|Nacimiento:||1978 en Puerto Rico|
|Residencia:||Reside en Washington, District of Columbia, Estados Unidos|
|Premios ganados:||Awards for Excellence|
|Enlaces oficiales||Web Twitter Linkedin|
Taína Caragol joined the National Portrait Gallery in 2013 as the first curator for Latino art and history and in 2015, her role was expanded to curator of painting and sculpture. Caragol has led the effort to increase the representation of Latino historical figures and artists at the museum, adding over 170 portraits to the collection and ensuring that Latino contributions to American history and art are interwoven through the museum’s exhibitions and permanent collection. Caragol’s exhibitions reflect her academic training in Latino and Latin American art, as well as her interest in recovering under-documented or invisible histories. In 2014, she was the lead curator for “Portraiture Now: Staging the Self,” which examined the forces that shape identity– from friendships, to gender dynamics, and histories of migration–through the work of contemporary Latino artists. In 2015, she curated “One Life: Dolores Huerta,” the first exhibition at a national museum exploring Huerta’s role as co-architect of the farm workers movement with César Chávez. She co-curated “The Face of Battle: Americans at War, 9/11 to Now” (2017) and “UnSeen: Our Past in a New Light, Ken Gonzales-Day and Titus Kaphar” (2018). At present, she is co-curating the exhibition tentatively titled “1898: The American Imperium” (2023). Before coming to the National Portrait Gallery, Caragol was the curator of education at Museo de Arte de Ponce, Puerto Rico, where she organized the museum’s first international symposium on Pre-Raphaelite art and led a program of curatorial and artist talks with contemporary Puerto Rican artists. She was the Museum of Modern Art’s Latin American bibliographer from 2004 to 2007, and she later worked as a postdoctoral researcher for Latin American Art in the United Kingdom: History, Historiography, Specificity, 1960 to the Present, an investigation led by the University of Essex (2007–2008). Caragol earned her PhD in art history from the Graduate Center, City University of New York. Her dissertation “Boom and Dust: The Rise of Latin American and Latino Art in New York Exhibition Venues and Auction Houses, 1970s–1980s,” examined the incubating role of New York City’s alternative museums and art spaces and market during the “Latin American art boom” of the late 1980s. Caragol has published essays on Latino and Latin American artists and has also written on the importance of archival preservation in contributing to a better understanding of the history of Latino and Latin American art in the United States. Her essay on Kehinde Wiley’s portrait of President Barack Obama will be published in The Obama Portraits in February 2020 (Princeton University Press / National Portrait Gallery). She holds an MA in French Studies from Middlebury College and a BA in Modern Languages from the University of Puerto Rico, Río Piedras, where she graduated magna cum laude.
En las últimas semanas, el circuito estadounidense ha premiado a cuatro creadoras y curadoras latinoamericanas. Entre ellas destacan la chilena Cecilia Vicuña y la puertorriqueña Beatriz Santiago, que han obtenido ...