.

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Artist: Raul Guerrero

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Biography

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Curator: Allen Ruppersberg

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Biography

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Raul Guerrero


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Pre – Columbian Lovers 0JM PO DBOWBT Χ Y Χ

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Misterio 0JM PO DBOWBT Χ Y Χ $PVSUFTZ PG $ISJTUJOF )BOEMFZ

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Three Masked Men 0JM PO DBOWBT Χ Y Â—Χ $PVSUFTZ PG .S BOE .ST 4UFWFO %SPCJOTLZ

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Undiscovered Chamber 0JM PO DBOWBT Â—Χ Y —Χ

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Religion: Before, 0JM PO DBOWBT Χ Y Χ $PVSUFTZ PG 4UFQIFO BOE (BSZ 1IJMMJQT

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Religion: After 0JM PO DBOWBT Χ Y Χ $PVSUFTZ PG 4UFQIFO BOE (BSZ 1IJMMJQT

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The Pool of Palenque <EFUBJM> 0JM PO DBOWBT Χ Y Χ $PVSUFTZ PG .S BOE .ST "SUIVS 0MMNBO 20


Raul Guerrero’s “ Oaxaca Series� By Lesley Ma

This essay was written as part of the Young Art Critics Mentoring Program, a partnership between AICA USA (US section of International Association of Art Critics) and CUE Art Foundation, which pairs emerging writers with AICA mentors to produce original essays on a specific exhibiting artist. Please visit www.aicausa.org for further information on AICA USA, or www.cueartfoundation.org to learn how to participate in this program. Any quotes are from interviews with the author unless otherwise specified. No part of this essay may be reproduced without prior consent from the author. Elizabeth Baker is AICA's Coordinator for this program for the second season.

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Raul Guerrero’s “Oaxaca Series”

IBT CFFO NBLJOH MBSHF BNCJUJPVT PJM QBJOUJOHT GPS NPSF UIBO ZFBST "O JNQPSUBOU HSPVQ PG FBSMZ XPSLT DPOTUJUVUFT IJT QBJOUJOH Oaxaca Series FJHIU PG XIJDI BSF PO WJFX GPS UIF ǸSTU UJNF JO /FX :PSL JO UIF FYIJCJUJPO BU $6& "SU 'PVOEBUJPO ŁF DBOWBTFT BMM BQQSPYJNBUFMZ UIF TBNF TJ[F BSPVOE CZ GFFU JODPSQPSBUF B XJEF SBOHF PG NPUJGT s .BZBO UFNQMFT UIF 7FOVT EF .JMP OBUVSBM DSFBUVSFT GPML PCKFDUT BOE MVTI WFHFUBUJPO 4JUVBUFE JO EFFQ QBJOUFSMZ TQBDFT JO XIJDI TBUVSBUFE DPMPS BOE JOUFOTF MJHIU JOUFSBDU UIFZ DSFBUF ESFBNMJLF FYQSFTTJPOT XPWFO UPHFUIFS CZ QFSTPOBM JOUFSQSFUBUJPOT PG DVMUVSBM DPOGSPOUBUJPOT BOE FYQFSJFODFT "T POF NBZ XPOEFS IPX BMM UIFTF JNBHFT DBNF UPHFUIFS JU IFMQT UP USBDF (VFSSFSPnT GPPUQSJOUT #PSO JO JO #SBXMFZ $BMJGPSOJB OFBS UIF CPSEFS UP .FYJDP (VFSSFSP HSFX VQ JO /BUJPOBM $JUZ JO B XPSLJOH DMBTT GBNJMZ )JT .FYJDBO "NFSJDBO CBDLHSPVOE JODMVEFE 5BSBIVNBSBO BOE :BRVJ *OEJBO IFSJUBHF " TIPSU TUBZ BU 4PVUIXFTUFSO $PMMFHF JO $IVMB 7JTUB OFBS 4BO %JFHP JOUSPEVDFE IJN UP UIF FYQFSJNFOUBM NJOET BOE UFBDIJOH TUZMFT PG +PIO #BMEFTTBSJ BOE 3PCFSU .BUIFOZ -BUFS BU UIF $IPVJOBSE "SU 4DIPPM OPX $BM "SUT JO -PT "OHFMFT IF SFDFJWFE SJHPSPVT GPSNBM USBJOJOH BOE FODPVOUFSFE B XJEF SBOHF PG JOUFSOBUJPOBM BOE IPNF HSPXO BWBOU HBSEF JOǺVFODFT XIJDI MFE IJN UP FYQFSJNFOU XJUI SFBEZ NBEFT BOE DPODFQUVBM BSU )JT DPOUFNQPSBSJFT BU $BM "SUT JODMVEFE "MMFO 3VQQFSTCFSH BOE +BDL (PMETUFJO 1PTU BSU TDIPPM TPKPVSOT JO &VSPQF JODMVEFE B QFSJPE XIFO IF BTTJTUFE &E ,JFOIPM[ XJUI JOTUBMMBUJPOT JO -POEPO #FSMJO BOE FMTFXIFSF 4VCTFRVFOU BEWFOUVSFT PO IJT PXO JO 4QBJO BOE .PSPDDP CPUI OVSUVSFE BOE DIBMMFOHFE (VFSSFSPnT "NFSJDBO PS NPSF QSFDJTFMZ 4PVUIFSO $BMJGPSOJBO TFOTJCJMJUJFT BOE GVFMFE JO IJN B TFOTF PG VSHFODZ UP NFSHF UIF EJWFSTF TUSBOET PG TUJNVMJ UIBU IF IBE SFDFJWFE UIVT GBS #BDL JO -PT "OHFMFT JO IF CFHBO XPSLJOH XJUI B SFQFSUPJSF PG QPQVMBS TZNCPMT BOE BSUJGBDUT GSPN IJT DVMUVSBM CBDLHSPVOE B NJY PG .FYJDBO "NFSJDBO /BUJWF "NFSJDBO 4PVUIFSO $BMJGPSOJBO BOE #PSEFS %VSJOH UIJT QFSJPE UIF NVSBM BSUJTUT PG UIF $IJDBOP .PWFNFOU XFSF BDUJWF JO -PT "OHFMFT BOE UIF #BZ "SFB (VFSSFSPnT BQQSPBDI XBT TUZMJTUJDBMMZ BOE NFUIPEPMPHJDBMMZ EJTUJODU GSPN UIFJST CVU IJT ǸYBUJPO PO IZCSJE JEFOUJUZ XBT B TIBSFE UIFNF )JT Rotating Yaqui Mask JT B QJFDF PG NPUPSJ[FE LJOFUJD BSU UIBU UBLFT BO FUIOPHSBQIJD BSUJGBDU BOE MJUFSBMMZ NBLFT JU TQJO )F BMTP NBEF TDVMQUVSBM JOTUBMMBUJPOT QIPUPHSBQIT BOE WJEFPT ŁJT QIBTF ZJFMEFE XPSLT UIBU TIPX UIF BSUJTUnT FYQMPSBUJPO PG UIF PSJHJOT PG BSU NBLJOH JO WBSJPVT USBEJUJPOT )F QMBZGVMMZ CVU DSJUJDBMMZ QPTJUJPOFE IJNTFMG JO UIF SPMFT PG CPUI UIF JOEJHFOPVT BSUJTU BOE UIF .FYJDBO "NFSJDBO PVUTJEFS FNQMPZJOH DPODFQUVBM USPQFT VTFE CZ NBOZ PG IJT QFFST JO -PT "OHFMFT BMPOH XJUI B SBOHF PG DVMUVSBM FNCMFNT *O IF NPWFE CBDL UP /BUJPOBM $JUZ 5P HFU DMPTFS UP UIF TPDJBM BOE DVMUVSBM JTTVFT PDDVQZJOH IJT NJOE IF TIJGUFE IJT GPDVT UPXBSET UIF XPSME JNNFEJBUFMZ BSPVOE IJN BOE

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BCBOEPOFE PCKFDU NBLJOH JO GBWPS PG QBJOUJOH (VFSSFSP XFOU UP 0BYBDB JO GPS TJY NPOUIT UP IPOF IJT QBJOUJOH TLJMMT BCTPSCJOH CPUI UFDIOJRVF BOE DVMUVSBM NBUFSJBM JO UIF .FYJDBO FOWJSPOT ŁF GSVJU PG UIJT QFSTPOBM KPVSOFZ XBT The Oaxaca Series. ŁF QBJOUJOHT XIJDI XFSF FYFDVUFE BGUFS (VFSSFSPnT SFUVSO UP $BMJGPSOJB JODPSQPSBUF JO B OFX HVJTF UIF SBX NZUIJDBM FOFSHZ QSPNJOFOU JO IJT FBSMJFS PCKFDUT BOE JOTUBMMBUJPOT FWPLJOH B TVTQFOTJPO PG UJNF BOE TQBDF " TUSJLJOH FMFHBOUMZ QPJTFE KBHVBS JO Vista de Bonampak BWFSUT JUT FZFT GSPN B GBEFE NVSBM EFQJDUJOH B SJUVBM TBDSJǸDF UIF BOJNBM FYIJCJUT JOEJǴFSFODF BOE GFBS BU UIF TBNF UJNF *O SFQSFTFOUJOH UIF SJUVBM TDFOF (VFSSFSP FNVMBUFT UIF TUZMF PG UIF GSFTDPT GPVOE BU DFSUBJO .BZBO BSDIBFPMPHJDBM TJUFT FNQIBTJ[JOH IJT BǵOJUZ UP UIF BODJFOU /FX 8PSME The Pool of Palenque QPSUSBZT BO FFSJMZ IPWFSJOH .BZBO NBTL TVSSPVOEFE CZ CVUUFSǺJFT JO GSPOU PG B NJTUZ XBUFSGBMM JO B KVOHMF " NFTNFSJ[FE GSPH TUBSFT CMBOLMZ JOUP UIF WPJE BT JG GSP[FO CZ B TQFMM ŁF TBNF TFOTF PG BO JOWJTJCMF GPSDF MJOHFST JO Undiscovered Chamber XIFSF UISFF SFMJHJPVT ǸHVSBM TDVMQUVSFT BQQFBS UP CF HVBSEJOH VOLOPXO TFDSFUT XIJMF B XBUDIGVM SFQUJMF PCTFSWFT Three Masked Men BMMVEFT UP B DBTF PG DBUUMF SVTUMJOH UIBU FOEFE XJUI UIF MZODIJOH PG UISFF XSPOHMZ BDDVTFE NFO UXP PG UIFN XIJUF BOE POF .FYJDBO ŁF JNBHF BMMVEFT UP B ǸMN The Oxbow Incident XIJDI XBT CBTFE PO B SFBM FWFOU )JTUPSJDBM JODJEFOUT PG JOKVTUJDF PS WJPMFODF XIJDI (VFSSFSP UBDLMFT XJUI B DPPM PCKFDUJWF UPOF GSFRVFOUMZ ǸHVSF JO IJT XPSL )FSF UIFSF JT B TVSSFBM NFMBODIPMZ BMPOH XJUI B UPVDI PG UIF HSPUFTRVF JO UIF TDFOF PG UISFF IBOHFE NFO TVTQFOEFE JO B SPX GSPN UIJDL CSPXO SPQFT UIBU EFTDFOE GSPN UIF QBJOUJOHnT UPQ FEHF UIF OPPTFT GVODUJPOJOH BT QSPNJOFOU QJDUPSJBM FMFNFOUT 8IJMF UIF NFOnT CPEJFT BSF JOEJDBUFE CZ TJNQMF TDIFNBUJD EJBHSBNT UIFJS IFBET BSF TFFO JO TUBSUMJOH DMPTF VQ GBDFT DPODFBMFE CZ HBSJTI HSJOOJOH %BZ PG UIF %FBE NBTLT #FIJOE UIFN JT B TDFOF PG EFTPMBUJPO B CMPPE SFE TVOTFU BOE B EFFQMZ TIBEPXFE TUSFUDI PG EFTFSU XJUI B CMBDL MJOF PG NPVOUBJOT PO UIF IPSJ[PO ŁF 0BYBDB FYQFSJFODF FNQIBTJ[FE UIF GBDU UIBU (VFSSFSPnT DPOTDJPVTOFTT XBT BMSFBEZ ǸSNMZ TUSVDUVSFE CZ IJT .FYJDBO "NFSJDBO VQCSJOHJOH BOE IJT SBEJDBM BSU TDIPPM FEVDBUJPO The Oaxaca Series DBO CF TFFO BT B NFEJUBUJPO PG UIF JNQBDU VQPO UIF BSUJTU PG B UPUBM .FYJDBO JNNFSTJPO 4JODF UIFO (VFSSFSPnT QFODIBOU GPS JODPSQPSBUJOH TZNCPMJD PCKFDUT PS TJUVBUJPOT UP FYQPTF VOEFSDVSSFOUT JO DVMUVSBM IJTUPSZ IBT PGUFO FYUFOEFE UP NPSF UPQJDBM BOE FYQMJDJU TVCKFDU NBUUFS -JLF TP NBOZ PG IJT DPOUFNQPSBSJFT IF SFBDIFT GBS BOE XJEF GPS IJT TPVSDFT BOE JNBHFT TPNFUJNFT JODMVEJOH QIPUPHSBQIT XPSET BOE NBQT BOE NBLJOH SFGFSFODF UP UIF XPSL PG PUIFS BSUJTUT )JT ǸHVSFT PGUFO UBLF PO B MPPTF BOE MJOFBS TUZMF )F MPPLT BDSPTT UIF CPSEFS BOE QPSUSBZT B TFYVBMMZ DIBSHFE #BKB $BMJGPSOJB DMVC TDFOF JO Aspects of Nightlife in Tijuana, B.C. B TFSJFT PG QBJOUJOHT JO XIJDI B TFOTF PG EFTQFSBUJPO GPS CPUI NPOFZ BOE JOUJNBDZ QFSNFBUFT UIF DSPXE &BDI PG UIF TJY QBJOUJOHT JO Problems and

23


Raul Guerrero’s “Oaxaca Series”

Marvelous Secrets of the Indies/Latin America GFBUVSFT B SFQMJDB PG 7FMBTRVF[nT Rokeby Venus UIF OVEF PWFSMBJE CZ EPUUFE MJOFT NBQQJOH WBSJPVT -BUJO "NFSJDBO SFHJPOT PODF TVCKFDUFE UP DPMPOJBM HSFFE /VNFSPVT DPMPOJBM FSB TDFOFT BMPOH XJUI UFYUT JO 4QBOJTI BSF TDBUUFSFE BDSPTT UIF DBOWBTFT (VFSSFSPnT GBTDJOBUJPO XJUI TPDJBM JOUFSBDUJPOT SFTVSGBDFT JO The Whaling Bar Series B HSPVQ PG SFMBUJWFMZ TNBMM QBJOUJOHT UIBU SFǺFDU VQPO B IJTUPSJD IPUFM CBS JO -B +PMMB ŁF TFUUJOH BOE UIF GBDFMFTT QBUSPOT XIPTF IFBET BSF TVCTUJUVUFE CZ DMPDLT BSF B DMFBS IPNBHF UP ,JFOIPM[nT XFMM LOPXO TDVMQUVSBM UBCMFBV SFDSFBUJOH UIF -PT "OHFMFT BSUJTUTn CBS The Beanery (VFSSFSP IBT UJSFMFTTMZ BSUJDVMBUFE IJT QPTJUJPO XJUIJO UIF MBSHFS DVMUVSBM BOE TPDJBM DPOUFYU UISPVHI B WBSJFUZ PG TVCKFDUT BOE BQQSPBDIFT )JT SPPUT JO UIF CPSEFS DVMUVSF QSPWJEF IJN B WBOUBHF QPJOU UP EPDVNFOU CPUI UIF MPDBM BOE UIF JOUFSOBUJPOBM &YFDVUFE NPSF UIBO UXP EFDBEFT BHP The Oaxaca Series SFQSFTFOUT B EFDJTJWF NPNFOU JO UIF BSUJTUnT DBSFFS

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ŁF 8SJUFS LESLEY MA HSBEVBUFE GSPN )BSWBSE $PMMFHF JO BOE TVCTFRVFOUMZ SFDFJWFE IFS ." JO .VTFVN 4UVEJFT GSPN /FX :PSL 6OJWFSTJUZ 'SPN UP TVNNFS TIF XBT B QSPKFDU EJSFDUPS GPS /FX :PSL CBTFE $IJOFTF BSUJTU $BJ (VP 2JBOH 4IF JT BO FEJUPS PG Lovely Daze BO BSUJTU QVCMJDBUJPO PVU PG 1BSJT BOE JT DVSSFOUMZ QVSTVJOH IFS 1I % JO "SU )JTUPSZ ŁFPSZ BOE $SJUJDJTN BU UIF 6OJWFSTJUZ PG $BMJGPSOJB 4BO %JFHP

25

ŁF NFOUPS LEAH OLLMAN IBT CFFO XSJUJOH DSJUJDJTN BOE GFBUVSFT PO UIF WJTVBM BSUT GPS UIF Los Angeles Times GPS PWFS UXFOUZ ZFBST 4IF JT B $PSSFTQPOEJOH &EJUPS GPS Art in America BOE UIF BVUIPS PG OVNFSPVT DBUBMPHVF FTTBZT )FS QVCMJDBUJPOT JODMVEF Strangely Familiar "QFSUVSF The Photography of John Brill ,FOU BOE William Kentridge: Weighing... and Wanting .VTFVN PG $POUFNQPSBSZ "SU 4BO %JFHP 4IF FBSOFE IFS #" JO "SU )JTUPSZ BOE 1IJMPTPQIZ GSPN 4DSJQQT $PMMFHF BOE IFS ." JO "SU )JTUPSZ GSPN UIF *OTUJUVUF PG 'JOF "SUT /FX :PSL 6OJWFSTJUZ 4IF JT DVSSFOUMZ XPSLJOH PO B QSPKFDU FYQMPSJOH UIF BǵOJUJFT CFUXFFO QPFUSZ BOE QIPUPHSBQIZ 4IF MJWFT JO 4BO %JFHP $BMJGPSOJB


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CUE Art Foundation’s operations and programs are made possible with the generous support of foundations, corporations, government agencies, individuals, and its members.

MAJOR PROGRAM SUPPORT IS PROVIDED BY: Accademia Charitable Foundation The Viking Foundation Agnes Gund The Pollock-Krasner Foundation The Greenwall Foundation The Greenwich Collection Ltd. Milton and Sally Avery Arts Foundation Foundation for Contemporary Arts The Joan Mitchell Foundation The Andy Warhol Foundation for the Visual Arts National Endowment for the Arts New York City Department of Cultural Affairs New York State Council on the Arts (a State agency) William Talbot Hillman Foundation

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MEDIA SPONSOR:


$PWFS *NBHF The Pool of Palenque <EFUBJM> 0JM PO DBOWBT Χ Y Χ "MM BSUXPSL ƒ 3BVM (VFSSFSP

CUE Art Foundation 511 West 25th Street New York, NY 10001 212-206-3583 f 212-206-0321 cueartfoundation.org

*4#/ $BUBMPH EFTJHO FMJ[BCFUI FMMJT 1SJOUFE CZ NBS Y NZMFT JOD VTJOH XJOE HFOFSBUFE QPXFS

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2009/10

CUE Art Foundation 511 West 25th Street, New York, NY 10001 212-206-3583 f 212-206-0321 cueartfoundation.org


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