Amy Sara Carroll’s books include the poetry collections SECESSION (2012) and FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography (2013), chosen by Claudia Rankine for the 2012 Poets Out Loud Prize; and the critical monograph REMEX: Toward an Art History of the NAFTA Era (2017), which received honorable mentions for the 2017 Modern Language Association Katherine Singer Kovacs Prize, the 2018 Latin American Studies Association Mexico Section Best Book in the Humanities, and the 2019 Association for Latin American Art-Arvey Foundation Book Award.
Since 2008, she has been a member of Electronic Disturbance Theater 2.0, coproducing the Transborder Immigrant Tool. Carroll’s work has also been included in the exhibitions or venues Below the Underground: Renegade Art and Action in 1990s Mexico (Armory Center for the Arts, Pasadena, CA), Diarias Global (MUAC, CDMX), Intergalactix: against isolation/contra el aislamiento (LACE, LA, CA), Cuánto tiempo lleva todo esto derramándose sin desbordarse (Centro de Cultura Digital, CDMX), the MexiCali Biennial’s Land of Milk and Honey (Calexico,CA-Mexicali, BC), and the Edinburgh Fringe Festival (Edinburgh, Scotland).
Carroll was a 2005-2006 Mellon Postdoctoral Fellow in Latino Studies at Northwestern University, a 2017-2018 Fellow in Cornell University’s Society for the Humanities, and a 2018-2019 Fellow in the University of Texas at Austin’s Latino Research Initiative. Winter 2021, she was also an artist-in-residence with other members of EDT 2.0 at the University of California, Los Angeles’s Luskin Institute on Inequality and Democracy. Previously Carroll taught the University of Michigan, Ann Arbor and The New School in New York City. Currently, she’s an Associate Professor of Literature and Literary Arts at the University of California, San Diego.