A Village Dreams: Paintings by Jose Guadalupe Guadiana, Exhibition Catalog by University of Texas at San Antonio

A Village Dreams: Paintings by JosĂŠ Guadalupe Guadiana

An Exhibition by the Department of Art & Art History The University of Texas at San Antonio

The Department of Art and Art History

This catalog has been published in conjunction with the exhibition

A Village Dreams: Paintings by José Guadalupe Guadiana Presented at Terminal 136, a gallery of The University of Texas at San Antonio Department of Art & Art History October 1 - 24, 2015

Curator: Kent Rush Gallery Director: Ovidio Giberga Photography [Artwork]: Kent Rush & Calen Barnum Designer: Vikky Jones Publisher: The University of Texas at San Antonio Printer: Brenner Printing ISBN: 978-1-4951-6821-5 Cover Image: Untitled, oil on canvas, 40x48,” 1991. All paintings reproduced in this catalog remain in the care of Alicia Guadiana unless otherwise specified. ©2015 The University of Texas at San Antonio. All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher. Copyright of all artworks depicted remain with the artist’s estate.

A Village Dreams: Paintings by José Guadalupe Guadiana Curated by Kent Rush

Contents “A Village Dreams: A Closer Look at Paintings by José Guadalupe Guadiana” Kent Rush, Professor of Art, UTSA

2-11

“Wondrous Realities and Elusive Metaphors: The Art of José Guadalupe Guadiana” Marissa Del Toro, UTSA MA Art History Student, Curatorial Assistant Intern 12-14 Plates 15-41 Chronology/Resume 42-47 Acknowledgements

All paintings reproduced in this catalog remain in the care of Alicia Guadiana unless otherwise specified. Photographs and newspaper clippings courtesy of Alicia Guadiana.

A Village Dreams:

A Closer Look at Paintings by José Guadalupe Guadiana

by Kent Rush, Curator

Introduction It is the purpose of this exhibition to reacquaint San Antonio with some powerful examples of work which I feel establish José Guadalupe Guadiana as a major artist in San Antonio’s rich art history. The works I have selected for this exhibition are oil on canvas paintings made in the United States after 1966 when he settled into San Antonio, specifically those from the 90’s onward. His major output of this time period were oil paintings on canvas, but Guadiana also sculpted with ceramic, wood, and stone materials, printed using woodcut, linocut, etching, and engraving techniques, painted with watercolors, and drew with charcoal, pen and ink, graphite, and ink washes. His printmaking works are especially strong but we will have to look forward to another exhibition to show and discuss this body of work. José Guadiana was born in 1929 in Sabinas Hidalgo, Nuevo León, Mexico. From his arrival to San Antonio in 1966 through 2012, he was known to most San Antonio artists and curators as he participated in the city’s art scene with solo exhibitions, a retrospective, group shows,

fig, 1 Untitled, oil on canvas, 36x48,” 1989.

fig. 2 Untitled, oil on canvas, 40x48,” 1991.

fig. 3 Untitled, oil on canvas, 70x70,” 1967.

fig. 4 Untitled, oil on canvas, 43x32,” 1986.

and competitions. Despite his presence in the art scene, his work never received the critical or popular attention it deserved. As well-known San Antonio artist Cesar Martinez said, “His work never gained traction.” Over the years from the 90’s through 2008, Guadiana’s style changed, evolving predominantly into his unique, subtle, and compelling body of colorful, folk-figurative work (fig.1). These expressive paintings, scumbled with textured paint strokes (fig. 2), are also extremely original in their style and content, deserving of much closer attention. His work moved away from the more stereotypical “Mexican/Latin American Surrealism” (fig. 3), and along the way shed its reliance on a machismo bravura (fig. 4). It could have veered toward a Chican@ content considering the allure of this major trend in San Antonio but it did not. The work retains its “Mexicanismo,” to be sure, but it evolved into a unique style and content that did not depend on this genre for its success. Other than the infrequent and oblique appearances of some of his paintings and sculptures in the backgrounds of a few half-toned black & white newspaper photographs, we have little visual representation of the work he created while living his life in Mexico. In his archives there are only eight paintings (with dates ‘64 & ’65) before his arrival to San Antonio in 1966.

José and his wife, Alicia, did keep good records of his career events, but less so with documenting his artworks. In his archives there is a group of 5x7” glossy photographs of bold, Abstract Expressionist style paintings, only a few of which are in storage. Presumably, these represent previous work, but these black and white photos are not labeled with titles, medium, sizes or dates. The only exception we found is a self-portrait completed in 1957 (fig. 5) in a style strongly reminiscent of Diego Rivera’s. Upon his death, I had the unique opportunity to go through the entire inventory of paintings in Alicia Guadiana’s possession. From his storeroom we documented and photographed 353 paintings. This exhibition is comprised entirely of works from this collection remaining in storage (though a few have recently been sold and are generously loaned back for this exhibition). In Monterrey, Nuevo León, México during the late 50’s and early 60’s, José was an artist “muy cotizado,” much valued and sought fig. 5 Untitled [self-portrait], after (see exhibition resume). By oil and charcoal on panel, 21x15 ¾,” 1957. the time he arrived in San Antonio he was an accomplished artist, having studied five years (1949-1954) in Mexico City at the famous art school La Esmeralda, a breeding ground for contemporary Mexican artists. At this same time he had worked for both Diego Rivera and David Siquieros as an assistant on mural commissions. In Monterrey, he taught art at the Art Institute and later at the University of Nuevo León. He also assisted Federico Cantú on large-scale bas-relief public sculptures. When José was teaching art in Tampico, Mexico (1959), he met and married Alicia Govea, his loving and life-long supportive wife. José, Alicia, and their sons Julio and Sergio moved to San Antonio in 1966 where he was hired as an art instructor at the Mexican American Cultural Exchange Institute.

Soon upon arrival he became a member of a local group of Hispanic artists called “La Palomilla”1 which included Jesse Almazán, Jesús Cantú, José Esquivel, Alberto Mijangos and Armando Sánchez. Like most artists in the United States who want to secure a college teaching position in art, Guadiana pursued university degrees. He was already a mature artist and very much a “non-traditional student.” Nonetheless, he swallowed his pride and persevered, earning a BA at Trinity University in San Antonio in 1972, attending a year of graduate school at Northeastern Louisiana University (1972-73) in Monroe, LA and finally obtaining his terminal art degree, the MFA, from UT Austin in 1979. Although he did teach art off and on at various higher education institutions in San Antonio, he was never able to obtain the full-time position that would give him the desired security he was seeking. Instead, he and Alicia made an important agreement: she would work to pay the bills and he would “produce,” states Alicia. And so, from 1966 to 2012 Jose was essentially free to pursue his artistic career as a full-time painter, sculptor and printmaker. José was dignified, quiet, said little, and demanded less. Some in the art community thought him a bit blunt, though from a personal perspective, his social awkwardness seemed more a self-consciousness, perhaps from being somewhat of an outsider communicating in a second language. José seemed humbled by coming to the US where competition for a piece of the art pie was fierce: “…it is very hard to carve out a niche. Here [in the United States] there are not just a few artists, there are thousands and more appear every day and many with talent… If the artists from Mexico want to compete here they need to prepare themselves well, not only technically but also psychologically, here the competition is very closed, very strong.” Barragán, Refugio Luis. 1992. “José Guadalupe Guadiana, estilo definido: Arte neoleonés en el exilio voluntario.” February 29.2

Coming from a culture where he saw artists being granted government commissions, and where artists and professors were held in high esteem by the general public, it must have been a rude shock for him to find himself in a country (and a very conservative state and city) where there were so many artists competing without much support or esteem from the public.

In coming to San Antonio, José most probably imagined that he would be a major figure in the art world with his work sought after for sales and exhibitions like they were in Monterrey. Instead, exhibition opportunities did not fall so easily into his lap as they had in Mexico. He sold little work, but not enough on which to survive, and found himself viewed as just another competent artist like all the other scores in San Antonio. The first time I met José was when he was working in the print studio at UTSA in the late 70’s. I remember being impressed by the line quality and the quirky and compelling imagery of his etchings and engravings. Later, I was aware of José’s work as he exhibited in local venues. I eventually included his etchings and engravings in print shows that I curated for local arts organizations. When I served as the committee chair for the UTSA public art program (UTSA Art Commission) for the UTSA Downtown Campus, José submitted a proposal that was selected as one of the first three projects to be commissioned there. His successful proposal became a fanciful stone, bas-relief wall mural 10x28’ titled Students, that still stands proudly on the north face of the Frio Street Building. The imagery draws from his paintings José Guadalupe Guadiana working on Students mural at The UTSA Downtown Campus. with young people (UTSA students) mingling on the campus with their book bags, some wearing animal head pieces, with the elevated I-35/IH-10 freeway in the background. During this time I conferred with him often, but still wish I could’ve gotten to know him better. As many of us tend to assume that everyone we know will always be around, I was surprised and saddened to hear of his death in 2012. I felt that in his passing, his work might be forgotten.

A Village Dreams This exhibition represents a small selection of Guadiana’s work, focusing on paintings primarily from the 90’s and the early 2000’s. The works selected are all figurative, to showcase the particular style that began with a few paintings created in 1966, 1971, and 1973, continuing through 2009 where it seems José either stopped dating his works or stopped painting to concentrate on other mediums. These works share many common formal attributes. They are relatively modest in scale from about 2x3’ to 3x4,’ compared to his earlier series from the late 60’s and early 70’s that were in the range of 6x6’ (fig.3). They are painted with quick short strokes, thin, dry, and scumbled. Many of the works beginning in the 90’s have stronger colors (fig. 6) and are more vibrant than works from previous years where contrast and chroma is played down in favor of texture and more neutral coloration (fig.7). The figure and the ground are equally textured so the figures are couched along with the background onto the picture plane. The figures are not overly modeled in three dimensions nor heavily contoured. Nor do the figures appear to be solid or weighty, as their postures seem to be flexible and awkward like marionettes or articulated cut-outs. Their seeming weightlessness and lack of a shadow to anchor them to the ground give the sensation that the figures are floating or hovering, creating an otherworldliness and dream-like quality. (fig. 8).

fig. 6 Diving, oil on canvas, 36x40,” 1996.

fig. 7 Untitled, oil on canvas, 34x40,” 1985.

The figures are common folks, and seem to be having fun doing what people normally go about doing. They are on the phone, walking down the street, watching heavy equipment, doing construction, working on telephone lines, swimming in a lake or a pool, picnicking in a park, boxing, playing musical instruments, or getting ready for surgery.

fig. 8 Untitled, oil on cavas, 44x30,” 1997.

Taken as a group, this body of paintings portrays a population of people either as individuals or in groups large and small, mostly in a public setting – a neighborhood or a village, probably emulating Guadiana’s own surroundings: street corners, San Pedro Springs Park, the zoo.

“I like to sketch outdoors where people are having shared enjoyment and interaction, and where sunshine is for everyone and people do appreciate it; the outdoors where people care and enjoy the company of one another.”

1990. José Guadalupe Guadiana (statement.) February 24.

“I like very much to draw. I would like to spend days just drawing. I enjoy very much drawing out of doors; especially the human figure and animals in their full motion.” 1987. José G. Guadiana (statement). December 27.

The people are portrayed by Guadiana compassionately. Part of that sensibility is derived from his stylistic references to the folk and popular art of his home country. He states in an unpublished, undated resume, “I have learned to admired [sic] the ‘popular Art’ or the good ‘Popular Timeless Art’ without date and signature.” Undated. José Guadalupe Guadiana (resume).

“It is quite clear that the Mexican art in general and the Mexican popular art in particular are the initiation of [my] Guadiana’s works of art.” 1984. “April 1, 1984.” (3rd person statement?). April 1.

These statements refer obviously to “arte popular” but also to works by unschooled, untrained artists (“without date and signature”) which are compelling in their un-abashed confidence, honesty, willfulness and quirkiness. (The Neo-Expressionist painters of the late 80’s and early 90’s, such as Clemente and Salle, borrowed heavily from the look of what Donald Kuspit referred to as “marginal art.”3) José’s earlier works have a much more serious, monumental quality, influenced by crisp and colorful Modernism, dark and brooding Latin American Surrealism and painterly Abstract Expressionism. The works chosen for this exhibition represent a quieting down, a relaxing, a humbling down from the earlier works. Perhaps in his freedom from the strictures of having to make a living and his isolation from the pressures of the art market he let go of the notion of the “profundity” of art in favor of a more compassionate, down to earth, original style and content. He posits something like this in an artist’s statement from 1990: “It is clear to me that my work would not function very well within the big city’s context and complexities. It is perhaps… away from the big city where my subject matter wants to be.” 1990. José Guadalupe Guadiana (statement.) February 24.

This informs us of his desire to leave behind the grand notion of art to pursue a more individual and intimate imagery and style. “I am always willing to try something else out of my sketches, and to represent or depict thoughts about people and the nature we live in, and nothing pretentious or overblown, just direct and simple means.” 1990. José Guadalupe Guadiana (statement.) February 24.

Lest the viewer write-off Guadiana’s work as awkward and clumsy, it remains obvious in the work that the artist is skilled and sophisticated. After all, he received the best art education in Mexico at La Esmeralda and the best of a Texas art education with degrees from both Trinity University and the University of Texas, Austin. His handling of the figure remains sophisticated - one can readily observe the ease and facility that underlies the otherwise “folkish/awkward” quality that is here voluntary and stylistic. The figures’ postures and anatomy are loose and casual. His ability to render the human form is obvious, he merely chooses to ignore the rigidity of correctness in the service of a looser, softer rendition. 9

“Since some years ago I have had the honest intention of painting with simple technical means.” 1987. José G. Guadiana (statement). December 27.

As sympathetic as he is to his figures, they are, however, mostly expressionless. They are not idealized nor are they portrayed satirically or mockingly. Their awkwardness seems to suggest their humility, a lack of pretense or of self-consciousness. There appear only hints of concern, interest, introspection, or concentration on their faces. Some pose the suggestion of a smile or surprise, and some merely look out at the viewer with a blank or questioning countenance. The people are engaged in various activities, but are somewhat disconnected, as though existing in a dream world. There are various “events” going on in these paintings. For example, there is a random gathering of a group of young people on and around a park picnic table, stingrays float by in the foreground, child-like military airplanes fly above. However, none of the events seem to take precedent – nor do they seem to relate to each other. Guadiana is showing us people going about their mostly leisurely activities while they are perhaps dreaming or immersed in more fantastical and exotic musings. Collectively, they expand into a village dreaming in a magical, spiritual, exotic and often humorous world. This type of theme fits comfortably into the realm of Latin American Magic Realism – a surreal and exotic ambience merged flawlessly within the quotidian events of life. “However, the realities I portray are not apparent or familiar; they exist only inside the canvas, and are the reflections of observations and preoccupations with people and events that surround me or affect my personal environment.” Undated. José Guadalupe Guadiana. (statement).

The abundance of exotic animals appearing in most of the works offers the possibility that these people are preoccupied with the natural world and how they might be responsible for its decline, or their separation from it. In the following quotes, the artist confirms that he is concerned with the environment, though he would rather deal with the “alternative:”

“I would rather think of it as Romantic in its approach; because, there is a deep admiration of the Universe and our world the way it is and no reservations.” 1987. José G. Guadiana (statement). December 27.

“It is a deep, haunting and somewhat agonizing feeling that humanity is already speaking of the dilemma of life on the planet. However, it is the metaphor and the alternative that I want to paint…” 1990. José Guadalupe Guadiana (statement.) February 24.

His work is especially refreshing in an era where much painting is strategized, mannerist, clever and cynical. His paintings do not call out to be recognized as art, they are not self-conscious and they do not aggrandize the artist at the expense of the art. Nor is he appropriating the “look” of “outsider artists” like the painters of the 80’s and the 90’s. To be sure, his figurative paintings predate the emergence of this Neo-Expressionism. Instead, he has evolved an authentic, sincere and expressive style that is his alone. His work is special to San Antonio in the same way that the “trabajo rustico” benches, tables and palapas of a fellow Mexican artist, Dionisio Rodriguez, are - quixotic statements of powerful originality. It has been my privilege over this past two years to work with Alicia Guadiana, to go through and document all of the 353 paintings in José’s storage, and to have read through all the articles and reviews of his exhibitions in México and the US, as well as his artist’s statements. I feel I have finally gotten to know José, not through conversations I should have had with him long ago, but through his work and his words. José’s art recounts compelling and endearing stories of the inhabitants of a village lost in the rapture of their dreams. Guadiana has left us this gift. Kent Rush Professor of Art, University of Texas at San Antonio Silva, Elda. 2007. “Show spotlights vererans of S.A. art game.” San Antonio ExpressNews, July 22. 1

-n.d.1992 “La creación en el exilio.” El Papel de San Anto, February. (translated here by Haydeé Victoria Suescum and Kent Rush) 2

Donald Kuspit, “The Appropriation of Marginal Art in the 1980’s,” American Art, Winter/Spring (1991), pp. 133-141. 3

Wondrous Realities and Elusive Metaphors: The Art of José Guadalupe Guadiana by Marissa Del Toro

José Guadalupe Guadiana, born in Sabinas Hidalgo, Nuevo León, Mexico in 1929, lived and worked in San Antonio from 1966 until his passing in 2012. His artwork captured scenes from his everyday life in a visionary manner. His later work reflected a dual identity and lineage between Mexico and the United States. His work recalls scenes of the everyday life from both sides of the border. Although Guadiana participated in numerous group exhibitions with notable figures from Mexico and Texas, such as Leonora Carrington, Kathy Vargas, and Larry Graeber, his work is hard to pinpoint within a specific movement or style. Although this particular exhibition showcases his paintings, he was an artist who explored multiple techniques, mediums, and themes. His final years were dominated by a style closely resembling a dreamlike atmosphere of the everyday world with strong attention to the figures, color, and landscape informing a fictional world. Guadiana infused his Untitled 1991 painting (fig. 2, pg. 2) with a dreamlike quality as if the viewer is watching his vision take place in a familiar physical realm of the everyday world. A sunburnt beach landscape with two hoary satellite dishes forms the setting in which the scene takes place. The body of a shirtless male figure, who fluctuates between the earth below and the sky above, wears a reddish animalistic mask of an eagle with feathers seamlessly flowing downward as his eyes shoot dart-like rays towards a world beyond the canvas. The use of animalistic masks is a common occurrence in Guadiana’s paintings and contributes to the fictional style he creates. The masks create a sense of anonymity that further isolates the viewer from the figures’ identities, emotions, and situational experience, but their gestural acts provide the viewer with some insight to their feelings.

The bird-masked figure seems to be in anguish, and in contrast, the alligator-masked figure gazes out and breaks down the fourth wall by confronting the voyeuristic viewer with its turquoise-colored eyes. This confrontational gaze and nostalgic landscape of a vacation to the beach prompts the viewer to question the surreality Guadiana presents. The majority of Guadiana’s paintings create an elusive metaphor for the melancholic reality of life and humanity. This message is somewhat difficult to decipher at first glance, but deeper analysis of his composition, figures, material objects, and varied color palettes reveal his exploration of this stricken but pensive exploration of life. These combined elements are best seen in his Untitled 1993 (plate 24, pg. 38) in which two figures precariously play on a tire swing in front of a moon-like landscape with hollow craters formed by purple hues and shades of blue. Next to the girls on the tire swing is a male figure floating down while a great white shark swims in the lower right corner. Most of Guadiana’s paintings depict sea creatures in oceanic and cosmic landscapes that reflect his possible interest in oceanic realms, hidden realities and the deep dark world beyond known shores. Very little written documentation exists on Guadiana’s musings on his own artistic style and work. However, the snippets of writing that are available show his interest in recording his observations of human figures and in various surroundings. Each of his paintings utilizes a strong singular tone or color that reverberates throughout the canvas unifying the figures and the objects into a coherent world or landscape. He created a world that is derived from his reality and his imagination but bounded within the edges of his canvases. In Untitled 1994 (plate 9, pg. 23), Guadiana created a scene of two male figures flying in mid-air, propelled by fans strapped to their backs, above a deserted landscape of rolling hills. Guadiana uses a rhythmic movement of color to portray a pulsating sense of sky and wind. The yellow tones of their clothing are of multiple hues that emphasize their physical movements as they are propelled through the cool blue sky. These warm yellow tones, replicated through the sky’s cool blue background, create a luminous glow that highlights the action as the figures move forward over a barren brown landscape. The viewer wonders about their motive, purpose, and meaning.

Guadiana was an artist captivated by the world around him. He sought to convey the humanity he witnessed through scenes of human interaction. Guadiana once stated that his work “is a deep, haunting and somewhat agonizing feeling that humanity is already speaking of the dilemma of life on the planet. However, it is the metaphor and the alternative that [he] wanted to paint, draw, or carve.” This elusive metaphor is what he transcribed in his paintings through his compositional style, technique, and color. He explored the magical potential lurking through human existence. His works maintain an elusive metaphor regarding everyday reality that is hard to decipher from just a few glances of the wondrous realities he created. Guadiana was a man of very few words but with a multifaceted curiosity that included the realities of his everyday life and the fantastical elements of a life within and beyond our terrestrial terrain. Marissa Del Toro, UTSA MA Art History Student, Curatorial Assistant Intern 1. Undated. “José Guadalupe Guadiana.” 2. Undated. “José Guadalupe Guadiana.” 3. Guadiana, José Guadalupe. Artist Statement: February 24, 1990.

1. Untitled (On the Shore), oil on canvas, 36x26,â&#x20AC;? 1997.

2. Untitled (Horseplay), oil on canvas, 26x24,â&#x20AC;? 1991.

3. Untitled, oil on canvas, 40x36,â&#x20AC;? 1990.

4. Tuba Player, oil on canvas, 40x36,â&#x20AC;? 1987.

5. Untitled, oil on canvas, 39.5x42.5,â&#x20AC;? 1985.

6. Untitled, oil on canvas, 40x34,â&#x20AC;? 2008.

7. Yellow Automobile, oil on canvas, 34x40,â&#x20AC;? 1987.

8. Untitled, oil on canvas, 40x32,â&#x20AC;? 1991.

9. Untitled (Los Voladores), oil on canvas, 26x34,â&#x20AC;? 1994.

[Collection of Sandy East]

10. Untitled, oil on canvas, 46x40,â&#x20AC;? 1996.

11. Surgery, oil on canvas, 32x26,â&#x20AC;? 1996.

12. Untitled, oil on canvas, 68x52,â&#x20AC;? 1988.

13. Untitled, oil on canvas, 36x34,â&#x20AC;? 1987.

14. El Cotorro, oil on cavas, 32x26,â&#x20AC;? 1993.

15. Mariachi, oil on canvas, 40x36,â&#x20AC;? 1997.

16. Untitled (Los Boxeadores), oil on canvas, 36x30,â&#x20AC;? 1997.

17. Untitled, oil on canvas, 40x48,â&#x20AC;? 1998.

18. Drummers, oil on canvas, 36x40,â&#x20AC;? 1997.

19. Harmonica Player, oil on canvas, 40x36,â&#x20AC;? 1996.

20. The Gun, oil on canvas, 36x40,â&#x20AC;? 1996.

21. At the Telephone, oil on canvas, 40x32,â&#x20AC;? 1997.

22. Informal Gathering, oil on cavas, 46x36,â&#x20AC;? 2002.

[Collection of Michael Landrum]

23. Untitled, oil on canvas, 40x48,â&#x20AC;? 1991.

24. Untitled, oil on canvas, 40x48,â&#x20AC;? 1992.

25. Untitled, oil on canvas, 36x32,â&#x20AC;? 1990.

26. Untitled, oil on canvas, 48x40,â&#x20AC;? 1990.

27. Untitled (The Presentation), oil on canvas, 48x36,â&#x20AC;? 1994. [Collection of Bexar Energy Holdings, Inc.]

José Guadalupe Guadiana: Chronology 1929

Born, Sabinas Hidalgo, Nuevo León, Mexico son of Dolores Guadiana Perez and Apolinar Guadiana

1932-?

Elementary education in Sabinas Hildalgo, Nuevo León

1945 Completed school at Number One High School, Nuevo León 1946 -1949 Attends University of Nuevo León in Medicine One of student founders of the Taller de Las Artes Plásticas 1949

Moves to Mexico City

1949 -1954 Studies at Academia La Esmeralda in Mexico City 1952 -1956 Apprentice artist to Diego Rivera (murals) Apprentice artist to David Siquieros (murals) Works on other art commissions 1956-1959 Instructor, Art Institute, Monterrey 1958 Mural painter, Sabinas Hildalgo Instructor, Dependency of Fine Arts, Mexico City (IRBA) Tampico Meets Alicia Govea who is his student in art in Tampico 1959

Marries Alicia in Tampico

1960

First son, Julio born, San Francisco, California Studies at Marin College, San Francisco

1961

Second son, Sergio, born in Monterrey, Mexico

1961-1963 Assistant to Frederico Cantú carving relief stone murals, Monterrey

1963 -1965 Administrator and Instructor, University of Nuevo León and instructor Art Institute, Monterrey 1966

Moves with his wife and two sons to San Antonio, Texas

1966 -1967 Member of San Antonio group “La Palomilla” with Jesse Amazán, Jesus Cantú, Jose Esquivél, Alberto Mijangos and Armando Sánchez 1966 -1969 Teaches at the Mexican American Cultural Exchange Institute, San Antonio 1970 -1972 Teaching Assistant, Trinity University, San Antonio 1969 -1972 Earns BA in Painting, Drawing and Printmaking at Trinity University, San Antonio 1972 -1973 Studies at Northeastern Louisiana University, Monroe 1977 -1979 Earns MFA in Painting and Printmaking at The University of Texas at Austin 1990 -1991 Teaches at San Antonio College, San Antonio 1968 -2012 Works on his paintings and prints and teaches at the University of the Incarnate Word and at various other art institutions in San Antonio

José Guadalupe Guadiana Resume Exhibitions: 1950 3 Pintores Jovenes Regiomontañas, University of Nuevo León, Monterrey, Mexico 1955 Galería “Cosmos,” Monterrey 1956 Galería “Cosmos,” Monterrey 1958 Galería SAT del ITESM, Monterrey 1959 Galería Arte, A. C., Monterrey 1963 Unidad Cultural La Ciudadela, Monterrey

Galería del INBA, Monterrey

1965 Grabados y Dibujos: José Guadalupe Guadiana, Galería Universidad, Universidad de Nuevo León, Monterrey, 1966 Mexican Art, Gallery OPIC, San Antonio

Art and Industries Gallery, Kingsville, Texas

1967 Men of Art Guild Gallery, San Antonio 1968 Witte Memorial Museum, San Antonio

Mexican Art Gallery (Hemisfair), San Antonio

1969 Ruth Taylor Theater, Trinity University, San Antonio

Temple Beth–El, San Antonio

1970 Ruth Taylor Center, San Antonio 1971 Highlands University, Art Gallery, Las Vegas, Nevada 1972 South West Texas State College, College Gallery, San Marcos, Texas 1973 Northeast Louisiana University, Monroe, Louisiana 44

Solo Shows: 1967 Ruth Taylor Art Center, Trinity University, San Antonio 1976 58 Grabados de José Guadalupe Guadiana, Casa de Cultura de Nuevo León 1980 26th Annual Drawing and Small Sculpture Show, The Art Gallery, Ball State University, Muncie, Indiana 1985 An Exhibition of Paintings-Drawings-Prints by José Guadiana, Laurie Auditorium, Trinity University, San Antonio 1988 José Guadalupe Guadiana: A Retrospective 1966-1988, Locus Gallery, Blue Collar Gallery, Film Haus Gallery, San Antonio 1989 Cappy’s Restaurant, San Antonio 1992 Casa Nuevo León, San Antonio

One Day in the Park, Instituto Cultural de México, San Antonio

1993 La Casa de la Cultura, Monterrey 2015 José Guadiana Paintings, Cappy’s Restaurant, San Antonio A Village Dreams: Paintings by José Guadalupe Guadiana, UTSA Terminal 136 Gallery, San Antonio

Two Person Shows: 1958 Carrington- Guadiana, Galería Arte, A.C., Monterrey No dates: Guadiana: Alicia y José, Departamento de Difusión Cultural, ITESM

Adán Hernandez and José Guadiana, Cappy’s Restaurant, San Antonio

Group Shows: 1962 VII Salon de Noviembre, Galería Arte, A. C., Monterrey

1963 VIII Salon de Noviembre, Galería Arte A.C., Monterrey 1970 40th Annual San Antonio Art League Exhibition, Witte Museum, San Antonio Also: 53rd 1983; 56th 1986; 57th 1987; 67th 1997; 68th 1998 1980 Texas Watercolor Society 31st Annual Exhibition, University of Texas Health Science Center, San Antonio Also: 1981 May, 32nd, Marion Koogler McNay Art Institute, San Antonio 1982 Feb, 33rd, University of Texas Health Science Center, San Antonio 1983 Apr, 34th, Marion Koogler McNay Art Institute, San Antonio Exposición de Artistas Premiados, Galería Arte A.C., Monterrey 1982 Texas Society of Sculptors, Gilfillan Place, Austin 1985 Young Art Patrons, San Antonio Museum Association, San Antonio 1986

Austin Visual Arts Association, Austin Incarnate Word College, San Antonio The Contemporary Artists Group, The Koehler House Gallery, San Antonio

1987 Mexic-Arte, Austin The Koehler House Gallery, San Antonio 1988 Blue Collar Gallery, San Antonio 1989 Locus Gallery, San Antonio

San Antonio Museum of Art, San Antonio

Blue Star IV (curated by Lucy Lippard), Blue Star Art Space, San Antonio

Another Reality, Hooks-Epstein Gallery, Houston

Rolling Oaks Mall (sculpture show), San Antonio

1990 Works on Paper, Blue Collar Gallery, San Antonio 1990 Trinity University Alumni Exhibition, Ruth Taylor Theater, Trinity University, San Antonio Another Reality, McNay Art Museum (traveling show), San Antonio Locus Gallery, San Antonio Galería Arte, A.C., Monterrey Centro Cultural Aztlan, San Antonio 1991 The Road Show, (Billboard art project sponsored by the San Antonio Art Institute), San Antonio Blue Star Art Space, San Antonio The Guadalupe Cultural Arts Center, San Antonio St. Mary’s University, San Antonio 1993 Galería Arte A. C., Monterrey St. Phillips College, San Antonio 1995 Blue Star Red Dot, Blue Star Art Space, San Antonio 1997 New Things Are In The Air, Galería Expresión, Centro Cultural Aztlan, San Antonio La Virgen de Guadalupe Exhibition, Galería Expresión, Centro Cultural Aztlan, San Antonio 1998 68th Annual San Antonio Art League Exhibition, Award for Sculpture (Judge: David Winfield Scott) San Antonio Personal Narratives, curated by Michael Mehl, Airport Art Spaces, San Antonio International Airport, San Antonio Annual Artists’ Exhibition The Fountain Project, Deco District Buildings, San Antonio 2015 Vienticinco, UTSA Downtown Campus Art gallery, San Antonio 47

Acknowledgements:

Alicia Guadiana and José Guadalupe Guadiana Suzy and Cappy Lawton The University of Texas at San Antonio Gregory Elliott, Chair, Department of Art and Art History, UTSA Dr. Scott Sherer, Associate Professor of Art History, UTSA Dr. Teresa Eckmann, Associate Professor of Art History, UTSA Marissa Del Toro, MA Art History Student, Curatorial Assistant Intern, UTSA Brittany Pratt, Director, University Development, UTSA UTSA Student Volunteers: 48

Jennifer Bell, Alán Serna, Jake Lopez, Ardy Grady Marco Aquino, Calen Barnum