Cara Romero

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Cara Romero (born 1977 in Inglewood, California) is a Chemehuevi photographer from the United States. She is known for her dramatic digital photography that examines Indigenous life through a contemporary lens.

Biography[]

Cara Romero was born in Inglewood, CA. and was raised on the Chemehuevi Valley Indian reservation. Her father is Chemehuevi, and her mother is German-Irish.[1] Romero majored in Cultural Anthropology at the University of Houston.[1] She later studied photography at the Institute of American Indian Arts and commercial photography at[2] Oklahoma State University.[3][1] Romero is married to Pueblo artist, Diego Romero, and the couple has two sons.[1]

Cara was the first Executive Director of the Chemehuevi Cultural Centre. In 2007-2010, she was an elected member of the Chemehuevi Tribal Council, she became the Chairman of the Chemehuevi Education Board, and the Chairman of the Chemehuevi Early Education Policy Council.[3]

Life[]

Cara Romero studied Cultural Anthropology at the University of Houston[1] in the mid 1990's. She took two elective courses that then changed her mind on Cultural Anthropology and switch to Photography. One being a Native American course where she described it as being "taught as bygone, or in historic contexts,” she says. “I realized that most people didn’t have a really good grasp of contemporary Native peoples.”[2] Her next class was a black and white photography class where they focused on the content of the picture rather than if she could take good photos. This sparked her interest in photography, "I just knew that it’s what I wanted to pursue".[2] With this interest in photography it then brought her to the Institute of American Indian Arts in 1999. She then went on to study at Oklahoma State University where she focused on digital photography. She combined what she learned at each of these institutions and created her work that we see today.

Work[]

Romero was influenced by the photography of Edward Curtis early in her career.[4] Later, she felt that her initial approach was not genuine to her own experience and began to experiment with different techniques and settings for her photographs.[4] She began to use digital tools, such as Photoshop, to combine her photographs and also to use more color photography.[4] Romero's contemporary work includes a large amount of staging to create a sense of theater and expresses a diverse picture of Native American identities.[4] The Santa Fe New Mexican describes her work as a "sometimes whimsical, often complex examination of modern culture with a distinctly modern Indigenous worldview."[1] The Hyperallergic also describes how her photography is "non-realist photography"[5] and "prioritizes storytelling and imagination."[5]

Water Memory is part of a triptych called Water Memories.[6] Cara Romero captured Water Memory in 2015. Cara Romero describes her photo Water Memory by saying,  “Visually, the photograph was strong, because it could be so many things”Cara Romero Remakes Native Photography “It draws out that universal thread of the Great Flood. But I’m also from a tribe that was flooded out of ancestral lands—the Army Corps of Engineers actually forcefully dragged people out of their homes to create Lake Havasu. The oral histories tell of how there were already inches of water in people’s homes before they were made to leave. Now Lake Havasu feels haunted—there are homes and floodplains below—and when I submerge myself there, I feel all that water memory.” [7] She also explains that Water Memory was such a turning point in her photography career by saying “It brought outcomes I never imagined possible, like the Smithsonian collecting my work.” “After that, my art became an examination of things that were important to me—things that scared me but that I knew to be true. I started working with female figures. I wanted to break through the exploitative white-male lens that had dominated Native American photography for over a hundred years.”[8] Cara Romero’s photograph Water Memory is printed with archival pigment print and the whole Water Memories series is also printed in archival pigment print.

The Bristol Post quoted her series, Water Memories, as "breathtaking," and that it "exposes the fragile and essential relationships that exist between people, water and life."[9] Water Memories was shown in 2016 at the exhibition, "STILL," held at the Rainmaker Gallery in Bristol.[10][9] Romero's work, shown at "CAPTURED" (2015) at the gallery contained both "intimate portraits and playful reconstructions of iconic masterworks."[11] Cara Romero's powerful female portraits were featured prominently in a spring 2017 exhibition ‘We Are Native Women’ at Rainmaker Gallery, celebrating the strength and diversity of Native American women on the 400th anniversary of the death of Pocahontas. Her work was also presented at a conference 'Pocahontas and After' at the British Library, London in March 2017.

In the 2017 show, "Broken Boxes," held at form & concept gallery in Santa Fe, Romero's photograph, TV Indians, was described by the Albuquerque Journal as her "highest production project yet."[12] The photo juxtaposes Puebloans with media depictions of Native Americans.[12] Romero has been awarded a fellowship by the Native Arts and Cultures Foundation in 2017,[13] In October 2018 Cara Romero's photographs were exhibited by Rainmaker Gallery in the international exhibition 'Life Blood' as part of the Bloomsbury Festival and The Native Spirit Film Festival, London. In 2020, Romero was one of ten recipients of the NDN Collective's Radical Imagination Artist Grants[14] to install billboards and public displays of her photographs in the Los Angeles area.[15] Romero has also won several awards including ribbons at major art markets.[10]

Romero has also been featured at the Four Winds Gallery in Pittsburgh,[16] the Robert Nichols Gallery in Santa Fe,[17][18] and the Desert X outdoor exhibit in Coachella Valley.

Awards[]

Public Collections[]

[51]

References[]

  1. ^ a b c d e f Ortiz, Sara Marie. "Photographer Cara Romero: Creative Conversations". The Santa Fe New Mexican. Retrieved 2017-11-29.
  2. ^ a b c Abatemarco, Michael. "Moments of truth: Photographer Cara Romero". Santa Fe New Mexican. Retrieved 2021-05-07.
  3. ^ a b "Cara Romero - Bioneers Program Director Indigenous Knowledge". Bioneers. Retrieved 2017-11-27.
  4. ^ a b c d Edwards, Jason M. (September 2016). "Through an Indigenous Lens". Native People's Magazine. 29 (5): 39–45 – via EBSCOhost.
  5. ^ a b Wallentine, Anne (2021-01-06). ""The World I Wish People Knew": Photographer Cara Romero on Redefining Contemporary Native art". Hyperallergic. Retrieved 2021-05-07.
  6. ^ "Cara Romero". Rainmaker Gallery. Retrieved 2021-04-09.
  7. ^ "Cara Romero Remakes Native Photography". www.newmexico.org. 2019-01-24. Retrieved 2021-05-07.
  8. ^ "Cara Romero Remakes Native Photography". www.newmexico.org. 2019-01-24. Retrieved 2021-04-09.
  9. ^ a b "Indigenous Artists Find". Bristol Post. 11 March 2016. Retrieved 28 November 2017 – via LexisNexis.
  10. ^ a b "Cara Romero - Rainmaker Gallery". Rainmaker Gallery. Retrieved 2017-11-28.
  11. ^ "Photos Explore". Bristol Post. 27 February 2015 – via LexisNexis.
  12. ^ a b Reporter, Megan Bennett | Journal North. "New show pushes artists to 'break their boxes'". www.abqjournal.com. Retrieved 2017-11-29.
  13. ^ "Twelve native artists honored for work". The Columbian. 2017-04-28. Retrieved 2017-11-29.
  14. ^ "NDN Collective Selects Ten Indigenous Radical Imagination Artists from across Turtle Island". NDN Collective. Retrieved 2021-01-08.
  15. ^ "'The World I wish People Knew': Photographer Cara Romero on Redefining Contemporary Native Art". Hyperallergic. Retrieved 2020-01-08.
  16. ^ xxxxx. "Four Winds Gallery: The Photography of Cara Romero". Four Winds Gallery. Retrieved 2017-11-28.
  17. ^ "Robert Nichols Gallery Shows Work By Photographer Cara Romero, 419 Canyon Road". The Santa Fe New Mexican. 2014-12-26. pp. Z058. Retrieved 2017-11-28 – via Newspapers.com.
  18. ^ "About Cara Romero". ROBERT NICHOLS GALLERY. Archived from the original on 2017-12-01. Retrieved 2017-11-28.
  19. ^ Heard Museum Guild Indian Fair & Market Juried Competition Award List, March 5, 2020 [1]. Retrieved 2021-03-05.
  20. ^ Heard Museum Guild Indian Fair & Market Juried Competition Award List, March 6, 2020 [2]. Retrieved 2020-03-07.
  21. ^ The Santa Fe New Mexican "2019 Santa Fe Indian Market Winners" [3]. Retrieved 2019-08-17.
  22. ^ Heard Museum Guild Indian Fair & Market Juried Competition Award List, March 1, 2019 [4]. Retrieved 2019-03-04.
  23. ^ The Santa Fe New Mexican "2018 Santa Fe Indian Market Winners" [5]. Retrieved 2018-08-18.
  24. ^ Heard Museum Guild Indian Fair & Market Juried Competition Award List, March 2, 2018 [6]. Retrieved 2018-03-06.
  25. ^ a b The Santa Fe New Mexican "Indian Market 2017 Winners" [7]. Retrieved 2018-01-17.
  26. ^ Heard Museum Guild Indian Fair & Market Juried Competition Award List, March 3, 2017 [8]. Retrieved 2018-01-17.
  27. ^ The Santa Fe New Mexican "Winners announced in Indian Market judging" [9]. Retrieved 2018-01-17.
  28. ^ Heard Museum Guild Indian Fair & Market Juried Competition Award List, March 4, 2016 [10]. Retrieved 2018-01-17.
  29. ^ Heard Museum Guild Indian Fair & Market Juried Competition Award List, March 6, 2015 [11]. Retrieved 2018-01-17.
  30. ^ The Santa Fe New Mexican "2014 Indian Market winners" [12]. Retrieved 2018-01-17.
  31. ^ a b Heard Museum Guild Indian Fair & Market Juried Competition Award List, February 28, 2014 [13]. Retrieved 2018-01-17.
  32. ^ The Santa Fe New Mexican "Complete list of 2013 Indian Market winners" [14]. Retrieved 2018-01-17.
  33. ^ The Santa Fe New Mexican "Indian Market 2012 winners" [swaia.org/images/category/489-IndianMarketWrap%25202012.pdf]. Retrieved 2018-01-17.
  34. ^ Heard Museum Guild Indian Fair & Market Award List, March 2, 3, 4, 2007 [15]. Retrieved 2018-01-17.
  35. ^ Native American Rights Fund (2007). Visions of the Future: A Celebration of Young Native American Artists. Fulcrum Publishing. p. 85,86. ISBN 978-1555916558.
  36. ^ "When I Remember I See Red: American Indian Art and Activism in California". Crocker Art Museum.
  37. ^ "Last Indian Market". Wellesley College.
  38. ^ [16]
  39. ^ "Oil Boom". Hood Museum.
  40. ^ "Kaa". Hood Museum.
  41. ^ "TV Indians". Hood Museum.
  42. ^ "Duet, a collaboration between sister museums at University of Nevada, Reno & University of Nevada, Las Vegas". University of Nevada, Reno.
  43. ^ "MAM Conversations: Cara Romero | Montclair Art Museum". www.montclairartmuseum.org.
  44. ^ "Web module - Object Detail". proficio1.campus.wm.edu.
  45. ^ "Into the Future: Culture Power in Native American Art | What's New | Museum of Indian Arts & Culture | Santa Fe, New Mexico".
  46. ^ "MoMA Announces Transformative Gift of Photographs by Women Artists from the Helen Kornblum Collection". press.moma.org.
  47. ^ "Works – Cara Romero – Artists/Makers – The Nelson-Atkins Museum of Art". art.nelson-atkins.org.
  48. ^ "Laid Bare in the Landscape". Nevada Museum of Art.
  49. ^ "Lines in the Sand | Palm Springs Art Museum". www.psmuseum.org.
  50. ^ "Shoulder to Shoulder: Depicting the Figure | Palm Springs Art Museum". www.psmuseum.org.
  51. ^ http://www.bockleygallery.com/artist_romero/resume.pdf

External links[]

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