Christopher / Cristóbal Martínez
Art and Technology Program | San Francisco Art Institute 800 Chestnut St., San Francisco, CA 94133 Email: [email protected]
Education
May 2015 Ph.D., Rhetoric/Composition/Linguistics, Arizona State University, Tempe, AZ May 2011 M.A., Media Arts and Sciences, Arizona State University, Tempe, AZ Dec 2002 B.F.A., Painting, Arizona State University, Tempe, AZ Dec 2002 B.A., Studio Art, Arizona State University, Tempe, AZ
Doctoral Dissertation
May 2015 Tecno-Sovereignty: An Indigenous Theory and Praxis of Media Articulated Through Art, Technology, and Learning
Academic Appointments
2018 – Current Art and Technology Program Chair, San Francisco Art Institute, San Francisco, CA 2020 – Current Associate Professor of Art and Technology, San Francisco Art Institute, San Francisco, CA 2018 – 2020 Assistant Professor of Art and Technology, San Francisco Art Institute, San Francisco, CA 2017 – 2018 Distinguished Visiting Faculty, San Francisco Art Institute, San Francisco, CA 2016 – 2017 Postdoctoral Fellow: Indigenous Art, Digital Design, and Education, Herberger Institute for Design and the Arts | Mary Lou Fulton Teachers College, Arizona State University, Tempe, AZ 2010 – 2013 Instructor, School of Transborder Studies, Arizona State University, Tempe, AZ
Professional Appointments
1997 - 2008 Environmental Graphic Designer, Office of the University Architect, Facilities Management, Arizona State University, Tempe, AZ Christopher / Cristóbal Martínez Curriculum Vitae 2
Artist Appointments
2018 – Current Artist, Red Culebra: Experimental Electronic Music Ensemble, San Francisco, CA 2009 - Current Artist, Postcommodity: Indigenous Interdisciplinary Artist Collective, Los Angeles | San Francisco, CA 2003 - Current Director and Artist, Radio Healer: Indigenous-led Performance Art Collective, Phoenix, AZ 2008 - 2014 Music | Sound Composer, Burning Wagon Productions: Xicanx Art Collective, San Francisco, CA
Consultancies
2019 Consultant in Collaboration with Liz Lerman: Beethoven 250th Anniversary, Carnegie Hall, New York, NY 2017 Consultant, Mentor-Fellows Program Native Arts and Cultures Foundation, Vancouver, WA
Art Gallery
2016 - Current Bockley Gallery, Minneapolis, MN
Awards, Honors, Internships and Fellowships
2021 YBCA 100 Creative Cohort, Yerba Buena Center for the Arts, San Francisco, CA 2019 – 2020 Student Alliance Professor of the Year, San Francisco Art Institute, San Francisco, CA 2018 – 2019 Harker Fellowship, Harker Fund, The San Francisco Foundation, San Francisco, CA 2018 – 2019 Student Alliance Professor of the Year, San Francisco Art Institute, San Francisco, CA 2019 Fine Prize, The Fine Foundation, 57th Carnegie International, Pittsburgh, PA 2017 Art of Change Fellowship, Ford Foundation, New York, NY 2017 USArtist International Grant Mid Atlantic Art Foundation, Baltimore, MD 2016 Artist Research and Development Grant, Arizona Commission on the Arts, Phoenix, AZ 2014 - 2015 Center for Games and Impact Research Fellowship Arizona State University, Tempe, AZ
Christopher / Cristóbal Martínez Curriculum Vitae 3
2014 - 2015 Community Inspiration Award Native Arts and Culture Foundation, Vancouver, WA 2014 - 2015 Social Practice Project Grant, Musagetes, Guelph, Ontario 2013 Artist Grant, Art Matters, New York, NY 2012 - 2014 National Science Foundation Graduate Research Assistantship, Arizona State University, Tempe, AZ 2011 - 2012 Center for Games and Impact Research Fellowship Arizona State University, Tempe, AZ 2012 Creative Capital Visual Arts Award, Creative Capital, New York, NY 2010 Painters and Sculptors Grant, Joan Mitchell Foundation, New York, NY 2010 Award for Excellence in Contemporary Art, Elly Kay Fund, Tucson, AZ 2010 New Work Project Grant, Harpo Foundation, Chicago, IL 2009 - 2011 Najafi Phoenix Country Day School Fellowship, Najafi Companies, Phoenix, AZ 2008 - 2010 Doctoral Enrichment Fellowship, Graduate College, Arizona State University, Tempe, AZ 2009 Internship, Engineering Adaptive Learning Systems, SMALLab K-12 Embodied and Mediated Learning Group, School of Arts, Media and Engineering, and Intel Corporation, Arizona State University, Tempe, AZ 2009 p.a.v.e. The Performing Arts Venture Experience grant, Arizona State University, Tempe, AZ 2008 Internship, data2music / Data Sonification Research and Development, Intel Corporation, Phoenix, AZ 2008 p.a.v.e. The Performing Arts Venture Experience grant, Arizona State University, Tempe, AZ 2008 Artist Grant, Multi-Arts Production (MAP) Fund, New York, NY 2008 Edson Student Entrepreneurship Initiative, Arizona State University, Tempe, AZ 1992 Presidents Medal, Bronze Award, Lattie F. Coor, Arizona State University, Tempe, AZ
Christopher / Cristóbal Martínez Curriculum Vitae 4
Websites
Cristóbal Martinez – Artist Website http://www.CristobalMartinez.NET Postcommodity – Artist Collective Website http://www.Postcommodity.com Radio Healer – Artist Collective Website http://www.RadioHealer.com Red Culebra – Artist Collective Website http://www.RedCulebra.com
Select Art Exhibitions
2021 When Dreams Are Reality (Martinez, C.), Telematic Arts, SOMA Gallery, San Francisco, CA 2021 Time Holds All the Answers (Postcommodity), Forthcoming Solo Exhibition, Fall 2021 Remai Modern, Saskatoon, Canada 2021 I’ll see you on the other side (Postcommodity), Forthcoming Public Art Commission, Fall 2021 University of Arizona, Tucson, AZ 2020 Let Us Pray for the Water Between Us (Postcommodity), In “When Home Won’t Let You Stay: Art and Migration,” Minneapolis Institute of Art, Minneapolis, MN 2020 Some Reach While Others Clap (Postcommodity), LAXArt, Los Angeles, CA 2019 The Point of Final Collapse (Postcommodity), San Francisco Art Institute, San Francisco, CA 2019 Repellent Fence, Photo Documentation (Postcommodity), In “how the light gets in,” Johnson Museum of Art, Cornell University, Ithica, NY 2019 With Each Incentive (Postcommodity), Art Institute of Chicago, Chicago, IL 2019 It Exists in Many Forms (Postcommodity), Desert X, Coachella Valley, CA 2019 Gallup Motel Butchering (Postcommodity), In “2019 Honolulu Biennial,” Honolulu Museum of Art, Honolulu, HI 2018 From Smoke and Tangled Waters, We Carried Fire Home (Postcommodity), In “57th Carnegie International,” Carnegie Museum of Art, Pittsburgh, PA 2018 And Golden Light (Postcommodity), In “Califas: Art of the US-Mexico Borderlands,” Richmond Art Center, Richmond, CA
Christopher / Cristóbal Martínez Curriculum Vitae 5
2018 Repellent Fence, Ephemera (Postcommodity), In Nature’s Nation: American Art and Environment Princeton Art Museum, Princeton, NJ 2018 Coyotaje, Sonic Excerpt (Postcommodity), In “Hyperobjects,” Ballroom Marfa, Marfa, TX Art in General, New York, NY 2018 Repellent Fence, Ephemera (Postcommodity), In “You had to be there,” Swissnex, San Francisco, CA 2018 And Golden Light (Postcommodity) In “Interior Landscapes,” 516 ARTS, Albuquerque, NM 2018 A Very Long Line and Coyotaje (Postcommodity), Art Gallery of York University, Toronto, Canada 2017 Con Frascos Embrujados Me Ensangrente las Manos. Escucha Cuando Me Chingé Solo Con Tierra y Viento (Martinez, C.), In “Entre irse y quedarse,” La Galería Mérida, Mérida, Mexico 2017 Pollination (Postcommodity), In “Contact: Local to Global,” New Mexico Museum of Art, Santa Fe, NM 2017 Repellent Fence, Ephemera (Postcommodity), In “In Around Beyond,” Fort Mason Center for Arts and Culture, San Francisco Art Institute, San Francisco, CA 2017 A Very Long Line (Postcommodity), Colorado Springs Fine Art Center at Colorado College, Colorado Springs, CO 2017 Repellent Fence, Ephemera (Postcommodity), In “I am you, you are too,” Walker Art Center, Minneapolis, MN 2017 A Very Long Line (Postcommodity), Esker Foundation, Calgary, Canada 2017 Blind / Curtain (Postcommodity), In “documenta14,” Neue Gallery, Kassel, Germany 2017 The Ears Between Worlds are Always Listening (Postcommodity), In “documenta14,” Aristotle’s Lyceum, Athens, Greece 2017 Coyotaje (Postcommodity), Art in General, New York, NY
Christopher / Cristóbal Martínez Curriculum Vitae 6
2017 A Very Long Line (Postcommodity), In “2017 Whitney Biannual,” Whitney Museum of American Art, New York, NY 2017 Repellent Fence, Ephemera (Postcommodity), Bockley Gallery, Minneapolis, MN 2017 Repellent Fence (Postcommodity), In “Land Art – Broken Ground New Beginnings,” Museum of Fine Art, Florida State University, Tallahassee, FL 2017 Con Frascos Embrujados Me Ensangrente las Manos. Escucha Cuando Me Chingé Solo Con Tierra y Viento (Martinez, C.), In “Atomic Culture: Future Now/Futura Ahora,” Loisaida Center, New York, NY 2017 It’s My Second Home, But I have a Very Spiritual Connection With This Place (Postcommodity), In “Resistance After Nature,” Haverford Cantor Fitzgerald Gallery, Haverford PA 2016 Die to Survive Again (Radio Healer), In “This Machine Kills _____,” Fine Art Complex 1101, Tempe, AZ 2016 Gallup Motel Butchering (Postcommodity), In “Screens and Thresholds,” Presentation House Gallery, Vancouver, Canada 2016 A Very Long Line (Postcommodity), Center for Contemporary Arts, Santa Fe, NM 2016 31°20'8.42”N / 109°29'47.62”W, 109°29'47.62”W (31°20'54.74”N, 31°19'11.38”N) (Postcommodity), In “Border Art,” Idyllwild Arts, Idyllwild, CA 2016 Gallup Motel Butchering (Postcommodity), In “Visions Into Infinite Archives,” SOMArts Cultural Center, San Francisco, CA 2015 Repellent Fence / Valla Repelente (Postcommodity), US/Mexico Border, Douglas, AZ, U.S., Agua Prieta, Sonora, Mex. 2015 Gallup Motel Butchering (Postcommodity), In “Ende Tymes Festival of Noise and Abstract Liberation,” Knockdown Center, New York, NY 2015 The Advice Seekers Want To Be Told Their Right (Postcommodity), Denver Art Museum, Denver, CO 2015 A Very Long Line / 31.3450° N, 109.5414° W (Postcommodity), In “You Are on Indian Land,” Radiator Gallery, New York, NY Museum of Northern Arizona, Flagstaff, AZ
Christopher / Cristóbal Martínez Curriculum Vitae 7
2015 Gallup Motel Butchering (Postcommodity), It’s My Second Home, But I Have a Very Spiritual Connection With This Place (Postcommodity), In “A Non-Place in A Space: Postcommodity,” Image Festival, A Space Gallery, Toronto, Canada 2015 Pollination (Postcommodity), A More Just, Verdant and Harmonious Resolution (Postcommodity), In “SouthwestNET: Postcommodity,” Scottsdale Museum of Contemporary Arts, Scottsdale, AZ 2015 Gallup Motel Butchering (Postcommodity), CentralTrak Gallery, University of Texas, Dallas, TX 2014 - 2015 People of Good Will (Postcommodity), Black Heritage Society & Musagetes Foundation, Guelph, Canada 2014 It’s My Second Home, But I Have a Very Spiritual Connection With This Place (Postcommodity), In “Boundary//Battle,” Redline, Denver, CO 2014 Serenity of Your Embrace (Postcommodity), In “Free State Festival,” Lawrence Art Center, Lawrence, KS 2013 Game Remains: Golden Horseshoe (Postcommodity), In “Musagetes Guelph Café,” Musagetes Foundation, Guelph, Canada 2013 It’s My Second Home, But I Have a Very Spiritual Connection With This Place (Postcommodity), In “Translocura: Art on the Brink of Madness,” Headlands Center for the Arts, Sausalito, CA 2012 Do You Remember When? (Postcommodity), In “18th Biennale of Sydney,” Art Gallery of New South Wales, Sydney, Australia 2012 With Salvage and Knife Tongue (Postcommodity), In “Adelaide International 2012: Restless,” Adelaide, Australia In “Time Lapse / March 2012,” Site Santa Fe, Santa Fe, New Mexico 2011 Gallup Motel Butchering (Postcommodity), In “Here,” Pennsylvania Academy for the Fine Arts, Philadelphia, PA 2011 The Night is Filled With the Harmonics of Suburban Dreams (Postcommodity), Lawrence Art Center, Lawrence, KS 2011 Radiophonic Territory (Postcommodity), In “Nuit Blanche,” Toronto, Canada
Christopher / Cristóbal Martínez Curriculum Vitae 8
2011 Promoting a More Just, Verdant and Harmonious Resolution (Postcommodity), In “Contour 2011: 5th Biennial of Moving Image,” Mechelen, Belgium 2010 If History Moves At the Speed of its Weapons, Then the Shape of the Arrow is Changing (Postcommodity), In “It Wasn’t the Dream of Golden Cities,” Museum of Contemporary Native Art, Santa Fe, NM 2009 Stick Ball (Martinez, C., Kemp, R., Gkisedtanamoogk), Arizona Science Center, Phoenix, AZ 2007 Sonic Maze (Martinez C., Ingalls T.), School of Arts, Media and Engineering, Intelligent Stage Arizona State University, Tempe, AZ 2007 HandJabber (Mumford, J., Martinez, C., Rajko, S., Tolentino, L., Ingalls, T.), School of Arts, Media and Engineering, Intelligent Stage Arizona State University, Tempe, AZ 2006 El Muertorider (Burning Wagon), Oakland Museum of California, Oakland, CA
Select Performance Artworks
2019 4 Cycles + 1 (Red Culebra), BAMFA, UC Berkley, Berkley, CA Ben Maltz Gallery, Otis College of Art and Design, Los Angeles, CA Turnaround Festival, Tulsa, OK No New Idols Festival, Riga Circus, Riga, Latvia The Lab, San Francisco, CA 2019 Sy/stem© (Postcommodity), Santa Monica Airport, 18th Street Art Center, Santa Monica, CA 2018 4 Cycles + 1 (Red Culebra), Fort Mason Center for Arts and Culture, San Francisco Art Institute, San Francisco, CA Wonder Valley Experimental Music Festival #10, 29 Palms, CA Califas: Art of the US – Mexico Borderlands, Richmond Art Center, Richmond, CA 2017 - 2018 Our Sacred Noise in Street Light Shadows (Radio Healer), Southern Exposure, San Francisco, CA In Around Beyond, Fort Mason Center for Arts and Culture, San Francisco Art Institute, San Francisco, CA The Bindery, San Francisco, CA 2017 In Memorium . . . (Postcommodity, Ociciwan, and Alex Waterman), Windspear Centre for Music, Edmonton, Canada
Christopher / Cristóbal Martínez Curriculum Vitae 9
2017 We Lost Half the Forest and the Rest Will Burn This Summer (Postcommodity), San Francisco Art Institute, San Francisco, CA documenta14, Athens, Greece Princeton University Art Museum, Princeton, NJ 2017 Whitney Biennial, New York, NY Ende Tymes Festival of Noise and Liberation, New York, NY Colorado Springs Fine Art Center at Colorado College, Colorado Springs, CO 2016 - 2017 Animal Mother Moves the Four Winds of Rush Hour (Radio Healer), California State University at San Marcos, San Marcos, CA Crossfade Lab, CALA and Arizona State University Art Museum, Tempe, AZ Pueblo Grande Museum (Fall Concert Series of 4 Performances), Phoenix, AZ Fine Art Complex 1101, Tempe, AZ ASU EMERGE Festival, Tempe, AZ 2016 We Lost Half the Forest and the Rest Will Burn This Summer (Postcommodity), Center for Contemporary Arts, Santa Fe, NM El Espectro Electromagnetico, D.F., Mexico The Lab, San Francisco, CA Life Changing Ministries, Oakland, CA Grand Central Art Center, Santa Ana, CA Human Resources, Los Angeles, CA Grand Central Art Center, Santa Ana, CA “New Cities Future Ruins,” Dallas, TX 2014 - 2015 Noise Compositions and Performance (Postcommodity), Ende Tymes Festival of Noise and Abstract Liberation, New York, NY The Guelph Jazz Festival 2014, Guelph, Canada 2014 Die to Survive Again (Radio Healer), Native Now Festival, ASU Deer Valley Rock Art Center, Deer Valley, AZ 2014 Global Positioning Systems or Hacking the Coordinates to Enable Shape Shifting and Shadow Networks (Postcommodity), Banff Centre, Banff, Canada 2013 Die to Survive Again (Radio Healer), Pueblo Grande Museum, Phoenix, AZ 2012 Game Remains (Postcommodity), 41st Annual J. D. Robb Composer's Symposium, Small Engine, Albuquerque, NM 2012 Die to Survive Again (Radio Healer), Pueblo Grande Museum, Phoenix, AZ TEDx AshokaU, Galvin Playhouse, Tempe, AZ Arizona Science and Technology Festival Conference, Scottsdale, AZ Musical Instrument Museum, Scottsdale, AZ 2011 Pile of Cougar Pelts and New Works (Postcommodity), Half-Life: Patterns of Change, Santa Fe Art Institute, Santa Fe, NM Ende Tymes Festival of Noise and Experimental Liberation, Brooklyn, NY Museum of Contemporary Native Arts, IAIA, Santa Fe, NM
Christopher / Cristóbal Martínez Curriculum Vitae 10
2011 Die to Survive Again (Radio Healer), Pueblo Grande Museum, Phoenix, AZ 2010 Die to Survive Again (Radio Healer), NIME ‘10, New Interfaces for Musical Expression, Sydney, Australia ACM CHI Human Factors in Computing Systems, Atlanta, GA Phoenix Experimental Arts Festival, Phoenix, AZ Pueblo Grande Museum, Phoenix, AZ Heard Museum, Phoenix, AZ 2009 Loneliness of Radio (Radio Healer), Outsiders Within Exhibition, Tempe Center for the Arts, Tempe, AZ Faces, with Guest Artist: Zarco Guerrero, Tempe Center for the Arts, Tempe, AZ 2007 Loneliness of Radio (Radio Healer), Pueblo Grande Museum, Phoenix, AZ The Icehouse, Phoenix, AZ 2005 Loneliness of Radio (Radio Healer), monOrchid Gallery, Phoenix, AZ
Select Multi-Media Dance, Theater, and Film
2019 - 2021 A Song Often Played on the Radio, Featuring Guillermo Gomez Peña and Nacha Mendez (Chacon R., and Martinez C.), In “Soundings: An Exhibition in Five Parts,” Agnes Etherington Art Centre, Queens University, Kingston, Canada The Gund Gallery at Kenyon College, Gambier, OH Kitchener-Waterloo Art Gallery, Kitchner, Canada Morris and Helen Belkin Art Gallery, Vancouver, Canada Kamploops Art Gallery, Kamploops, Canada (Current Exhibition) San Francisco Cinematheque: Cousins and Kin, San Francisco, CA 67th International Short Film Festival Oberhausen, Oberhausen, Germany Perceptions, imagineNative Film + Media Arts Festival, Toronto, Canada Santa Fe Independent Film Festival, Santa Fe, New Mexico 2020 Frontera! Revolt and Rebellion on the Rio Grande, Directed by John Leaños, Music and Sound Compositions by Cristóbal Martínez, In Kepler’s Garden, Ars Electronica, Linz, Austria 2020 Each Branch Determined (Postcommodity), INDIgenesis: GEN 3: Virtual Reality, 2167 Indigital Space, Walker Cinema, Walker Art Center, Minneapolis, MN Note: Cancelled due to COVID-19. 2017 - 2019 Each Branch Determined (Postcommodity), Media Arts, Data, and Design (MADD) Center, University of Chicago, Chicago, IL Berlinale 2018, Berlin, Germany Toronto International Film Festival, Toronto, Canada
Christopher / Cristóbal Martínez Curriculum Vitae 11
2014 - 2015 Frontera! Revolt and Rebellion on the Rio Grande, Directed by John Leaños, Music and Sound Compositions by Cristóbal Martínez Society for Applied Anthropology, 74th Annual Meeting, Albuquerque, NM Society for Visual Anthropology Film Festival, Washington, D.C. Silver Springs International Film Festival, Ocala, FL XicanIndie Film Festival, Denver, CO San Francisco Latino Film Festival, San Francisco, CA University of New Mexico, Albuquerque, NM PBSVideo, PBS.org Indian Pueblo Cultural Center, Albuquerque, NM 2008 - 2012 Imperial Silence: Una Opera Muerta (Burning Wagon), Museum of Contemporary Art Chicago, Chicago, IL Movimiento de Arte y Cultura Latino Americana, San Jose, CA El Museo del Barrio, New York, NY Rasquache Film Festival, Los Angeles, CA Mission Cultural Center, Mission District, San Francisco, CA Brava Theater, San Francisco, CA World Theater, Monterey, CA 2007 Deadtime Stories with Mariachi Goose and Friends (Burning Wagon), Festival de Cannes: Short Film Corner, Cannes, France Southside Film Festival, Bethlehem, PA San Francisco Indie Festival, San Francisco, CA Campacine Film Festival, Thermal, CA Reel Rasquache Film Festival, Los Angeles, CA Silver Lake Film Festival, Los Angeles, CA Arizona International Film Festival, Tucson, AZ 2006 Flat (Martinez, M., Martinez, C.), Emerging Artists II, Dance Theater, Arizona State University, Tempe, AZ 2006 Imperial Silence Exhibition of Films (Burning Wagon), Oakland Museum of California, Oakland, CA 2006 Los ABCs: Que Vivan Los Muertos, (Burning Wagon), New American City, Arizona State University Art Museum, Tempe, AZ Animation Spotlight, Sundance Film Festival, Park City, UT Toon Town Trouble Makers, Museum of Contemporary Art, San Diego, CA Transcending Borders, ASU Museum of Anthropology, Tempe, AZ Boston Underground Film Festival, Harvard, MA Brooklyn Underground Film Festival, Brooklyn Lyceum Sin Fronteras Film Festival, Albuquerque, NM XicanIndie Film Festival, Denver, CO Silver Lake Film Festival, Los Angeles, CA Arizona International Film Festival, Tucson, AZ Jacksonville Film Festival, Telluride, CO Mountain Film Festival, Telluride, CO
Christopher / Cristóbal Martínez Curriculum Vitae 12
2005 Los ABCs: Que Vivan Los Muertos, (Burning Wagon), Galeria de la Raza, San Francisco, CA Mesa Contemporary Arts, Mesa, AZ 2004 Count (Martinez, M., Martinez, C.), Bonnie Bird Theatre, Laban Centre, London, UK 2000 La Gran Barrera (Martinez, C.), Gammage Auditorium, Tempe, AZ
Select Museum Acquisitions
2020 Nevada Museum of Art, Reno, NV 2019 Carnegie Museum of Art, Pittsburgh, PA 2018 Whitney Museum of Art, New York, NY 2018 Wiseman Art Museum, University of Minnesota, Minneapolis, MN 2018 Princeton Museum of Art, Princeton, NJ 2017 Walker Art Center, Minneapolis, MN 2017 Scottsdale Museum of Contemporary Art, Scottsdale, AZ
Discography
2021 Let Us Speak Frog, (Red Culebra), Recorded over the Internet in, Mesa, AZ and Oakland, CA Mastered by Thomas Dimuzio, Gench Mastering, San Francisco, CA 2020 4 Cycles + 1, (Red Culebra), Recorded at the The Bunker, San Francisco Art Institute, San Francisco, CA Mastered by Thomas Dimuzio, Gench Mastering, San Francisco, CA 2018 In Memorium . . . Mary Cecil, Victoria Callihoo (née Belcourt), And Eleanor (Helene) Thomas Garneau (Postcommodity), Recorded at the Banff Centre, Banff, Canada 2016 La Chicharra (Martinez, C.), Recorded at Red Rug Studios, Mesa, AZ 2015 We Lost Half the Forest and the Rest Will Burn This Summer (Postcommodity), Recorded at the Banff Centre, Banff, Alberta, Anarchy Moon Records 2010 Ceremony (Radio Healer), Recorded at Scottsdale Community College, Scottsdale, AZ Mixed and Mastered at Red Rug Studios, Mesa, AZ 2007 Medicine (Radio Healer), Recorded at Red Rug Studios, Mesa, AZ, Tres Gatos, SAE Mastering, Phoenix, AZ
Christopher / Cristóbal Martínez Curriculum Vitae 13
2003 Story (Radio Healer), Recroded at Red Rug Studios, Tempe, AZ, Tres Gatos, SAE Mastering, Phoenix, AZ
Artist and Writing Residencies
2019 Common Lab Residency (Postcommodity), 18th St. Art Center, Santa Monica, CA 2018 - 2019 Harker Residency (Postcommodity), San Francisco Art Institute, San Francisco, CA 2017 6th Sarah Lee Elson, Class of 1984, International Artist-in-Residence (Postcommodity), Princeton University Art Museum, Princeton, NJ 2011 - 2017 Pueblo Grande Museum (Radio Healer), Phoenix, AZ 2016 SOMA (Postcommodity), D.F., Mexico 2016 Concordia University (Postcommodity), VR2167: Indigenous Future Imaginaries, Montreal, CA 2015 Denver Art Museum (Postcommodity), Denver, CO 2014 “GPS or Hacking the Coordinates to Enable Shape Shifting and Shadow Networks (Residency led by Postcommodity),” Banff Centre, Banff, Alberta 2012 3rd International Indigenous Research Exchange and Writing Retreat (Martinez C.), University of Alaska, Juneau, AK 2012 Middle Head, Mosman Art Gallery (Postcommodity), Sydney, AUS 2012 Museum of Contemporary Art Chicago (Burning Wagon), Chicago, IL 2011 Cycles of Creation, Decay and Renewal in Art and Life (Postcommodity), Santa Fe Art Institute, Santa Fe, NM 2008 “Gaming SMALLab (Martinez C.),” Parsons The New School for Design, Institute of play, New York, NY
Artist Talks, as well as Art Symposiums and Conferences
2021 Postcommodity, Artist Talk Postcommodity: Three Works and a Conversation Cornell University, Ithaca, NY 2021 Postcommodity, Artist Talk Postcommodity, A Conversation About New Work University of California San Diego, San Diego, CA
Christopher / Cristóbal Martínez Curriculum Vitae 14
2021 Martinez, Artist Talk Visiting Artist Series, Maine College of Art, Portland, ME 2021 Postcommodity, Artist Talk 2020-2021 Visiting Artist Lecture Series, Cranbrook Academy of Art, Bloomfield Hills, MI 2021 Postcommodity, Artist Talk Postcommodity: A conversation with Cristóbal Martínez and Kade L. Twist Platform CSU Art Speaker Series, ConSortiUm, California State University, Fresno, CA and Long Beach, CA 2020 Contemporary Conversations: Artistic Response to the Present with Cristóbal Martínez, Lewis Center for the Arts, and Princeton University Art Museum, Princeton, NJ 2020 Cristóbal Martinez, Panel Presentation and Discussion In “Public Art and Ethics Today,” On Common Ground, NPR KQED and SFMOMA, San Francisco, CA 2020 Postcommodity, Discussion In “Generative Geography: Postcommodity in Conversation,” Art in America and The San Francisco Art Institute, San Francisco, CA 2019 Cristóbal Martinez, Artist Talk and Conversation 2019 American Society for Theatre Research Conference, “Theatre’s Many Publics,” Arlington, VA 2019 Cristóbal Martinez, Panel Presentation and Discussion In “Whose Public Art? Contested Histories, Practices, and Representations in the 21st Century Public Sphere,” Art, Place and Public Studies, San Francisco Art Institute, San Francisco, CA 2019 Postcommodity, Artist Talk 2019 Distinguished Public Artists, Public Art Saint Paul, Minnesota Museum of American Art St. Paul, MN 2019 Postcommodity, Artist Talk With Each Incentive, Art Institute of Chicago, Chicago, IL 2019 Cristóbal Martínez, Panel Organizer and Discussant Philanthropy Summit: Imagining “the gift” as an artist-led proposition Participants included Exec. Dir. of Creative Capital, Dir. of Facebook Artist in Residency Program, Exec. Dir. of Artadia, and Prog. Officer of Akonadi Foundation Untitled Art Fair, San Francisco, CA
Christopher / Cristóbal Martínez Curriculum Vitae 15
2019 Cristóbal Martinez, Panel Organizer and Discussant Data as Art Material: Presentation of 15 student data sonification commissions. Untitled Art Fair, San Francisco, CA Cristóbal Martinez, Radio Show Host Smoke in the Sky: Indigenous Experimental Music and Noise 2018 Postcommodity, Keynote Address, In “University Night With Postcommodity,” 57th Carnegie International, Carnegie Institute, Pittsburgh, PA 2018 Cristóbal Martínez, Artist Talk, Regis Center for Art & Katherine E. Nash Gallery University of Minnesota, Minneapolis, MN 2018 Cristóbal Martínez, Artist Talk, In “School of Art Lecture Series,” Carnegie Mellon University, Pittsburgh, PA 2018 Postcommodity, Keynote Address, In “2018 Texas Sculpture Symposium,” Texas Tech University, Lubbock, TX 2018 Gates, T., Knox, G., Martínez, C., Jenson, M., and Willson, D. In “Artist as Social Activist: A Conversation With Theaster Gates,” FOG Design + Art, Fort Mason Festival Pavilion, San Francisco, CA 2017 Postcommodity, Artist Talk, In “Indigenous New York, Artist Perspectives,” Vera List Center for Art and Politics, The New School, New York, NY 2017 Postcommodity, Artist Talk, In “MIT ACT Monday Night Lecture Series,” Massachusetts Institute of Technology, Cambridge, MA 2017 Postcommodity, Artist Talk, University of Colorado at Boulder, Boulder, CO 2017 Postcommodity, Artist Talk, In “Of Homelands and Revolution,” Creative Time Summit, Toronto, Canada 2017 Arquette L., Martinez, C., Haworth J., Korza P., Panel Presentation, In Arts & Community: What Native Artists Are Bringing to Social Change, AFTA 2017, Americans for the Arts, San Francisco, CA, June 2017
Christopher / Cristóbal Martínez Curriculum Vitae 16
2017 Postcommodity, Panel Presentation, In “2017 Public Art Preconference,” Americans for the Arts: 2017 Annual Convention, San Francisco, CA. 2017 Postcommodity, Panel Presentation, In “Decolonial Gestures: A Symposium on Indigenous Performance,” University of New Mexico, Albuquerque, NM 2017 Postcommodity, Artist Talk, Princeton University, Princeton, NJ 2017 Postcommodity, Artist Talk, Walker Art Center, Minneapolis, MN 2017 Postcommodity, Artist Talk, Florida State University, Tallahassee, FL 2017 Member of Artist Institute (Martinez, C.), In “Flow,” Association of Performing Arts Presenters, New York, NY 2016 Postcommodity, Panel Presentation, In “Borderlands and Boundaries: Producing and Policing Civic Space,” New Cities Future Ruins, Dallas, TX 2016 Postcommodity, Roundtable Discussion, In “Exploring Public Art Practices,” Oakland Museum of California, Oakland, CA 2016 Postcommodity, Panel Presentation, In “Moving Mountains” Museum of Contemporary Native Arts, Santa Fe, NM 2016 Martinez, C., Artist Talk, California State University at San Marcos, San Marcos, CA 2016 Postcommodity, Artist Talk, SOMA, D.F., Mexico University of California at Davis, Davis, CA San Francisco Art Institute, San Francisco, CA University of Southern California, Los Angeles, CA Idyllwild Arts Academy, Idyllwild, CA Concordia University, Montreal, Canada 2015 Postcommodity, Artist Talk, In “Continuing the Conversation: Postcommodity’s Repellent Fence” 25th International Sculpture Conference, Phoenix, AZ 2015 Postcommodity, Artist Talk, In “10 Year Anniversary of the Rubin Center,” University of Texas, El Paso, El Paso, TX 2015 Postcommodity, Panel Presentation, Chaired by Eminent Artist in Residence, Lucy Lippard University of Wyoming, Laramie, WY
Christopher / Cristóbal Martínez Curriculum Vitae 17
2015 Postcommodity, Artist Talk, In “SouthwestNet: Postcommodity,” Scottsdale Museum of Contemporary Arts, Scottsdale, AZ 2014 Postcommodity, Artist Talk, In “Global Positioning Systems or Hacking the Coordinates to Enable Shape Shifting and Shadow Networks,” Banff Centre, Banff, Canada 2014 Radio Healer, Artist Talk, In “Global Positioning Systems or Hacking the Coordinates to Enable Shape Shifting and Shadow Networks,” Banff Centre, Banff, Canada 2013 Postcommodity, Artist Talk, In “Big Ideas in Art and Culture Lecture Series,” CAFK+A and Musagetes Foundation, Guelph, Canada 2013 Martinez, C., Artist Talk, In “Invisible >> Visible: New Native Voices on the Forefront of Change,” Grantmakers in the Arts Conference, Philadelphia, PA 2012 Postcommodity, Artist Talk, In “18th Biennale of Sydney, Do You Remember When? Art After Hours: Celebrity Art Talk AFTER_DARK,” Sydney, AUS Panel Presentation, In “Opening Week Symposium,” Sydney, AUS Artist Talk, Gallery of New South Wales, AUS 2012 Postcommodity, Artist Talk In “Adelaide International 2012,” Adelaide Festival, Adelaide, AUS 2011 Martinez, C., Artist Talk In “Artist on Artist Lecture Series, "Double Spaced,"” Scottsdale Museum of Contemporary Art, Scottsdale, AZ 2011 Postcommodity, Artist Talk, In “Half-Life: Patterns of Change,” Santa Fe Art Institute, Santa Fe, NM
Exhibition Catalogues
2018 Dispatch, Carnegie International, 57th Edition, Carnegie Museum of Art, Pittsburgh, PA 2018 Reports from Inside the Carnegie International, Carnegie Museum of Art, Pittsburgh, PA 2018 The Guide, Carnegie International, 57th Edition, Carnegie Museum of Art, Pittsburgh, PA 2018 Nature’s Nation, Princeton Art Museum, Princeton University, Princeton, NJ
Christopher / Cristóbal Martínez Curriculum Vitae 18
2018 Califas: Art of the US-Mexico Borderlands (Postcommodity), Richmond Art Center, Richmond, CA 2017 documenta14 (Postcommodity), Kassel, Germany & Athens, Greece 2017 Whitney Biennial 2017 (Postcommodity), Whitney Museum of American Art, New York, NY 2012 All Our Relations (Postcommodity), 18th Biennale of Sydney, Sydney, Australia 2012 Adelaide International 2012 (Postcommodity), Adelaide Festival, Adelaide, Australia 2011 Here (Postcommodity), Pennsylvania Academy of Fine Art, Philadelphia, PA 2011 Contour 2011 (Postcommodity), 5th Biennial of the Moving Image, Mechelin, Belgium 2011 Close Encounters: The Next 500 Years (Postcommodity), Plug-in Institute of Contemporary Art, Winnipeg, Canada 2011 Digital Natives (Postcommodity), City of Vancouver Public Art Program, Vancouver, Canada
Exhibition Books
2021 Time Holds All the Answers (Postcommodity), Edited by Gerald McMaster Forthcoming Publication Remai Modern, Saskatoon, Canada
Select Documentaries/Biographies (Notable Screenings)
2020 Art in the Twenty-First Century, Season 10, “Borderlands,” Produced by art21 Premiered September 18, 2020 on PBS as a live broadcast throughout the United States, and available on art21.org, and pbs.org
Art in the Twenty-First Century, Season 10, Postcommodity in “Borderlands,” Extended Segment, Produced by art21 Premiered September 18, 2020, and available on art21.org
Christopher / Cristóbal Martínez Curriculum Vitae 19
2017 - 2018 Through the Repellent Fence, Directed by Sam Wainwright Douglas
America ReFramed, Encore Broadcast / WORLD Channel, PBS / July 2, 2019 Millersville University / Millersville, Pennsylvania / March 28, 2019 Waller Creek Conservancy (Outdoor Screening) / Austin, TX / March 24, 2019 Orange County Museum / Santa Ana, CA / March 7, 2019 Case Western Reserve University / March 6, 2019 Michigan State University / East Lansing, MI / February 28, 2019 Case Western Reserve University / February 27, 2019 Peabody Essex Museum / Salem, ME / February 2, 2019 Case Western Reserve University / Cleveland, OH / November 29, 2018 Des Moines Art Center / Des Moines, IA / November 25, 2018 Space Gallery / Portland, ME / November 19, 2018 Princeton University Art Museum / Princeton, NJ / November 19, 2018 Wayne State University / Detroit, MI / November 15, 2018 Lost River Film Festival / San Marcos, TX / November 11, 2018 Canisius College / Buffalo, NY / October 24, 2018 El Paso Museum of Art / El Paso, TX / September 8, 2018 America ReFramed, Season 6, Ep. 9 / WORLD Channel, PBS / April 24, 2018 Tufts University / Boston, MA / April 5, 2018 Violet Crown Cinema / Santa Fe, NM / March 20, 2018 Lightbox Film Center / Philadelphia, PA / March 17, 2018 Violet Crown Cinema / Charlottesville, VA / March 13, 2018 Bechtler Museum of Modern Art / Charlotte, NC / March 4, 2018 Utah Film Center / Salt Lake City, UT / February 28, 2018 Boston University / Boston, MA / February 26, 2018 Northwest Film Forum / Seattle, WA / February 18, 2018 St. Louis Art Museum / St. Louis, MO / February 9, 2018 Smithsonian American Art Museum / Washington, DC / January 20, 2018 Ogden Museum of Southern Art / New Orleans, LA / December 7, 2017 Museum of Fine Arts / Houston, TX / November 11, 2017 Texas Theater (Hosted by Dallas Art Museum) / Dallas, TX / November 5, 2017 Laguna Art Museum / Laguna Beach, CA / November 4, 2017 Hollywood Theatre / Portland, OR / November 4, 2017 The Oklahoma Contemporary / Oklahoma City, OK / November 2, 2017 AFS Cinema / Austin, TX / October 22 & 28, 2017 Pickford Film Center / Bellingham, WA / October 21 & 24, 2017 Louise Underwood Center for the Arts / Lubbock, TX / October 21, 2017 Texas State University / San Marcos, TX / October 12, 2017 North Park Theatre / Buffalo, NY / October 10, 2017 Texas A&M University / College Station, TX / October 5, 2017 Oriental Theatre / Milwaukee, WI / October 4, 2017 Avalon Theater / Milwaukee, WI / October 2, 2017 Times Cinema / Milwaukee, WI / September 30, 2017 Guild Cinema / Albuquerque, NM / September 16-17, 2017 Smithsonian Native Cinema Showcase / Santa Fe, NM / August 20, 2017 Full Frame Theater / Durham, NC / July 27, 2017 Montclair Film Festival / Montclair, NJ / May 5-6, 2017
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New Mexico Museum of Art / Santa Fe, NM / May 5, 2017 Alamo Drafthouse / Lubbock, TX / April 27, 2017 Scottsdale Museum of Contemporary Art / Scottsdale, AZ / April 22, 2017 Full Frame Documentary Festival / Durham, NC / April 7, 2017 Sarasota Film Festival / April 4-5, 2017 South By Southwest Film Festival / Austin, TX / March 11-12, 2017 Doc Fortnight 2017, Museum of Modern Art / New York / Feb. 18-19, 2017
Select Art Catalogue and Journal Publications
2021 4 Cycles + 1 at The Lab (Red Culebra), Sonic Realism / Wave #4 (Forthcoming), Infrasonica, Infrasonica.org 2021 4 Cycles + 1 and Conversation with Josh Rios (Red Culebra), Presented by Atomic Culture, Carlsbad, NM, in conjunction with the New Latin Wave Festival, New Latin Wave, New York, NY 2020 “Cosmovisión” (Postcommodity), 40 Provocation to Reimagine the Arts, Documentary, and Journalism, Creative Futures, Ford Foundation, New York, NY 2019 “New Postcommodity Codex Investigates Land, Systemic Violence, and Minnesota History: 44.8968° N, 93.1501° W,” Sightlines, Walker Art Center Artist Op-Eds 2019 “2043: No Es Un Sueño” (Postcommodity), Republished, Sovereign Movements: Native Dance and Performance, Movement Research Performance Journal #52/53 2019 “With Each Incentive Codex” (Postcommodity), Art Institute of Chicago, Chicago, IL 2019 “Market Complex,” by Cristóbal Martinez, S-P-A-C-E I-N B-E-T-W-E-E-N, Margarita Cabrera, Artist Catalogue, Terremoto Magazine: Contemporary Art in the Americas 2018 “Postcommodity: Monuments Are Like Words,” A Questionaire on Monuments, Commission by Hal Foster for October Magazine, No. 165 2018 “Truth is Cultural Chauvinism” (Postcommodity), ASAP/Journal, Vol. 3, No. 2 2017 “Postcommodity. Artist Portfolio,” Art in America, October 2017 2017 “Postcommodity. Artists’ Project,” Art Journal, Vol. 76, No. 2, Summer 2017 2017 “2043: No Es Un Sueño” (Postcommodity), Sightlines, Walker Art Center Artist Op-Eds
Christopher / Cristóbal Martínez Curriculum Vitae 21
2016 “Postcommodity: Repellent Fence / Valla Repelente,” Art21, Movement, Jan/Feb. 2016 2015 “Repellent Fence in Our Own Words” (Postcommodity), Art Matters 2014 “With Salvage and Knife Tongue” (Postcommodity), Art in the Global Present, N. Papastergiadis, V. Lynn (eds.)
Select Publications Written About or Mentioning Work
2021 Fukanaga, J., “Ceremonial Complex: An interview with Postcommodity on hacking soundscapes and Indigenous technological self-determination,” in MIT Immerse Magazine, MIT, Cambridge, MA. 2020 Knight, C., “The voyeuristic allure of Art21, PBS’ ‘Art in the Twenty-First Century,’” in Los Angeles Times, Los Angeles, CA. 2020 Trimble, L., “SB1070 Inspired a Decade of Social Justice Art in Metro Phoenix,” in Phoenix New Times, Phoenix, AZ. 2020 Ling, S., “More Like Collage Than Contest: The 67th Internationale Kurzfilmtage Oberhausen Online,” in Senses of Cinema, Melbourne, Australia. 2020 Almino, E.W., “Meet LA’s Art Community: Nikita Gale is Thinking About the Politics of Sound and Music,” in Hyperallergic, Brooklyn, NY. 2020 Small, Z., “Protesting U.S. Immigration Policies, Artists Aim for the Sky,” in New York Times, New York, NY. 2020 Waldek, S., “An Art Lover’s Guide to Warhol’s Hometown of Pittsburgh,” in Galerie Magazine, New York, NY. 2020 Bennett, H., “Long-term installation sounds out about Millennium Tower,” in San Francisco Examiner, San Francisco, CA. 2020 Berdan, K., “Refugee life jackets part of new exhibit at Minneapolis museum,” in Chicago Tribune, Chicago, IL. 2020 Campbell, A., “Postcommodity: LAXART,” in ARTFORUM, New York, NY. 2020 Berdan, K., “Thousands of Refugee Life Jackets Attached to Mia Pillars,” in US News & World Report, Washington D.C., and New York, NY 2020 Strangman, A., “New at Mia, “When Home Won’t Let You Stay”: Artists respond to migration,” in Minnesota Daily, Minneapolis, MN. 2020 Espeland, P., “‘When Home Won’t Let You Stay’ opens at Mia; Balanchine’s ‘Jewels’ at Northrop,” in MinnPost, Minneapolis, MN. 2020 Eler, A., “For exhibit about migration, Minneapolis museum wraps it white façade in colorful lifejackets: Minneapolis Institute of Art opens a provocative exhibition,” in Star Tribune, Minneapolis, MN. 2020 Schoorl, L., “Postcommodity “Some Reach While Others Clap” LAXART / Los Angeles,” in Flash Art, Milan, Italy.
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2020 Valentine, V.L., “Culture Type: The Year in Black Art 2019,” in Culture Type, Silver Spring, MD. 2020 “Walker Art Center Presents A Showcase of Indigenous filmmakers & Storytellers Called INDIgenisis: Gen 3,” in Native Max Magazine, Indian Country. 2020 Droitcour, B., “Generative Geography: Postcommodity in Conversation,” in Art in America, New York, NY. 2020 Sussman, M., “Postcommodity’s Sound Installation Broadcasts A Luxury Apartment Tower’s Slow Collapse,” in Art in America, New York, NY. 2020 Davis, B., “The 100 Works of Art That Defined the Decade, Ranked: Part 4,” in Artnet News, New York, NY. 2019 Hotchkiss, S., “If the Millennium Tower Falls, Does it Make a Sound?” in KQED Arts, San Francisco, CA. 2019 Rucker, A., “Indigenous Futures in VR at MADD Center,” in Chicago Maroon, University of Chicago, Chicago, IL. 2019 Whiting, S., “What does the Millennium Tower sound like as it sinks?” in The San Francisco Chronicle, San Francisco, CA. 2019 Wilson, E., “Drawing Attention to a Sinking High-Rise in San Francisco,” in Hyperallergic, Brooklyn, NY. 2019 Reiner-Roth, S., “Postcommodity amplifies sinking Millennium Tower in new audio installation,” in The Architects Newspaper, New York, NY. 2019 Barmann, J., “Sound Art Installation Simulates the Sinking and Tilting of Millennium Tower,” SFIST, San Francisco, CA. 2019 Brinklow, A., “Sound art installation simulates sinking of Millennium Tower,” in Curbed, San Francisco, San Francisco, CA. 2019 Apostol, C., Thompson, N., “Making Another World Possible: 10 Creative Time Summits, 10 Global Issues, 100 Art Projects,” Routledge, NY, UK. 2019 Small, Z., “Postcommodity plays the Soundtrack of destruction in San Francisco,” in The Art Newspaper, New York, NY. 2019 Rael, R., “Teeter Totter Creator Ronald Rael Walks Back the White Gaze,” in Playboy, Chicago, IL. 2019 Livingston, G., Resende Santos, M. “Postcommodity Centers Optimism and Indigenous Philosophies in a New Site-Specific Installation,” in Hyperallergic, Brooklyn, NY. 2019 Moffitt, E. “Postcommodity and the Unfinished Business of Building a Fairer Chicago,” in Frieze, London, New York, Berlin. 2019 Voon, C. “‘A Sacred Architectural Gesture’: In Chicago, Postcommodity Addresses Migration and Community Through Spare, Sturdy Constructions,” in ARTnews, New York, NY.
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2019 Miranda, C. “Review: 18th Street Art Center debuts Santa Monica Airport space with Sleep Machines. Here’s Why,” in Los Angeles Times, Los Angeles, CA. 2019 Sauers, J., “Indigenous Female Artists Take Center Stage in Hawaii: At the 2019 Honolulu Biennial, there were almost no white men.” in Harper’s Bazaar, New York, NY. 2019 Cascone, S., “8 Highlights From the Honolulu Biennial, From Imelda Marco’s Jewelry Collection to 100 Portraits of Native Hawaiian Leaders: Can’t make it out to the aloha state? We rounded up the best of what you’re missing.” in Artnet News, New York, NY. 2019 Knight, C., “Review: For Desert X 2019 I drove 198 miles to see 19 artists’ work. Here’s the best,” in Los Angeles Times, Los Angeles, CA. 2019 Cascone, S., “In the Vast Beauty of the Coachella Valley, Desert X Artists Emphasize the Perils of Climate Change,” in Artnet News, New York, NY. 2019 Bernstein, R., “The Carnegie International Explores its Past With an Eye to the Future,” in Guernica, New York, NY. 2019 Droitcour, B., “Carnegie International: Reviews,” in Art in America, New York, NY. 2019 Curtis, L., “Ingrid Schaffner: Sparking International Joy at the Carnegie Museum of Art,” in Archtexx, New York, NY. 2019 Miller, E., “The 57th Carnegie International Wanders in Search of “Museum Joy,” in Momus, Toronto, Canada. 2019 McMaster, G., Shaughnessy, J., “Highlights from the 57th Edition of the Carnegie International in 2018-2019: The Otolith Group, Postcommodity, and Dayanita Singh,” in Prefix Photo, Vol. 20, No.1, Toronto, Canada. 2018 Turri, S., “Experiencing a Museum Through Its Past: Liz Park Interviewed by Scott Turri,” in Bomb, Brooklyn, NY. 2018 Das, J., “Ingrid Schaffner in Conversation,” in Ocula, Hong Kong, China. 2018 Simblist, N., “57th Carnegie International, Pittsburgh, Pennsylvania, USA,” in Terremoto Magazine, Cuidad de México, México. 2018 Armstrong, A., “Here’s the List of Artists for the 2019 Honolulu Biennial,” in ARTnews, New York, NY. 2018 Loiseau, B., “the indigenous art collective digging up pittsburgh’s problematic labor history,” in i-D Vice, London, UK. 2018 Vargo, M., “Art Speaks in Many Languages at the Carnegie International,” in Entertainment Central Pittsburgh, Pittsburgh, PA. 2018 Hampton, O., “Cultural Expression,” in Aesthetica, York, UK. 2018 Miranda, C.A., “The best of times, the worst of times: art in the age of rising white supremacy,” in Los Angeles Times, Los Angeles, CA. 2018 Nicholson, L., “Around the globe at the Carnegie International,” in Apollo. The International Art Magazine, London, UK.
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2018 Hudson, S., “On the Ground: Pittsburgh,” in ARTFORUM, New York, NY. 2018 Mandanici, S., “Carnegie International, 57th Edition,” in The Brooklyn Rail, Brooklyn, NY. 2018 Clark, V.A., “The 57th Carnegie International: Looking Forward While Mindful Of The Past,” in Pittsburgh Quarterly, Pittsburgh, PA. 2018 Russeth, A., “2018 Carnegie International’s Prizes Go to Lynette Yiadom- Boakye, Postcommodity,” in ARTnews, New York, NY. 2018 Pitz, M., “Postcommodity takes Fine Prize and Lynette Yiadom-Boakye receives the Carnegie Prize,” in Pittsburgh Post-Gazette, Pittsburgh, PA. 2018 Crow, K., “Carnegie International Opens in Pittsburgh,” in Wall Street Journal, New York, NY. 2018 Pitz, M., “Postcommodity creates art from Pittsburgh’s steel, music history for Carnegie International,” in Pittsburgh Post-Gazette, Pittsburgh, PA. 2018 Sutton, B., “Lynette Yiadom-Boakye and Postcommodity won prizes at the 2018 Carnegie International,” in Artsy, New York, NY. 2018 Moffitt, E., “The Pleasure Principle: The 57th Carnegie International is Beautiful but Safe,” in Frieze, London, New York, Berlin. 2018 Pitz, M., “The Carnegie International Puts Joy before Politics,” in Pittsburgh Post-Gazette, Pittsburgh, PA.. 2018 Gat, O., Valinsky, R.,”Double Take—“The 57th Carnegie International,” in Art Agenda, New York, NY. 2018 Weber, J., “Double Take—“Art Movement,” in Hyperallergic, Brooklyn, NY. 2018 Dafoe, T., “The Carnegie International Want You to Feel ‘Museum Joy’ Again…” in Artnet News, New York, NY. 2018 Russeth, A., “Labors of Love: The 2018 International is Buoyant, Beautiful, and Strangely Conservative.” in ARTnews, New York, NY. 2018 Villarreal, J., “The Carnegie International opens with crowds and revelry,” in Artdaily.org, United States. 2018 Mysliwczyk, J., “Pittsburgh’s Carnegie International Opens,” in PittsburghCurrent, Pittsburgh, PA. 2018 Reed, A., “Carnegie International Returns for 57th Iteration,” in PittsburghCurrent, Pittsburgh, PA. 2018 Jovanovic, R., “See Highlights of the 57th Carnegie International Exhibition,” in Galerie Magazine, New York, NY. 2018 Ali, H., “Beyond, Between, and Under the Border,” in The Seen, Chicago, IL 2018 Hannon, J., “Reconstructing History,” in Carnegie Museums of Pittsburgh, Pittsburgh, PA. 2018 O’Driscol, B., “New Artwork Honors Pittsburgh’s Legacies of Jazz and Steel,” in 90.5 WESA, NPR, Pittsburgh, PA.
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2018 Rafson, S., “57th Carnegie International will bring artists who engage spatial politics around the world,” in The Architects Newspaper, New York, NY. 2018 Chaykowski, N., “…in Memorium: The Sonority, the Together Sound, Outside of Time,” in CMagazine, Issue 137, Toronto, ON. 2018 Vartanian, H., “Required Reading,” in Hyperallergic, Brooklyn, NY. 2018 Scott, E., E., “Decentering Land Art from the Borderlands: A Review of Through the Repellent Fence,” in Art Journal Open, New York, NY. 2018 Rees, C., “Swimming with Sharks: Postcommodity and Wafaa Bilal in a Sea of Hammerheads,” in Glasstire, Houston, TX. 2017 “Best of 2017: Our Top 15 Brooklyn Art Shows,” in Hyperallergic, Brooklyn, NY. 2017 Astle, R., “My Favorite Film Screenings of 2017,” in Filmmaker Magazine, Brooklyn, NY. 2017 Mitter, S., “The Year in Overlooked Art,” in The Village Voice, New York, NY. 2017 Billard, J., “8 Contemporary Native Artists Challenging the Way We Look at American History,” in Artspace, New York, NY. 2017 McMaster, G., “Under Indigenous Eyes.” in Art in America, New York, NY. 2017 Whyte, M. “Future Telling: ImagiNative’s 2167 shows Indigenous Artists’ VR interpretation of Canada in 150 years,” in Toronto Star, Toronto, Canada. 2017 McGinn, D. “Indigenous artists create virtual-reality vision of a future Canada,” in Globe and Mail, Toronto, Canada. 2017 Demos, T.J., “Learning from documenta14: Athens, Post-Democracy, and Decolonization.” in Third Text, Routledge, London, UK. 2017 Valdez Quade, K., “The Other Side of the Wall: A New Generation of Latino Art.” in New York Times, New York, NY. 2017 Weiner, A.S., “The Art of the Possible: With and Against Documenta14,” in Biennial Foundation, New York, NY. 2017 Van Proyen, M., “Mark Van Proyen on Documenta14,” in Square Cylinder: Northern California Art, San Francisco, CA. 2017 Russeth, A., “Pick a Lock: On the Hunt at Documenta in Athens,” in ARTnews, New York, NY. 2017 Shirazi, S., “Postcommodity Interviewed.” in CMagazine, Issue 134, Toronto, ON. 2017 Hoffman, J., “Let’s Make Protest Great Again.” in Mousse Magazine, Milan, IT. 2017 Montiel, A., “Mending the Border: The Indigenous Eye of Postcommodity.” in American Indian, Smithsonian Institution, Washington D.C. 2017 Markus, D., “Reviews: Postcommodity at Art in General.” in Art in America, New York, NY.
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2017 Abrams, L., “Make America Mexico Again: 10 Artworks About Immigration and the Border.” in Artspace, New York, NY. 2017 Leher, A., “‘Dialogue is Our Ceremony’: An Interview with Postcommodity.” in The Quietus, London, UK. 2017 Puleo, R., “Artist Collective Postcommodity on Recovering Knowledge and Making Border Metaphors.” in Hyperallergic, Brooklyn, NY. 2017 Greenberger, A., “Crossing Over: Postcommodity Flips the Script on U.S. Border Patrol.” in ARTnews, New York, NY. 2017 Trimble, L., “How Postcommodity Brought Arizona’s Border to the 2017 Whitney Biennial.” in Phoenix New Times, Phoenix, AZ. 2017 Quinton, J., “POSTCOMMODITY Coyotaje.” in The Brooklyn Rail, Brooklyn, NY. 2017 Schwendener, M., “10 Galleries to Visit Now in Brooklyn.” in New York Times, New York, NY. 2017 Heinrich, W., “47 Galleries That Bring You the Art of Now.” in New York Times, New York, NY. 2017 Ito, R., “Imagining the Wall.” in New York Times, New York, NY. 2017 Ito, R., “Trump Proposed a Wall. They Imagined How It Would Work.” in New York Times, New York, NY. 2017 Swanson, C., “Is Political Art the Only Art That Matters Now?” in Vulture, New York, NY. 2017 Erdrich, L., “Sonic Spirituality: Louise Erdrich on Postcommodity’s Ceremonial Transformation of LRAD,” in Walker Art Center Untitled (Blog), Minneapolis, MN. 2017 “Goings On About Town: Postcommodity, Coyotaje,” in The New Yorker, New York, NY. 2017 Goyanes, B., “Art: Interview, Postcommodity,” in Bomb, New York, NY. 2017 Ball, C.B., “Critics’ Picks, Postcommodity: Art in General,” in ARTFORUM, New York, NY. 2017 Mitter, S., “The Bold Groups Tying Art History to Political History at the Whitney Biennial,” in The Village Voice, New York, NY. 2017 Hegert, N., “10 Artists to Discover at the 2017 Whitney Biennial,” in The Huffington Post, New York, NY. 2017 Smith, R., “Why the Whitney’s Humanist, Pro-Diversity Biennial Is a Revelation,” in New York Times, New York, NY. 2017 Saltz, J., “The 2017 Whitney Biennial Is the Most Politically Charged in Decades,” in Vulture and New York Magazine, New York, NY. 2017 Sayej, N., “Whitney Biennial 2017: Trump’s shadow looms over politically charged show,” in The Guardian, US Edition, London, UK.
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2017 Berman, E., “Art in the Age of Trump,” In Time Magazine, New York, NY. 2017 Russeth, A., “The 2017 Whitney Biennial Is a Moving, Forward Looking Tour de Force — A Triumph,” In ARTnews, New York, NY. 2017 Miller, M.H., “Protest Art in the Era of Trump,” in New York Times, New York, NY. 2017 Vartanian, H., “The Violence of the 2017 Whitney Biennial,” in Hyperallergic, Brooklyn, NY. 2017 Stromberg, M., “For Artists: the U.S. Mexico Border is Fertile Territory,” in Artsy, New York, NY. 2017 Buhmann, S., “Away with Escapism: The 2017 Whitney Biennial Reflects Our Dark Times,” in The Villager, New York, NY. 2017 Eddy, J., “Border Patrol: Indigenous arts collective Postcommodity breaches the US-Mexico border fence,” in The Santa Fe Reporter, Santa Fe, NM. 2016 Pogrebin, R., “Here Comes the Whitney Biennial, Reflecting the Tumult of the Times,” in New York Times, New York, NY. 2016 Guzmán, A. I., “Borderland Readymades: Postcommodity’s Repellent Fence,” in THE Magazine Santa Fe, Santa Fe, NM. 2016 Migwans, C., “About Place: An Interview with Postcommodity,” in The Miami Rail, Miami, FL, Winter 2016. 2016 Trimble, L., “How Radio Healer Uses Rush Hour to Critique Contemporary Society,” in Phoenix New Times, Phoenix, AZ. 2016 Trecka, M., “The Implication of a Fence: Part One – An Early Form of Surveillance,” in Beacon Broadside, Beacon Press, June 2016. Trecka, M., “The Implication of a Fence: Part Two – Eye to Eye,” in Beacon Broadside, Beacon Press, June 2016. Trecka, M., “The Implication of a Fence: Part Three – The Sovereignty of Context,” in Beacon Broadside, Beacon Press, July 2016. Trecka, M., “The Implication of a Fence: Part Four – We Just Don’t Live in That World,” in Beacon Broadside, Beacon Press, July 2016. 2016 Jenkins, J., “Native American Healing in the Digital Age,” on nationally syndicated Here and Now, 90.9 WBUR, NPR, Boston, MA. 2016 Wider, S., “Critical Reflection,” in THE Magazine, Santa Fe, NM. 2016 Dolen, J., “Projects We Love: Repellent Fence,” in Public Art Review, St. Paul, MN. 2016 Cooley, A., and Sanader, D., “Gang Up: 16 Great Canadian Art Collaborations,” in Canadian Art, Toronto, ON. 2016 Ross, D., "A temporary artwork by the art collective Postcommodity visibly transcends the US-Mexico border," in art ltd., Jan/Feb 2016, v. 10 no. 1., Woodland Hills, CA.
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2016 Jenkins, J., “Radio Healer Finds the Frequency for Living in the Digital Age,” in The Show, 91.5 KJZZ, NPR, Phoenix, AZ. 2015 Taylor, K., “‘Repellent Fence’ Stares Across the US/Mexican Border,” in World Policy Blog, New York, NY. 2015 Irwin, M., “Column Follow Up: Postcommodity Threads Indigenous Narrative into Border Narrative,” in Adobe Airstream, Santa Fe, NM. 2015 Polvera, J.C., “La Valla Repelente Nota para Telemundo,” in Telemundo, Hialeah, FL. 2015 Miranda, C.A., “Column Follow Up: A ‘Repellent Fence’ Made of Air Rises at the Border,” in Los Angeles Times, Los Angeles, CA. 2015 Trimble, L., “Postcommodity Stitched Together the U.S./Mexico Border With Repellent Fence,” in Phoenix New Times, Phoenix, AZ. 2015 Trimble, L., “Postcommodity Artist Collective Creates Repellent Fence at Arizona Mexico Border,” in Phoenix New Times, Phoenix, AZ. 2015 Duggan, B., “Borderline: How ‘Repellent Fence’ Clears Up the Immigration Debate,” in BigThink, New York, NY. 2015 Watson, M., “‘Centering the Indigenous’: Postcommodity’s Trans-Indigenous Relational Art,” in Third Text, Routledge, London, UK. 2015 Munro, C., “Artist Collective Postcommodity to Fly Giant Eyes Over US/Mexican Border,” in Artnet News, New York, NY. 2015 Oliveira, A., “Artists Bisect the US-Mexico Border with Balloons,” in Hyperallergic, Brooklyn, NY. 2015 Lippard, L., “Postmodern Ambush,” in Afterall, London, UK. 2015 Kelly Jr., B., “Reimagining Ceremonies: A Conversation With Postcommodity,” in Afterall, London, UK. 2015 Joyce, E., “Glimpses of a Pastoral Dystopia,” in Hyperallergic, Brooklyn, NY 2015 Miranda, C.A., “A border fence made of air: Native artists to create two-mile balloon installation,” in Los Angeles Times, Los Angeles, CA. 2014 Tatar, D., “Lightning Strikes,” in ACM Interactions, ACM.
Conference Performances
Martinez, C., Kemp, R.G., Kemp, R., French, J., Esler, R., Radio Healer: Hacking the Wii Remote to Perform Indigenous Re-Imagined Ceremony, PDC2014, Participatory Design Conference, Windhoek, Namibia, October 2014.
Martinez, C., Kemp, R., Tolentino, L., Esler R., Rajko, S., Mumford, J., Radio Healer, 2010, New Interfaces for Musical Expression (NIME), Sydney, Australia, June 2010.
Martinez, C., Kemp, R., Tolentino, L., Radio Healer, ACM CHI 2010, Conference on Human Factors in Computing Systems, Atlanta, GA, April 2010.
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Research Centered Publications: Articles, Chapters, and Proceedings
Peer Reviewed Articles
Birchfield, D., Megowan, C., Tolentino, L., Johnson-Glenberg, M., Kelliher, A., Martinez, C., (2009). Teaching and Learning in the Mixed-Reality Science Classroom, Journal of Science Education and Technology, 18(6), 501-517.
Johnson-Glenberg, M., Birchfield, D., Megowan-Romanowicz, C., Tolentino, L., Martinez, C., (2009). Embodied Games, Next Gen Interfaces, and Assessment of High School Physics, International Journal of Learning and Media, MIT Press, 1(2), http://ijlm.net.
Martinez, C., Ingram-Goble, A., Twist, K., Chacon, R., Young, N., (2015). Game Remains: A Platform Design Grounded in Indigenous Knowledge Systems for Dialogue and Composition Play, Educational Technology Research and Development (Special Issue), Springer.
Book Chapters
Martinez, C. (2020). Critical Response Process. In. L. Lerman, and J. Borstel (Eds.), book on Critical Response Process. (Forthcoming)
Martinez C. (2015). Tecno-folklórica: A Brief Survey of Indigenous Media Examples for Indigenous Self-Determination. In H. Winschiers-Theophilus and N. Bidwell (Eds.), At the Interactions of Traditional and Indigenous Knowledges and Technology Design. Informing Science Press.
Chacon R., Martinez C., Twist K., Young N. (2014). With Salvage and Knife Tongue (Postcommodity). In N. Papastergiadis (Ed.), Art in the Global Present. Sydney, Australia: UTSePress.
Campana E., Martinez C., Mumford J., Rajko S., Ingalls T., Thornburg H., Tolentino L. (2010). An Enactive Framework for Collaborative Expression. In G. Stam and M. Ishino (Eds.), Integrating Gestures. Amsterdam, The Netherlands: Johns Benjamin.
Conference Proceedings
Martinez, C., Kemp, R.G., Kemp, R., French, J., Esler, R., (2014). Radio Healer: Hacking the Wii Remote to Perform Indigenous Re-Imagined Ceremony, PDC2014, Participatory Design Conference, Windhoek, Namibia.
Kafai, Y., Searle, K., Martinez, C., Brayboy, B., (2014). Ethnocomputing with Electronic Textiles: Culturally Responsive Open Design to Broaden Participation in Computing in American Indian Youth Communities, SIGCSE Atlanta 2014, Special Interest Group Computer Science Education, Atlanta, GA.
Martinez, C., (2011). Digital Ayoyote Rattle: The Design of a Low-Cost Digital Media System for a Mediated XicanIndio Resolana, IKTC 2011, Indigenous Knowledge Technology Conference, Windhoek, Namibia.
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Martinez, C., Kemp, R., Birchfield, D., Campana, E., Ingalls, T., Gkisedtanamoogk, (2010). Culturally Sensible Digital Place Making: Design of the Mediated XicanIndio Resolana, TEI’10 Tangible and Embodied Interaction, MIT, Cambridge, MA.
Martinez, C., Mumford, J., Rajko, S., Campana, E., Ingalls, T., Thornburg, H., Tolentino, L., (2009). An Enactive Framework for Collaborative Expression, ACM Creativity and Cognition 2009, ACM Press, Berkley, CA.
Birchfield, D., Hatton S., Kelliher, A., Martinez, C., Tolentino, L., Campana, E., Johnson-Glenberg, M., Olson L., Savvides, P., Uysal, S., (2009). Embodied and Mediated Learning in SMALLab: a student-centered mixed-reality environment, ACM SIGGRAPH, New Orleans, LA.
James, J., Mumford, J., Martinez, C., Rajko, S., (2008). Improvisatory Practices within Mediated, Interactive Environments, Text, Media, and Improvisation Conference, Montreal, Canada.
Research Centered Presentations, Posters, and Demonstrations
Research Conference Paper Presentations
Bustamante, N., Martinez, C. Indigenous Asylum Seekers to the United States: Identities and Human Rights Beyond Borders, International Meeting on Law and Society, Mexico City, June 2017.
Brayboy, B., Searle, K., Martinez, C., Kafai, Y., (2014). Merging Tradition and Technology: Making E-Textiles in a Native Studies Class. Presented in, Connecting Indigenous Knowledge Systems and the Arts for Indigenous Youth: Lessons from In- and Out-of-School Contexts (Group Session), 35th Annual Ethnography in Education Research Forum, University of Pennsylvania, Philadelphia, PA, March 2014.
Martinez, C., Digital Ayoyote Rattle: The Design of a Low-Cost Digital Media System for a Mediated XicanIndio Resolana, IKTC 2011, Indigenous Knowledge Technology Conference, Windhoek, Namibia, November 2011.
Martinez, C., Tolentino, L., Birchfield D., Johnson-Glenberg, M., Building an Inclusive, Collaborative Culture Around Game Design for Kids, GLS 6.0, Games, Learning, and Society Conference, Madison, WI, June 2010.
Martinez, C., Kemp, R., Tolentino, L., Radio Healer, ACM CHI 2010, Conference on Human Factors in Computing Systems, Atlanta, GA, April 2010.
Martinez, C., Kemp, R., Birchfield, D., Campana, E., Ingalls, T., Gkisedtanamoogk, Culturally Sensible Digital Place-Making: Design of the Mediated XicanIndio Resolana, TEI’10 Tangible and Embodied Interaction, MIT, Cambridge, MA, January 2010.
Martinez, C., Kemp, R., Radio Healer, Connected Knowledge: Collaboration Across Boundaries, Banff New Media Institute, Banff Centre, Alberta, Canada, July 2007.
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Research Conference Poster Presentations
Martinez, C., Mumford, J., Rajko, S., Campana, E., Ingalls, T., Thornburg, H., Tolentino, L., (2009). An Enactive Framework for Collaborative Expression, ACM Creativity and Cognition 2009, ACM Press, Berkley, CA.
Birchfield, D., Martinez, C., Edwards, M., Salen K., (2009). Introduction to GameBot, GLS 5.0, Games, Learning, and Society Conference, Madison, WI.
Martinez, C., Kemp, R., Birchfield, D., Campana, E., Ingalls, T., (2009). Ceremony and Digital Place-making Culturally Sensible Design for the Mediated Talking Circle, The Future of Interactive Media: Workshop on Media Arts, Science and Technology, Santa Barbara, CA.
Research Conference and Symposium Presentations, Panels, and Discussions
Martinez, C., Twist, K., YBCA Creative Cohort + YBCA 10 Fellows Gathering, Yerba Buena Center for the Arts, San Francisco, CA, March 2021
Martinez, C., Embodying Unlikely Ideas: Disarming One Another, and Hacking New Ways of Knowing, Being and Believing, ARWS 2019 Featured Talk, Association of Rhetoric and Writing Studies, Austin TX, November 2019.
Martinez, C., Indigenous Technological Sovereignty, Poverty of Sensibility, China Academy of Art and SFAI, San Francisco, CA, November 2018.
Gutierrez, K., Cruz, C., Garcia, A., Vossoughi, S., Martinez, C., 1000 Featured ED: Designing for Possibility, DML 2015, Digital Media Learning: Equity By Design, Los Angeles, CA, June 2015.
Ruvalcaba, O., Martinez, C., Wardrip, P., Abramovich, S., Gee, J., Technology and Culture in Collaborative Learning Spaces, DML 2015, Digital Media Learning: Equity By Design, Los Angeles, CA, June 2015.
Martinez, C., Indigenous Technological Sovereignty, Northern New Mexico College, Culture Based Education Symposium, Española, NM, April 2015.
Martinez, C., Twist, K., Chacon, R., Repellent Fence / Valla Repelente, MLA Subconference: Between the Public and its Privates, Austin, TX, January 2015.
Martinez, C., Searle, K., Brayboy, B., Kafai, Y., A Connected-Knowledge Approach to Computing and Indigenous Knowledge Education for American Indian Youth, AERA 2014, American Education Research Association Annual Meeting, Philadelphia, PA, April 2014.
Searle, K., Martinez, C., Brayboy, B., Kafai, Y., Grappling with Technology: American Indian Youth Producing Digital Media in a Native Arts Class, AERA 2014, American Education Research Association Annual Meeting, Philadelphia, PA, April 2014.
Martinez, C., Searle, K., Brayboy, B., Kafai, Y., Hayes, B., Siyahhan, S., Scott, K.A, Skawennati, Lewis, J., Design Agency for Indigenous, Immigrant, and Invisible Youth in Identity Building with Digital Media, DML 2014, Digital Media Learning: Connecting Practices, Boston, MA, March 2014.
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Diaz, N., Martinez, C., Roqueni, R., Tangen, R., Invisible >> Visible: New Native Voices on the Forefront of Change, 2013, Grantmakers in the Arts Conference, Philadelphia, PA, October 2013.
Brooks, G., Brown, K., Chisholm, C., Martinez, C., Scott, K., How to Engage Diverse Audiences in STEM, 2012 Arizona SciTech Festival Kickoff Conference, Scottsdale, AZ, September 2012.
Stewart, D.A., Weinberg, G., Hoffman, G., Lyon, E., Neill, B., Martinez, C., 2010 CHI Media Showcase Performance Panel, ACM CHI 2010, Conference on Human Factors in Computing Systems, Atlanta, GA, April 2010.
Bidwell, N., Gaver, W., Martinez, C., Shikongeni, N.P., Embracing Indigenous Knowledge Systems in a New Technology Design Paradigm: Spirituality and Creativity, IKTC 2011, Indigenous Knowledge Technology Conference, Windhoek, Namibia, November 2011.
Guest Lecture Research Presentations
Martinez, C., Art is Tecpatl – A Flint Knife Tongue, Indigenous Studies Guest Lecturer, Cornell University, September 2019.
Research Conference and Symposium Demonstrations of Experiential Media Systems
Martinez, C., Birchfield, D., Mediated XicanIndio Resolana, Henry Jenkins, and Communication, Journalism and Cinematic Arts, USC, Los Angeles, April 2011.
Birchfield, D., Johnson-Glenberg, M., Koziupa, T., Martinez, C., Tolentino, L., SMALLab, DML 2011, Digital Media and Learning Conference, Long Beach, CA, March 2011.
Birchfield, D., Kelliher, A., Martinez, C., Tolentino, L., Campana, E., Johnson-Glenberg, M., Olson L., Savvides, P., Embodied and Mediated Learning in SMALLab: Demonstration, Breakthrough Learning in a Digital Age, Hosted by Google Inc., Google Headquarters, Mountain View, CA, October 2009.
Birchfield, D., Hatton S., Kelliher, A., Martinez, C., Tolentino, L., Campana, E., Johnson-Glenberg, M., Olson L., Savvides, P., Uysal, S., Embodied and Mediated Learning in SMALLab: a student- centered mixed-reality environment, ACM SIGGRAPH, New Orleans, LA, August 2009.
Martinez, C., Kemp, R., Birchfield, D., Campana, E., Ingalls, T., Ceremony and Digital Place- making Culturally Sensible Design for the Mediated Talking Circle, The Future of Interactive Media: NSF Workshop on Media Arts, Science and Technology, Santa Barbara, CA, January 2009.
Birchfield, D., Campana, E., Hatton, S., Kelliher, A., Martinez, C., Tolentino, L., K-12 Embodied and Mediated Learning: the SMALLab Mixed Reality Learning Environment, The Future of Interactive Media: NSF Workshop on Media Arts, Science and Technology, Santa Barbara, CA, January 2009.
Coleman, G., Ingalls, T., Campana, E., Martinez, C., Mumford, J., Qian, G., Rajko, S., Thornburg, H., Intra-Sense, The Future of Interactive Media: NSF Workshop on Media Arts, Science and Technology, Santa Barbara, CA, January 2009.
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Mumford, J., Ingalls, T., Martinez, C., J., Rajko, Campana, E., Mechtley, B., Qian, G., Thornburg, H., Tolentino, L., Nonverbal Communication Analysis for Collaborative Environments, Media, Arts, Science, and Technology, Santa Barbara, CA, January 2009.
Campana, E., Martinez, C., Mumford, J., Mumford, S., Rajko, P. Sampath, H. Thornburg, HandJabber and Responses, BodyNets 2008, Tempe, AZ, March 2008.
Chacon, R., Martinez, C., Twist, K., Each Branch Determined (Postcommodity), Initiative for Indigenous Futures 2nd Symposium on the Future Imaginary, University of British Columbia – Okanagan, Kelowna, BC, August 2016.
Research and Teaching Interests
Moving Image, Sound, and Performance (Moving Image; Sonic Environments; Sound Art; Data Sonification; Sound Synthesis; Generative Composition; Performance Art; Games; Interaction; Multimodal Composition/Feedback)
Art, Design, and Computation (Intermedia; Computational Principles for Media Art; Computation: Max 8, Java, Javascript; Processing; Hacking; Modding; Generative Algorithms)
Experiential Media Systems (Physical Computing, Generative Media, Installations / Immersive Environments / Responsive Environments, Interaction Design, Sensing, Multi-modal Feedback, Principles of Computation, Principles of Experiential Media, Game Design)
Media Theory (Experiential Media Systems, Media and Society, Hacking/Modding/Circuit Bending, Tactical Media, Art, Design and Experience Architecture, Fast/New Capitalism and the Digital Divide, Ethics and Digital Media, Ethics and Technological Velocity.)
Digital Humanities and Interactive Media (Visual and Sonic Literacies; Art, Technology and Ethics; War, Diplomacy, Sound and Cinema; Critical Media Literacies; Embodied Experience as Metaphor; Using Experiential Media to Encode, Decode, and Comprehend)
Digital Media Learning (Design Agency; Culturally Responsive Digital Media Learning)
Rhetoric, Linguistics and Literacies (Rhetoric of Places/Spaces; Building Public Memory; Discourse; Discourse Analysis; Metaphor; Dialogue; Art as Rhetoric; Building Discourses Through Arts Practice; Art and Didactics; Positioning Metaphor Through Art; Rhetorical Media; Rhetorics of Public Engagement; Rival Hypothesis Stance)
Art and Indigenous Research Methodologies (Critical Indigenous Research Methodologies in Art)
Indigenous Knowledge Systems, Art, and Technology (Indigenous Technological Sovereignty, Indigenous Media; Indigenous Re-imagined Ceremony; Indigenous Convolution Media)
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Academic Research Experience
Artist Fellow and Researcher – Graduate School of Education, 2020 - 2021 Stanford University
Collaborating on research to create a transformational space for the construction of policy reforms and practices, where high school youth of color learn and work in partnership with art, humanities and social science scholars, teachers and pre-service teachers. Our goal is to provide student-participants with a tool-kit based on art practices by which they can, through knowledge co-creation processes, observe, express, analyze, and (re)frame policy at the center of disparities in discipline in a high school context. In addition to knowledge generation, student-participants acquire rhetorical techne by which they lead school and district administrators in generative dialogues in an effort to mitigate disparities with the possibility of influencing new policy frameworks. Collaborating currently on the design of an arts and linguistic based toolkit to support student work at the (Re)Makery Studio, which is the site where student-participants use art to build their discourses, draw conclusions, and prepare themselves for generative dialogues.
Graduate Research Assistant – Center for Indian Education, 2012 - 2014 School of Social Transformation, Arizona State University
Collaborated on the design and carried out E2Textiles, an art, digital media learning, and computer science education research project for elementary school and middle school American Indian youth. Contributed to writing a National Science Foundation Grant Proposal. Worked on Tribal and University IRB and MOU. Co-designed E2Textiles curriculums, taught e-Textiles workshops to middle school students, prototyped education technology, co-developed interview protocols, collected interview data, collected ethnographic data. Used data to iteratively design culturally- responsive digital literacies curricula. Made presentations during National Science Foundation Advisory Board Meetings, co-wrote NSF Reports. Made conference presentations and organized conference panels. Analyzed data from ethnographic study, and co-wrote conference papers.
Graduate Research Assistant – SMALLab K-12 Embodied and Mediated 2008 - 2011 Learning Group, School of Arts, Media, and Engineering, Arizona State University
Collaborated on the development of SMALLab (The Situated Multimedia Arts Learning Lab), a mixed-reality inquiry based learning environment for K-12 learning, in high school classrooms. Designed multiple learning scenarios for SMALLab, play-tested learning scenarios, contributed the design of audible (sound) displays designed to convey information and interaction, prototyped tangible interfaces, designed mixed-reality learning scenarios, established learning scenarios for science, and technology learning, as well as for English Language Development classrooms, developed summer game intensive curriculums for Digital Media Learning, co-developed interview protocols and student surveys, collected interview and survey data, and co-wrote conference papers.
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Teaching Experience and Current Courses
San Francisco Art Institute – Undergraduate and Graduate Courses Taught
Spring 2021 GR-500-07: Graduate Critique Seminar San Francisco Art Institute, San Francisco, CA Spring 2021 IN-385-01: SFAI Artist Apprenticeship, Immersive and Interactive Environments in Art San Francisco Art Institute, San Francisco, CA
Fall 2020 IN-385-01: SFAI Artist Apprenticeship, Immersive and Interactive Environments in Art San Francisco Art Institute, San Francisco, CA Summer 2020 GR-550AN-01: Metaphors in Art, San Francisco Art Institute, San Francisco, CA Spring 2020 AT-221-01: Performing Multimodal Environments, San Francisco Art Institute, San Francisco, CA Spring 2020 GR-500-07: Graduate Critique Seminar San Francisco Art Institute, San Francisco, CA Fall 2019 EMS-591G-01: Collaborative Project: Diego Rivera, SFMOMA, San Francisco Art Institute, San Francisco, CA Fall 2019 AT-220S-01: Drone Doom and Sonic Warfare, San Francisco Art Institute, San Francisco, CA Spring 2019 AT-220Q-01: Physical Computing for Artists, San Francisco Art Institute, San Francisco, CA Spring 2019 GR-550-01: Building Immersive Environments, San Francisco Art Institute, San Francisco, CA Spring 2019 EMS-591-01/HTCA-591?-01: Collaborative Project: Multi-Channel Audio Sound Installation, San Francisco Art Institute, San Francisco, CA Fall 2019 AT-220-01: Data Sonification: Data as art material, San Francisco Art Institute, San Francisco, CA Fall 2019 GR-500-01: Graduate Critique Seminar, San Francisco Art Institute, San Francisco, CA Fall 2019 CP-100-04: Contemporary Practice, San Francisco Art Institute, San Francisco, CA Spring 2018 AT-220J-01: Programming for Sound, Video and Interaction: Performance and Installation, San Francisco Art Institute, San Francisco, CA Spring 2018 EMS-591D-01: Collaborative Project: New Genres, San Francisco Art Institute, San Francisco, CA
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Spring 2018 CS-301AA-01: Art, the Market, and Indigenous Technological Sovereignty, Critical Theory, San Francisco Art Institute, San Francisco, CA Fall 2017 AT-116-01: Sonic Memories: Time, Place, and Relationships, Sound Art Course, New Genres, San Francisco Art Institute, San Francisco, CA Fall 2017 GR-550O-01: Sonic Mediators: Sound in Public Space, Sound Art Course, New Genres, San Francisco Art Institute, San Francisco, CA Fall 2017 NG-240B-01: History of New Genres, New Genres, San Francisco Art Institute, San Francisco, CA
Arizona State University – Undergraduate Upper Division Courses Co-developed and Co-taught w/ Presidential Professor Emeritus Miguel Montiel:
Spring 2013 TCL 498: Pro-Seminar, Resolana in a Digital Age, School of Transborder Studies, Arizona State University, Tempe, AZ Spring 2012 TCL 498: Pro-Seminar, Resolana in a Digital Age, School of Transborder Studies, Arizona State University, Tempe, AZ Spring 2010 TCL 305: Practicum Resolana in a Digital Age, School of Transborder Studies, Arizona State University, Tempe, AZ
Arizona American Indian Middle School (Digital Media Learning) Co-developed (Brayboy, B., Kafai, Y., Martinez, C., Searle, K. with Middle School Teacher) Co-taught (Martinez, C., Searle, K. with Middle School Teacher):
2013 - 2014 Native American Studies Electronic Textiles Quarterly Month Long Workshops 2012 - 2013 Native American Arts Electronic Textiles Workshops
Phoenix Country Day School (Digital Media Learning) Co-developed and Co-taught w/ Head of the Middle School Jack Phillips:
2009 - 2011 SMALLab Technology Course, Phoenix Country Day School, Phoenix, AZ
Arizona Public High School Co-developed and Co-taught w/ ELD Teacher Gary Garcia:
2009 - 2011 Mediated XicanIndio Resolana, ELD Classroom, SMALLab, Coronado High School, Scottsdale, AZ
Intel and McArthur Foundation Middle School Summer Workshops
2009 Digital Summer Game Intensive, SMALLab, Arizona State University, Tempe, AZ 2008 Digital Summer Game Intensive, SMALLab, Arizona State University, Tempe, AZ
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Middle School Summer Workshops (Digital Media Learning)
2013 & 2014 Junior ACE Electronic Textiles Summer Intensive, SCC, Scottsdale, AZ 2011 Digital Summer Game Intensive, Arizona State University, Tempe, AZ 2010 SMALLab Game Design, Phoenix Country Day School, Phoenix, AZ 2010 Graphic Design, Phoenix Country Day School, Phoenix, AZ 2010 Digital Sound Art, Phoenix Country Day School, Phoenix, AZ
Graduate Advising
Graduate Committee Chair
May 2020 M.A. Thesis Committee Chair, Blanca Bercial García-Bayllo, Listening to the Inframince—An Artistic Sensibility to Listen to the Liminal Crossings of Sound May 2019 M.A. Thesis Committee Chair, Laster, Kate, The Gentrification of the Dead May 2019 M.A. Thesis Committee Chair, Rio, Sherwin J., The Filipino / American Survival Methodology of Misvisibility in the Works of Carlos Villa
Professional Service
San Francisco Art Institute Service
2020 – 2021 Committee to Re-imagine SFAI 2018 – 2019 Vice President of the Faculty Senate 2018 – 2020 Ad Hoc Facilities Planning Committee 2017 – 2020 Academic Affairs Committee
San Francisco Art Institute Board of Trustees Service 2017 – 2020 Faculty Trustee, San Francisco Art Institute Board of Trustees
San Francisco Art Institute Faculty Union Service
2018 – 2020 Executive Committee of the Tenure | Tenure-Track Faculty Union
San Francisco Art Institute Community Service
2020 – 2021 Developed Truth and Reconciliation initiative to support anti-racism at SFAI 2020 – present SFAI Truth and Reconciliation Guiding Council 2020 M.A. Thesis Committee Chair, Blanca Bercial García-Bayllo, Listening to the Inframince—An Artistic Sensibility to Listen to the Liminal Crossings of Sound
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2019 American Arts Incubator Amplify Symposium Co-organizer and Lecturer. Critical Art Making: Using indigenous research methodologies to think about art, international exchange, and emerging media technologies, San Francisco Art Institute and Zero1, San Francisco, CA 2019 M.A. Thesis Committee Chair, Laster, Kate, The Gentrification of the Dead 2019 M.A. Thesis Committee Chair, Rio, Sherwin J., The Filipino / American Survival Methodology of Misvisibility in the Works of Carlos Villa 2017 – 2021 ~36 letters of recommendation for SFAI Students and Alumni
Manuscript Reviewer for Scholarly Journals
2019 Journal for American Indian Education, Arizona State University, Tempe, AZ 2016 Journal for American Indian Education, Arizona State University, Tempe, AZ 2016 Journal for American Indian Education, Arizona State University, Tempe, AZ
Creative Capital Service
2021 Artist panel, fundraiser event for Creative Capital, New York, NY