CURRICULUM VITAE


Education

Curating

Teaching

Syllabi

Publications

Interviews

Lectures, Conferences and Exhibitions

Fellowships

Boards and Memberships

Download Current CV (PDF)


Mario A. Caro
P.O. Box 8400, New York, NY  10116 mariocaro@visualcultures.net

Publications

Author / Editor

“Visualizing Resistance: Reflections on Depictions of the Standing Rock Water Protector Movement.” In Visualizing Genocide: Indigenous Interventions in Art, Archives and Museums. Ed. Yve Chavez and Nancy Marie Mithlo. New York: Routledge, forthcoming.

"What Shall We Do with the Bodies? Reconsidering the Archive in the Aftermath of Fraud,” American Indian Culture and Research Journal (2019) 43 (4): 1–8.

"The Returning Tide.” In Tears of Duk’WibahL: Internationial Gathering of Indigenous Visual Artists of the Pacific Rim. Eds. Mario A. Caro, Tina Kuckkahn-Miller, and Laura VerMeullen: Olympia, WA: House of Welcome Publishing, 2019.

 

“Dialectic Dialoguing: Representing an Indigenous Avant-Garde in the Museum.” In Without Boundaries: Visual Conversations. Anchorage: Anchorage Museum of Art, 2016.

Manufacturing Nostalgia: Trauma, Tradition, and Nationalism.” In Mother/Land. Ed. Machiko Harada. Kurumaya Museum, 2014.“

Mother/Land

"Owning the Image: Indigenous Arts since 1990.” In Manifestations: New Native Art Criticism. Ed. Nancy Marie Mithlo. Santa Fe: Institute of American Indian Arts, 2011.

Review of About Face: Self-Portraits by Native American, First Nations, and Inuit Artists, by Zena Pearlstone, Allan J. Ryan, et al. American Indian Culture and Research Journal, 32:2 (2008): 109-112.

“The NMAI and the Siting of Identity.” In The National Museum of the American Indian: Critical Conversations. Eds. Amy Lonetree and Amanda J. Cobb. Lincoln: University of Nebraska Press, 2008.

“It’s in Our Forms.” In It’s In Our Forms: Selected Interviews with Northwest Native Carvers. Ed. Mario A. Caro. Olympia: House of Welcome Publishing, 2008.

"You are Here: The National Museum of the American Indian as Site of Identification," American Indian Quarterly, 30:4 (Fall 2006): 543-557.

"Persistent Encounters: Maintaining Indigenous Identity through Cultural Exchange," in Hitéemlkiliiksix "Within the Circle of the Rim": Nations Gathering on Common Ground. Ed. Mario A. Caro. Seattle: Hemlock Press, 2002.

"Laura Aguilar." In St. James Guide to Hispanic Artists: Profiles of Latino and Latin American Artists. Ed. Thomas Riggs. Detroit: St. James Press, 2002.

"Desiring the End of Testimonio: Rigoberta Menchú inside the Teaching Machine," S - The European Journal for Semiotic Studies. 9:1 (1997): 11-32.

"Inter-disciplining the Internet: Territory, Desire, and the Virtual Academy." Brief. "Voices and Visions of Otherness." ASCA Press: Amsterdam (1997): 214 216.

"From Subaltern to Organic Intellectual: Re-(e)valuating Rigoberta Menchú's Testimonio." Acolit. Special Issue No. 2, "Can 'the Subaltern' Be Read? The Role of the Critic in Postcolonial Studies." Ed. Tobias Döring, Uwe Schäfer, and Mark Stein. (1996): 9-22.

Editor

Essentially Indigenous? Native Arts, Perspectives, and Provocations. Ed. Mario A. Caro and Kathleen Ash-Milby. Smithsonian and School for Advanced Research, forthcoming.

It’s in Our Forms: Selected Interviews with Northwest Native Carvers. Ed. Mario A. Caro. Olympia: House of Welcome Publishing, 2008.

Cultural Luminaries: Illuminating the Past, Lighting the Way into the Future. Eds. Mario A. Caro, Tina Kuckkahn, and Esmé Ryan. Olympia, Washington: House of Welcome Publishing, 2006.

Hitéemlkiliiksix "Within the Circle of the Rim": Nations Gathering on Common Ground. Eds. Mario A. Caro, Tina Kuckkahn, and Laura Grabhorn. Seattle: Hemlock Press, 2002.

Founding Editor: In[ ]Visible Culture: An Electronic Journal for Visual Studies.
http://ivc.lib.rochester.edu

S - The European Journal for Semiotic Studies. Special issue on "Territorialism and Desire" co-edited with Mieke Bal. Volume 9, no. 1 (1997).

 

Mario A. Caro is a researcher, curator, and critic of contemporary art, having published widely on the history, theory, and criticism of contemporary Indigenous arts. His work within the academy complements his engagments with Indigenous communities to focus on community-led art production and exhibition practices.

 


Res Artis
Former President and Honorar
Res Artis
Core Organizer of Caribbean Cultural Platform
y Member of the Board