Cristóbal Martínez

Cristóbal Martínez is a Chicano artist and the founder of Radio Healer, an indigenous hacker collective.[1] He is a member of Postcommodity, a Southwest Native American Artist collective.[2] His work featured in the 17th Whitney Biennial, 57th Carnegie International, and the Sundance Film Festival.

He currently works as the head of the art department at the San Francisco Art Institute.

Education

Martínez attended Arizona State University, where he earned a bachelor's degree in studio art and painting in 2002. He remained at the university to earn a master's degree in media art in 2011 and a PhD in rhetoric, composition and linguistics in 2015.[3]

He attended Arizona State University (ASU) where he earned his bachelor's degree in studio art and painting in 2002. In 2003, he founded the Radio Healer.[1] He then continued on to earn his master's degree

Radio Healer

Martínez founded the indigenous hacker collective Radio Healer in 2003, a year after completing his first degree at Arizona State University. The collective is made up of Martínez,Melissa S. Rex, Mere Martinez, Rykelle Kemp, Randy Kemp, Ashya Flint, Edgar Cardenas, and Devin Armstrong-Best. Together they create indigenous electronic tools from recycled from hacking, recycling, and adaptive reuse to perform indigenous ceremonies based on their imagination.[4]

Their art consisted of moving tools, images, performances, and sounds that aided in creating metaphors to address the semiotic systems that they state are often misinterpreted. The purpose of their collective is to combat these misinterpretations by given audiences an opportunity to engage in re-imagined indigenous ceremonies. The collective hosts public performances, with the intent that the public will reflect on issues such as warfare, borders, mass surveillance, land use, socioeconomic issues, and historical amnesia. The collective was a former artist-in-residence at the Pueblo Grande Museum in Phoenix Arizona.

Select artwork
  • Animal Mother Moves the Four Winds of Rush Hour
  • This Machine Kills___[5]
  • The Punisher (2012)
  • Death Machine

Art residences
  • Pueblo Grande Museum, Phoenix, Arizona 2011-2016

Awards and grants
  • Artist Research and Development Grant 2016[6]
  • P.A.V.E 2009

Group exhibitions
  • Connected Knowledge: Collaboration Across Boundaries 2007, Banff Centre, Banff, Canada
  • Faces, Tempe Center for the Arts, 2009, Tempe, Arizona
  • Phoenix Experimental Arts Festival, 2010, Phoenix, Arizona
  • ACM CHI Human Factors in Computing Systems, 2010, Atlanta, Georgia
  • Arizona Science and Technology Festival Conference, Skysong, 2014, Scottsdale, Arizona

Postcommodity
Main article: Postcommodity

Martínez founded Postcommodity, an interdisciplinary artist collective consisting of himself and Kade L. Twist.[2] The collective's aim is to form metaphors to make sense of shared experiences in a contemporary environment, create productive conversations that go against social, political, and economic processes that ruining communities and ruining geographic areas.

Their work has exhibited in locations and events such as the Whitney Museum of American Art's 2017 Biennial.[7]

Select artwork
  • World View Manipulation Therapy (2009)
  • Do You Remember When? (2009)[8]

Do You Remember When? is an instillation art piece that was debuted and exhibited at the Arizona State University Art Museum. The artwork created a "spiritual, cultural and physical portal...from which emerges an Indigenous worldview engaging a discourse on sustainability". It was made from concrete slabs, exposed earth, light, and sound. The concrete slabs represented symbolized a trophy that honored the Indigenous scientific inventions in the Western scientific world. According to Kate Morris in the book Shifting Grounds, the artwork was considered to be site specific because "the customization of the piece through the inclusion of local indigenous voices carries much of the works meaning"[9]

  • My Blood is in the Water (2010)
  • If History Moves At the Speed of Its Weapons, Then the Shape of the Arrow Is Changing (2010)[10]
  • Repellent Fence (2015)[11][12]
  • How The Lights Get In (2019, with Guillermo Galindo)
  • The Point of Final Collapse (2019)[13]

Art residences
  • Santa Fe Art Institute, Santa Fe, New Mexico, 2011
  • Denver Art Museum, Denver, Colorado, 2014
  • Concordia University, Montreal, Canada, 2015
  • SOMA, Mexico City, Mexico, 2016
  • Princeton University Art Museum, Princeton, New Jersey, 2017
  • 18th Street Art Center, Santa Monica, California, 2019
  • San Francisco Art Institute 2018-2019

Awards and grants
  • Common Grounds Grant 2008[14]
  • Artist Project Grant 2009[15]
  • Joan Mitchell Foundation Painters and Sculptors Grant 2010 [16]
  • Harpo Foundation Grant 2010 [17]
  • Cycles of Creation, Decay and Renewal in Art and Life, Santa Fe Art Institute 2011
  • Creative Capital Artist Grant 2012[18]
  • Art Matters Grant 2013 [19]
  • Native Arts and Cultures Foundation Grant 2014[20]
  • Art of Change Fellowship, Ford Foundation 2017 [21]
  • Fine Prize Carnegie Hall 2018 [22]
gollark: > Self replicating robots are fine just as long as you limit its intelligenceYes, I'm sure nothing could go wrong with exponentially increasing amounts of robots. That would definitely go entirely fine.
gollark: Yes.
gollark: I have a closed timelike curve in my basement for receiving screenshots from the future.
gollark: It's apparently not very effective for kidnapping (takes ages to work) but *can* give you horrible cancer and whatever.
gollark: Opposing it got considered "green" somehow by the magic of political dimensionality reduction and if that hadn't happened it might be more popular.

References
  1. "Radio Healer: About". cristobalmartinez.net. Retrieved 2020-02-17.
  2. "Postcommodity: About". postcommodity.com. Retrieved 2020-02-12.
  3. "Cristóbal Martínez creates knowledge by creating art". Mary Lou Fulton Teachers College. 2016-12-20. Retrieved 2020-02-17.
  4. Trimble, Lynn (2016-11-09). "How Radio Healer Uses Rush Hour to Critique Contemporary Society". Phoenix New Times. Retrieved 2020-02-17.
  5. "This Machine Kills___________________". fineartcomplex1101.com. Retrieved 2020-02-18.
  6. "2020 Artist Research and Development Grants". Arizona Commission on the Arts. 2019-08-14. Retrieved 2020-03-03.
  7. "Whitney Biennial 2017". whitney.org. Retrieved 2020-03-04.
  8. "Postcommodity: Do You Remember When?". postcommodity.com. Retrieved 2020-03-10.
  9. Morris, Kate (2019-03-07). Shifting Grounds: Landscape in Contemporary Native American Art. University of Washington Press. ISBN 978-0-295-74482-7.
  10. "If History Moves at the Speed of its Arrows". Not Artomatic. Retrieved 2020-03-03.
  11. klburt (2016-02-05). "Deconstructing 'Repellent Fence' with Cristóbal Martínez". Department of English. Retrieved 2020-02-18.
  12. "The Repellent Fence Story, as told by Postcommodity". Creative Capital. Retrieved 2020-02-19.
  13. "Drawing Attention to a Sinking High-Rise in San Francisco". Hyperallergic. 2019-11-12. Retrieved 2020-03-04.
  14. "About ACF". American Composers Forum. Retrieved 2020-03-03.
  15. "Home". Arizona Commission on the Arts. 2009-07-21. Retrieved 2020-03-03.
  16. Sandler, Irving (2019-03-01), "Frankenthaler, Mitchell, Leslie, Resnick, Francis, and Other Gesture Painters", The New York School, Routledge, pp. 59–89, ISBN 978-0-429-03262-2, retrieved 2020-03-03
  17. "The Harpo Foundation | Postcommodity and Museum of Contemporary Native ArtsNew Work Project Grant". Retrieved 2020-03-03.
  18. "Repellent Fence". Creative Capital. Retrieved 2020-03-03.
  19. "Grant Program". Art Matters Foundation. Retrieved 2020-03-03.
  20. "WHAT WE DO". Native Arts and Cultures Foundation. Retrieved 2020-03-03.
  21. "The Art of Change: Meet our fellows". Ford Foundation. Retrieved 2020-03-03.
  22. "ArtNews: 2018 Carnegie International's Fine Prize Goes to Postcommodity". Otis College of Art and Design. Retrieved 2020-03-03.
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