Raúl Zamudio

Raúl Zamudio is a New York-based independent curator, art critic, art historian and educator.

Background

Raúl Zamudio, maternal name Taylor, was born in Tijuana, Mexico. A Mexican of Basque, English, French, and Paipai ancestry, he was raised in San Diego, California and moved to New York City where he currently lives and works. He received undergraduate and graduate degrees in art history from the City University of New York, and also studied at the following institutions: Vassar College, Université Laval, Columbia University, and the Institute of Fine Arts, New York University. He is an alumnus of the Whitney Museum Independent Study Program in Critical Studies.

Curatorial work

He was Curator-at-Large, Pristine Galerie, Monterrey, Mexico; International Art Director, Other Gallery, Beijing, Shanghai; Director of Exhibitions, White Box, New York, NY; and Curator-at-Large, the:artist:network, New York, NY. He has curated or co-curated over 100 exhibitions in the Americas, Asia and Europe including solo shows of Dennis Oppenheim, Javier Téllez, Miguel Angel Rios, Bik Van der Pol, Gordon Cheung, Riiko Sakkinen, Wojtek Ulrich, Shahram Entekhabi, Sun Yao, and Lui Lei, as well as group exhibitions including The Twilight of the Idols (Madrid), The Metamorphosis (Shanghai), Body Double (Wrocław), The Picture of Dorian Gray (Mexico City), Under Your Skin (New York City), The Phantom Limb (Chicago), The Crystal Land Revisited (Newark), That Obscure Object of Desire (Monterrey, Mexico), The Bermuda Triangle (Miami), Under the Volcano (San Jose, Costa Rica) and Theater of Cruelty (New York City).

Raúl Zamudio's curatorial work is distinguished by an expansive approach underscored, for example, in the following exhibitions: Rayuela, which used the structuralist configuration of the similarly titled novel by the writer Julio Cortázar as curatorial framework; The Passenger, based on the film by the director Michelangelo Antonioni; The Crystal Land Revisited, which was conceptually organized around an essay by the artist Robert Smithson; In the Future the Curator Will Point and Say, "Those Objects Over There is an Exhibition", based on an aphorism by Marcel Duchamp; The Pavilion of Realism , based on Gustave Courbet's rejection from the 1855 Exposition Universelle, which Zamudio presented in Shanghai during the 2010 World's Fair; another exhibition that incorporated a medical condition as thematic; and Art After Dark And After,[1] a talk show in which he served as host that was both an interview program with artists and an art exhibition masked as dialogue and discussion. Apart from organizing exhibitions in galleries, art fairs, art festivals, alternative art spaces, academic and museum institutions, Zamudio was co-curator, "Here Is Where We Jump!," La Bienal 2013, El Museo del Barrio, New York, NY; co-curator, "City Without Walls," 2010 Liverpool Biennial; co-curator, Constellations: 2009 Beijing 798 Biennial; artistic director/curator, Garden of Delights: 2008 Yeosu International Art Festival; co-curator, Turn and Widen: 2008 Media_City Seoul International Media Art Biennial; and co-curator of an official collateral exhibition titled Poles, Apart, Poles Together presented at the 2005 Venice Biennial. His exhibitions have been reviewed in numerous periodicals including Art in America,[2] Art Nexus[3] Art Notes,[4] Diario ABC,[5] L Magazine,[6] New York Art World,[7] New York Times,[8][9][10] Randian,[11] and the Village Voice.[12]

Criticism and Writing

As an art critic, Raúl Zamudio has written over 200 published texts of which many have been translated into Chinese, Finnish, German, Italian, Japanese, Korean, Polish, Portuguese, and Spanish. He is author, co-author, or contributor to more than 70 art-related books and exhibition catalogs, and some of the artists he has written essays on include Francis Alys, Waltercio Caldas, Lygia Clark, Gordon Cheung, Lucio Fontana, Julio Galan, Damien Hirst, Rebecca Horn, Teresa Margolles, Cildo Meireles, Ana Mendieta, Gabriel Orozco, Helio Oiticica, Santiago Sierra, Jesús Rafael Soto, Javier Téllez, and Teresa Serrano. He is corresponding editor for Art Nexus, and his texts have appeared in numerous periodicals including Contemporary, TRANS> Arts Culture Media, Estilo, Art in Culture, Art Map, Zingmagazine, Art Notes, Laboratory, Framework: The Finnish Journal of Contemporary Art, Journal of the West, Tema Celeste, La Tempestad, Public Art, and Flash Art. Raúl Zamudio's writing has been cited by Reed Johnson of the Los Angeles Times in Johnson's article on war and beauty.[13]

Teaching and Lecturing

He currently teaches at John Jay College, and Parsons the New School for Design. He has been a visiting critic/curator at Ehwa Women's University, Seoul; Sogang University, Seoul; Cheonam University, Cheonam; Royal College of Art, London; Tampere Polytechnic, Tampere; FRAME, Helsinki; Centrum Cultura Zamek, Wrocław; Oaxaca Museum of Contemporary Art; Escuela de Artes Plasticas, San Juan, Puerto Rico; Museum of Contemporary Canadian Art, Toronto; Szamzie Space, Seoul; Art Omi, Ghent, New York; Newark Museum; and Location One, New York City. He has lectured, presented papers, delivered talks and participated on panels at universities, museums, galleries and art fairs including Harvard Divinity School, U.C. Berkeley, Stanford University, University of Southern California, University of Washington, CAM/New York University, Universidad de las Americas, Puebla, Mexico, Academy of Art, Wroclaw, Poland, Royal College of Art, Museum of Fine Arts, Boston, Cleveland Museum of Art, Whitney Museum of American Art, Guggenheim Museum, Drawing Center, PS 1 Museum/Clock Tower Gallery, National Museum of American History, Mexican Cultural Institute, Washington, D.C., the Americas Society, NY, The Cervantes Institute, NY, Seoul Museum of History, Other Gallery, Shanghai, Yan Yan Club, Beijing, Yeosu City Hall, MACO/Mexico City, Espacio Trapezio, Madrid, Spain, Carriage House, New York, NY, White Box, New York, NY, and Elizabeth Foundation for the Arts, New York, NY.

Select Bibliography

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2000

See also

References

  1. ↑ Art After Dark and After
  2. ↑ Vine, Richard. "Dawn of the Asian Century." Art in America, December 2008, 97-98.
  3. ↑ Angeline, John. "Miguel Angel Rios: Don't Ever Look For Me, You Will Not Find Me." Art Nexus, June–August 2003, 133.
  4. ↑ Stone, Roland. "Dearest Mommie." Art Notes, December 2007, 61-62.
  5. ↑ Flórez, Fernando Castro. Sin posibilidad de catharsis. Diario ABC, May 15, 2011.
  6. ↑ Sutton, Benjamin. hammer-time-an-exhibition-of-institutional-critique. L Magazine, August 31, 2011.
  7. ↑ Goddard, Donald. Under Your Skin. New York Art World, April 2005.
  8. ↑ Cotter, Holland.Javier Téllez: Alpha 60 (the mind-body problem). New York Times, October 18, 2002.
  9. ↑ Genocchio, Benjamin. The Crystal Land Revisited. New York Times, December 12, 2004.
  10. ↑ Genocchio, Benjamin. Theater of Cruelty. New York Times, August 3, 2007.
  11. ↑ Moore, Chris. The Third Eye/I: Iranian Contemporary Art. Randian, May 12, 2011.
  12. ↑ Levin, Kim. Dennis Oppenheim: Armatures for Projection, the Early Factory Projects. Village Voice, January 27, 2004.
  13. ↑ Johnson, Reed. War in All its Awful Beauty. Los Angeles Times, April 20, 2003.
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