Mario Cravo neto

Mario Cravo Neto est né le 20 avril 1947 au Brésil, il vit et travaille à Salvador, Bahia.
Les photographies en noir et blanc de Mario Cravo Neto évoquent de manière parfaitement iconique et stylisée les gestes religieux du Vaudou, les rituels de badigeonnage du corps, de sacrifice …
Ses modèles, des hommes et des femmes noirs ou métis, photographiés en plans rapprochés, exhibent souvent un fétiche : os, tête d'oiseau, écorce de tortue, dans une pose éminemment sculpturale, souvent érotique.

English version

Mario Cravo Neto was born on April 20, 1947 in the city of Salvador, Bahia, where to this day he continues to live and
work. In 1964, at the age of 17, he moved to Germany, where his father, the sculptor Mario Cravo Jr., was participating
in the Artist in Residence program, in Berlin. It was during this period that Cravo Neto began his first experiences
with sculpture and photography.
In 1965, he returned to Brazil where he won an award at the first Art Biennial of Bahia and also mounted his first
solo exhibition.
Between 1968 and 1970, he lived in New York, where he studied at the Art Students League, under the direction of
artist Jack Krueger, one of the pioneers of conceptual art.
In 1970, he published his first photographic work outside of Brazil, in the catalog for the exhibition Information at
New York's Museum of Modern Art. In NewYork, Cravo Neto also produced a series of color photographs entitled On
the Subway, which were published in the magazine Camara 35, and a black and white series that explored the theme
of human solitude against the backdrop of a large city. In addition to his photographic work, in his SoHo studio, he
developed a series of plexglass sculptures based on the process of the «terrarium,» which involved the growing of
live plants in closed environments.
In 1971, at the 11th International São Paulo Biennial of Art, in a special room, he showed his installation of live
sculptures produced in New York, for which he was awarded the São Paulo State Governor's Sculpture Prize.
Between 1971 and 1974, Cravo Neto devoted himself to the creation of in situ land art projects: with direct interventions
in the natural landscapes of the desert-like Bahian sertão and the outlying of Salvador. His systematic documentation
of these works fostered an intimacy with cinematographic language. In this filmic context, he made
various short features, which led him to win the prestigious Embrafilme National Award for cinematography (1976),
for his work on the feature-length film, Ubirajara, directed by André Luis Oliveira.
In March of 1975, a near-fatal car accident left Cravo Neto with both legs immobilized for an entire year. This difficult
setback, however, didn't at all curtail the artist's activities. During this period he initiated a series of small-scale
models of his three-dimensional works and focused his energies on studio portraits and the appropriation of objects
for use in his installations and photographic compositions. From this period emerged a unique authorial work, which
Cravo Neto created out of the integration he choreographed between characters and objects: the results of which
could be called as black and white photo-sculptures. During this phases he produced emblematic works such as
Ninho de Fiberglass (Fiberglass Nest, 1977) and Câmaras Queimadas (Burnt Cameras, 1977), which were exhibited,
respectively, at the 14th and 15th editions of the São Paulo Biennial. These works were both commented upon by
Edward Leffingwell in the preface to his book The Ethernal Now (2002), the most comprehensive study of Mario Cravo
Neto to date, featuring 136 black and white studio photographs. In the words of Leffingwell: the first link between
these sited projects, the installations that followed, and the photographs for which he is known today consisted of
the presentation of a nest made out of translucent fiberglass filaments gathered by some unknown avian architect
from the neighborhood of his studio in Bahia. Prior to the publication of The Eternal Now, these black and white photographs
had appeared in various books and catalogs and had been exhibited internationally in leading museums,galleries, and photographic festivals, among them:
the Palazzo Fortuny, Venice (1988); the Witkin Gallery, New York (1992), Houston FotoFest, Houston (1992); the Museu
de Arte de São Paulo (MASP), São Paulo (1995); the Fahey Klein Gallery, Los Angeles (1998); and Photo España,
Madrid (1998), where the artist displayed his large-scale photographic impressions in the open-air exhibition throughout
Madrid's Royal Botanic Garden.
In 1994, the publication of Mario Cravo Neto (Stemmle, Zurich) accompanied a solo exhibition at Frankfurt's
Frankfurter Kunstverein, Frankfurt. Curated and edited by Peter Weiermair, this was Cravo Neto's first book of black
and white photographs edited outside of Brazil. In 2000, Cravo Neto traveled to Denmark at the invitation of Tove
Thage, director of the Nationalhistoriske Museum på Frederiksborg, in Hillerød, to photograph the principal choreographers
and dancers of the Danish Royal Ballet, and to have a one-man exhibition at the museum. While involved
in his studio work, Cravo Neto was living in and photographing in colors his birthplace, Salvador, a historic city of
mixed ancestry, where Catholic saints commingle with African gods. This rich and unique territory that is Salvador
is a constant source of inspiration to the artist and constitutes a recurring theme in seven of his books, published
between 1980 and 2000. Of these books, the most significant are: CRAVO (Áries Editora, Salvador, 1983) - «Mario
Cravo Júnior portrayed by Mario Cravo Neto represents an extremely sensitive artistic and interpretative achievement
as a book that fuses photography and sculpture.» (MCJ); EXVOTO (Áries Editora, Salvador, 1986), a book that features
the ex-votos - objects offered to saints as thanks for their miraculous intervention - of Bahia's arid sertão
region; SALVADOR, (Áries Editora, Salvador, 1999), an intimate portrait of his birth city; and LAROYÉ (Áries Editora,
Salvador, 2000), which pays hommage to Esú, the controversial mythical character of African culture, conjured up
via images of bodies in motion.«Esú, the body as a bay, a solitary ship, that is moored inside each one of us.» (MCN).
Several journeys proved to be major influences upon Cravo Neto's work, both in a direct manner, by furnishing material
for books and exhibitions, and more subjectively, by creating connections between internal and external worlds,
a frontier that Cravo Neto transcends in his work.
The experience of a month that the artist spent aboard a Brazilian Navy hospital ship in the Amazon region's Solimões
River, in 1990. Or his trip to Luanda, Angola, to take pictures for the book Angola e a Expressão da sua Cultura
Material (FEO, Salvador, 1991), which brought him into contact with the collection of Angola's Museu Nacional de
Antropologia. Both experiences were precursors to his exploration of the universe of candomblé terreiros (sacred sites
of worship), with which Cravo Neto began forging a relationship in 1998.
Over the next seven years, he devoted himself to registering, on camera and video, candomblé religious life and
rituals, with particular emphasis on the traditional terreiro of Ilé Àse Ópó Aganju. From this period, the artist published
three books, all of which featured mixed compositions blending color and black and white images to evoke the
dense textures of Afro-Bahian religious life from the privileged viewpoint of a candomblé initiate.
In 2003, in Rio de Janeiro, he produced an installation and a book, both entitled Na Terra Sob Meus Pés (Centro
Cultural Banco do Brasil) and curated by Ligia Canongia.
In 2004, he followed up with another installation and accompanying book, Trance-Territories (Verlag Das Wunderhorn,
Heidelberg). Curated by Michael Toos, Trance-Territories was exhibited alongside Black Gods in Exile, an exhibition by
Pierre Verger, at the Dahlen Ethnologisches Museum, Berlin. Cravo Neto's most recent publication O Tigre do Dahomey
- A Serpente de Whydah, (Salvador: Áries Editora, 2004) was launched along with the inauguration of the new Paulo
Darzé Art Gallery, in Salvador. The works featured in this book were subsequently the subject of an exhibition at São
Paulo's Museu Afro-Brasil, in 2005. «To live is to feel oneself lost,» in the words of Soren Kierkegaard. This was certainly
the feeling of those who experienced the video installation Somewhere Over The Rainbow - La Mer (2005), curated
by Solange Farkas. This monumental and moving work consisted of images of the ocean projected onto the walls
of the 400-m2 main gallery of Bahia's Museu de Arte Moderna, a museum housed in a former 16th-century sugar
plantation constructed by African slaves and with a privileged location overlooking the Bay of All Saints. Indeed, nourished
by his maritime surroundings, Mario Cravo Neto has been journeying through the deep waters of the unconscious
and his own creative world, producing an oeuvre that expresses the culture of Bahia. This brief article is merely
an attempt to sum up an impressive output which, to date, has led to the publication of 14 books in numerous countries,
countless articles in periodicals and magazines, individual and collective exhibitions in Brazil and around the
world, nine distinguished awards, and the inclusion of his work in various museum collections.
Such renown has led to Cravo Neto to be considered an important figure in the world of photography, as witnessed
by references to his work in many photographic books as well as in the Encyclopédie Internationale des Photographes
(Carole Naggar, Paris: Édition de Seuil, 1982), the Encyclopédie Internationale des Photographes, 1939-1984 (Michel
Auer, Berne: Editions Camera Obscura, 1984) and the Dictionnaire Mondial de Photographie (Paris: Larousse, 1994).
Today, as he immerses himself ever more in the natural and mythical worlds of Brazil, Mario Cravo Neto continues on
his lifetime journey of creative activity, producing new works and great pleasure to many viewers around the world.
For all it's quietude, Mario Cravo Neto's world is an optimistic one that bursts with life. A. D. Colleman

SELECTED ONE MAN EXHIBITIONS
2008 Flecha em Repouso. Paulo Darzé Galeria de Arte, Salvador, Bahia
2007 Territórios de Transe. Galeria Bolsa de Arte, Porto Alegre.
Brito Cimino 10 anos, Delson Uchôa, Marina Abramovic, Mario Cravo Neto, Galeria Brito Cimino, São Paulo.
2006 The Eternal Now. Patrizia Papachristidis Gallery, London.
Territórios de Transe. Arte 21 Galeria, Rio de Janeiro.
Territorios de Trance. Galeria Fernando Pradilla, Madri.
2005 Trance_Territories. FotoMuseo, Bogotá. (c. Gilma Suárez)
The Eternal Now, Rencontres d'Arles. Arles, France.
O Tigre do Dahomey - A Serpente de Whydah. Museu Afro-Brasil, São Paulo.
Somewhere Over The Rainbow - La Mer. Video Instalation at Mostra Pan
Africana de Arte Contemporânea. Museu de Arte Moderna, Salvador, Bahia (c. Solange Farkas).
2004 O Tigre do Dahomey - A Serpente de Whydah. Paulo Darzé Galeria de Arte, Salvador, Bahia.
Trance-Territories. Dahlen Ethnologisches Museum, Berlin (c. Michael Toss).
The Eternal Now. Galeria Fernando Pradilla, Madrid.
The Eternal Now. VI Biennale de l'Art Contemporain, Dakar, Senegal (c. Ivo Mesquita).
2003 La oscura piel de la luz, La obra fotografica de Mario Cravo Neto.
Museo de Bellas Artes, Caracas (c. Fernando Castro Ramirez - Bernard Chappard - Sicardi Gallery).
Na Terra sob Meus Pés. Centro Cultural Banco do Brasil, Rio de Janeiro (c. Ligia Canongia).
Galleri Image, Ärhus, Denmark.
The Eternal Now. Galeria Bolsa de Arte, Rio de Janeiro.
La Mirada. Daros Latin America, Zurich (c. Hans Michael Herzog).
2002 The Eternal Now. Galeria André Millan, São Paulo.
The Eternal Now. Galeria Paulo Darzé, Salvador.
Bahia de Todos os Santos. IFA Gallerie, Sttutgart, Berlin, Bonn (c.Karin Stempel).
Galerie Esther Woerdehoff, Paris
The Eternal Now. Espaço Cultural Contemporâneo Venâncio ECCO, Brasília (c. Bené Fonteles).
2002 IFA Gallerie, Sttutgart, Berlin, Bonn.
Daros Latin America, Zurich.
Sicardi Gallery, Houston.
Galerie Esther Woerdehoff, Paris
Espaço Cultural Contemporâneo Venâncio ECCO, Brasília.
2001 Yancey Richardson Gallery, New York.
Galleria Carla Sozzani, Milano (C. Giuliana Scime).
Galeria Buades, Madrid.
2000 Nationalhistoriske Museum på Frederiksborg, Hillerød.
Palacio de Aguirre , Cartagena. (c. Jose Benloch)
5th Biennale de Lyon - partage d'exotismes, Lyon.
Museu de Arte Moderna, Salvador.
Pinacoteca do Estado de São Paulo, São Paulo.
1999 Espaço Neogama, São Paulo.
Sicardi Sanders Gallery, Houston.
Centro de Fotografia, Universidad de Salamanca, Salamanca.
Galeria Visor, Valencia.
Galeria S - 292, Barcelona.
1998 Galerie Esther Woerdehoff, Paris.
Centro Cultural Recoleta, Buenos Aires.
Galeria Pierre Verger, Salvador.
Photo España 98, Madrid.
Fahey/Klein Gallery, Los Angeles.
1997 The Witkin Gallery, New York.
Oldenburger Kunstverein, Oldenburg, Germany.Bentley Gallery,
Scottsdale, Arizona.
1996 Bohusläns Museum, Uddevalla, Sverige.
Borås Kunstmuseet, Borås, Sverige.
Solar do Barão, Curitiba.
Museum für Photographie, Braunschweig.
1995 Kunstverein Steyr, Stein, Österreich.
Museu de Arte Moderna, Rio de Janeiro.
Museu de Arte Moderna da Bahia, Salvador.
Museu de Arte de São Paulo Assis Chateaubriand, São Paulo.
Centro Cultural de Bélem, Lisboa.
Catherine Edelman Gallery, Chicago.
1994 The Witkin Gallery, New York.
Susan Spiritus Gallery, Costa Mesa, CA.
Frankfurter Kunstverein, Frankfurt.
Museum of Photographic Art, San Diego.
1993 Fisher Gallery, USC, Los Angeles.
Kathleen Ewing Gallery, Washington DC.
Vision Gallery, San Francisco.
1992 The Witkin Gallery, New York.
Fahley/Klein Gallery, Los Angeles.
Galeria Módulo, Lisboa.
Houston FotoFest, Houston.
1991 Ada Galeria, Salvador.
Galeria del Teatro General San Martin, Buenos Aires.
1990 Canon Image Center, Amsterdam.
Galerie Springer, Berlin.
1989 Arco Arte Contemporânea, São Paulo.
La Galeria Kahlo/Coronel, Mexico.
Galeria O Cavalete, Salvador.
1988 Pallazo Fortuny, Venezia.
Suomen Valokuvataiteen Museo, Helsinki.
1987 Billedhusets Galleri, København.
Vision Gallery, San Francisco.
1986 Arco Arte Contemporânea, São Paulo.
1985 IF - Immagine Fotografica, Milano.
Yuen Lui Gallery, Seattle.
1984 Fotografia Oltre, Chiasso.
Museu de Arte Moderna, Rio de Janeiro.
1983 ECT Galeria de Arte, Brasilia DF.
XVII Bienal Internacional de São Paulo, São Paulo.
Arco Arte Contemporânea, São Paulo.
Museu de Arte de São Paulo, São Paulo.
Galleria II Diaframma, Milano.
1982 Brazilian American Cultural Institute, Washington DC.
1981 Galeria Monica Filgueiras, São Paulo.
Galleria La Parisina, Torino.
1980 Galleria Il Diaframma, Milano.
Foto Galeria, São Paulo.
1979 Museu de Arte de São Paulo, São Paulo (with Pierre Verger).
Museu de Arte da Bahia, Salvador (with Pierre Verger).
1977 XIV Bienal Internacional de São Paulo, São Paulo.
Galeria Multipla, São Paulo.
1976 Modern Art Galerie, München.
1975 XIII Bienal Internacional de São Paulo, SãoPaulo.
1974 A Galeria, São Paulo.
1973 XII Bienal Internacional de São Paulo, São Paulo.
Galeria Documenta, São Paulo.
1972 Galeria Documenta, São Paulo.
Galeria Grupo B, Rio de Janeiro.
1971 XI Bienal Internacional de São Paulo, São Paulo.
Galeria Documenta, São Paulo.
Museu de Arte Moderna da Bahia, Salvador.
1965 Galeria Convivium, Salvador.
GROUP EXHIBITIONS
2007 Arte como Questão - anos 70, Instituto Tomie Ohtake, São Paulo (c.Gloria Ferreira)
Puntos de Vista, Zeitgenossische Kunst aus der Daros-Latinamerica Collection, Museum Bochum, Bochum
(c. Hans Günter Golinski and Michael Herzog).
The Collor Line, Jack Shainman Gallery, New York (c. Donald Odili Odita)
2005 La Mirada. Museu de Arte del Banco de la Republica, Bogota. (c. Hans Michael Herzog - Daros Collection).
2004 Tra Terre e Culture-Laróyè. Spazio Leonardo di Città della Scienza, NapoliBahia, Napoli
(c. Giorgio Baratta e Alessandra Drioli).
Mapas Abiertos, Fotografia LatinoAmericana 1991-2002. Palau de La Virreina, Barcelona (c. Alejandro Castellote).
Mapas Abiertos, Fotografia LatinoAmericana 1991-2002. Fundación
Telefónica, Madrid (c. Alejandro Castellote).
2003 Labirinto e Identidades - Fotografia Brasileira Contemporânea 1946 - 1998.
Centro de Cultura Maria Antônia - USP - VI Mês Internacional da
Fotografia, São Paulo.
Traumwelten, Camerawork Galerie, Hamburg.
Naturezas Mortas - Acervo do MAM, São Paulo (c. Margarida Sant'Anna).
Interfaces contemporâneas - MAC USP 40 anos. Museu de Arte
Contemporânea, São Paulo (c. Elza Ajzemberg).
2002 Mundos Creados, Latijns-Amerikaanse Fotografie. Noorderllcht Photo Festival 2002, Noorderllcht
(c. Wim Melis).
ArteFoto. Centro Cultural Banco do Brasil, Rio de Janeiro (c. Ligia Canongia).
Traumwelten. Camerawork Galerie, Berlin.
What Were You Thinking. Catherine Edelmam Gallery.
Russel Hill Rogers Gallery of the Southwest School of Art, Texas.
2001 La Natura della natura morta. Galleria d'Arte Moderna Bologna. Bologna (C. Peter Weiermair)
Hall of Mirrors - Variants of the Portrait. Museet for Fotokunst.
Brandts Klaedefabrik. Odense, DK. (C. Finn Thrane).
Trajetória da Luz na Arte Brasileira. Instituto Itau Cultural, São Paulo. (C. Paulo Herkenhoff).
The Promise of Photography - The DG Bank Collection,Kunsthalle.
Frankfurt, Frankfurt. (c. Luminita Sabau)

2000 A Quietude da Terra / The Quiet in The Land - Museu de Arte Moderna, Salvador. (c. France Morin)
Brasilidades. - Centro Cultural Light. Rio de Janeiro. (c. Paulo Reis)
The Promise of Photography - The DG Bank Collection, Akademie der Künste, Berlin. (c. Luminita Sabau)
Fotografia brasileña contemporánea. Museu Nacional de Arte, La Paz. (Colección Joaquim Paiva.)
1999 Brasilianische Fotografie 1946-1998, Labirinto e Identidades,
Wolfsburg Kunst Museum, Wolfsburg. (c.Rubens Fernandes Jr.).
The Promise of Photography - The DG Bank Collection, Centre National
de la Photographie, Paris. Kestner-Gesellschaft, Hanover. (c.Luminita Sabau)
1998 Sur la Tête, The Witkin Gallery, New York. (c. Eveline Daitz).
Contemporary Brazilian Photography from The Joaquin Paiva Collection,
Pan American Cultural Exchange, Houston (c. Joaquin Paiva ).
Years Ending in Nine, The Museum of Fine Arts, Houston (c.Gus and Lyndall Wortham).
Male, Wessel + O'Connor Gallery, New York (c.Vince Aletti).
The Bird of Self-Knowledge, Tiroler Volkskunstmuseum Innsbruck, Innsbruck (c. Peter Weiermair).
The Promise of Photography - The DG Bank Collection, Hara Museum of Contemporary Art, Tokio.
(c. Luminita Sabau)
1997 Hope Photographs, National Arts Club, New York (c.Alice Rose George).
Die Anderen Modernen, Haus der Kulturen der Welt, Berlin (c. Alfons Hug).
Panorama da Arte Brasileira 97, Museu de Arte Moderna, São Paulo:
Museu de Arte Moderna, Salvador (c.Tadeu Chiarelli).
1995 Mysteres et Frontieres, Musée de Pully, Pully, Suisse; Museu de Arte Moderna, Rio de Janeiro (c. Denise Mattar).
1994 Tradition and the Unpredictable, The Allan Chasanoff Photografic Collection, The Museum of Fine Arts,
Houston (c.Maggie Olvey/Suzanne Williamson).
Canto a la Realidad, Casa de America, Madrid (c. Erika Billeter).
Romper los Margenes, Encuento de Fotografia Latino Americano, Museu
de Artes Visuales Alexandro Otero, Caracas (c. J. Navarrete).
Revendo Brasília, Galeria Athos Bulcão - Teatro Nacional, Brasília;
Museu da Imagem e do Som, São Paulo; Palácio Gustavo Capane-ma, Rio
de Janeiro; Museu Metropolitano de Arte, Curitiba (c. Alfons Hug).
The Face of Portrait, The Fuller Museum of Art, Brockton, MA (c.Burton Elliott).
The Eyes Have It, The Museum of Fine Arts, Houston.
1993 Cartographies, Winnipeg Art Gallery, Winnipeg; National Gallery Canada, Ottawa; Biblioteca Luis Angel
Arango, Bogotá; Museo de Artes
Visuales Alejandro Otero, Caracas; The Bronx Museum of the Arts, New York (c. Ivo Mesquita).
1992 Arte Amazonas, Museu de Arte Moderna, Rio de Janeiro; Staatliche
Kunsthalle, Berlin; Museu de Arte, Brasilia; Bienal de São Paulo, São
Paulo (c. Alfons Hug).
1991 Incursão pelo Imaginario na Fotografia Brasileira Contemporânea,
Rencontres Internationales de la Photographie, Arles (c. Boris Kossoy).
13 Photographers, The Witkin Gallery, New York. (c. Evelyne Daitz)
Colecão Pirelli, Museu de Arte de São Paulo, São Paulo.
1990 Von der Natur in der Kunst, Messepalast, Wien (c. Peter Weiermair).
Op Position, 2º Fotografie Biennale Rotterdam (c. Bas Vroege).
1989 Réalités Magiques, Photographie Latino-Américaine-Contemporaine
Museet for Fotokunst, Odense; Museum voor Fotografie, Antwerpen.
1988 Het Portret, Canon Image Center, Amsterdam.
Brazil Projects, P.S. ONE, Institute for Artand Urban Resources, New York.
Splendeurs et misère du corps, Musée d'art et d'histoire de Fribourg;
Musée d'Art Moderne de la Ville de Paris (Triennale Internationale de la Photographie-Mois de la Photo).
Segunda Bienal de la Habana '86, Habana.
1986 Object Man, Portovenere (c. G. Scimè).
1985 I Quadrienal de Fotografia, Museu de Arte Moderna, São Paulo.
A Arte e seus Materiais, Atitudes Contemporâneas, Galeria Sergio
Millet, Funarte, Rio de Janeiro.
Panorama da Arte Atual Brasileira -Formas Tridimensionais, Museu de Arte Moderna, São Paulo.
50 Years of Color, Circulo de Belas Artes, Madrid.
1984 Fotoamerica/84.Objettivi sull'America Latina, Genova. (c. Guiliana Scimé)
Corpo e Alma, Espace Latino-Américain, Mois de la Photo, Paris. (c.Roberto Pontual).
1983 O Tempo do Olhar -Panorama da Fotografia Brasileira Atual, Museu
Nacional de Belas Artes, Rio de Janeiro; Museu de Arte de São Paulo, São Paulo.
1982 Brazilian Photography, Six Contemporaries, The Photographer's
Gallery, London. Biennale Internazionale di Fotografia, Caserta. (c. Guiliana Scimé)
Brésil des Brésiliens, Centre George Pompidou, Paris (c. S. Brill).
1981 Fotografie Lateinamerika, Kunsthaus Zürich, Zürich; Akademie der Künste, Berlin (c. Erika Billeter).
Panorama de Arte Atual Brasileira 81, Museu de Arte Moderna, São Paulo.
1978 Subterranean Art, Architecture and Objects, Galleria Huan Martin, Museo Carrillo Gil, Mexico DF.
(c. Jorge Glusberg)
Panorama de Arte Atual Brasileira 78, Museu de Arte Moderna, São Paulo.
SICOF, Salone Internazionale della Cinematografia, Ottica e.Fotografia, Milano. (c. Lanfranco Colombo).
1976 Arte Agora I, Museu de Arte Moderna do Rio de Janeiro.
Bienal Nacional/76, Parque Ibirapuera, São Paulo.
1975 Panorama de Arte Atual Brasileira - Escultura e Objeto, Museu de Arte Moderna, São Paulo.
Fourth International Open Encounter on Video, Cento de Arte y. Comunicación, Buenos Aires. (c. Jorge Glusberg).

1973 Arte/Brasil/Hoje, 50 Anos Depois, Collectio Artes Ltda, São Paulo (c.Roberto Pontual).
Expoprojeção 73, GRIFE, São Paulo (c. Aracy Amaral).
1972 Art Systems in Latin America, Centro de Arte y Comunicación, Buenos Aires: Institute of Contemporary Art,
London; L'Espace Pierre Cardin, Paris; Galleria Civica D'Arte Moderna, Ferrara. (c. Jorge Glusberg) Panorama de Arte
Brasileira Atual-Escultura e Objeto, Museu de Arte Moderna de São Paulo.
1971 V Exposição Jovem Arte Contemporânea, Museu de Arte Con-temporânea de São Paulo.
1970 Fourteen Latin American Painters, Andres Bello Auditorium, Washington DC.
1965 Primeira Bienal Nacional de Artes Plásticas da Bahia, Salvador.
WORKS IN MUSEUM AND PRIVATE COLLECTIONS
The Museum of Modern Art - New York.
The Museum of Fine Arts / The Allan Chasanoff Photografic Collection - Houston.
The Museum of Photographic Arts - San Diego.
The Princeton Art Museum - Princeton.
The Santa Barbara Museum of Art, Santa Barbara, CA
Volfsburg Kunst Museum, Volfsburg
Museet for Fotokunst - Odense.
Museu de Arte de São Paulo - São Paulo. Stedelijk Museum - Amsterdam.
Suomen Valokuvataiteen Museo - Helsinki.
Museu de Arte Contemporânea de São Paulo - São Paulo.
Museu de Arte Moderna - Rio de Janeiro.
Museu de Arte Moderna de São Paulo - São Paulo.
Museu de Arte Moderna de Bahia - Salvador.
Museum voor Fotografie - Antwerpen.
The Hasselblad Collection - Göteborg.
The Brooklyn Museum - New York.
Tokyo Institute of Polytechnics, Center of Photography - Tokyo.
Fundacion Cartier, Paris
DG Bank - Frankfurt.
Patricia Phelps de Cisneros Collection - Caracas.
Mr. Bert Hartcamp Collection - Amsterdam.
Mr.Kim Stevens Collection - São Paulo.
Mr. Gilberto Chateaubriand Collection.
Daros Collection - Zurich.
BOOKS
FLECHA EM REPOUSO - Áries Editora, Salvador, Bahia, 2008
O TIGRE DO DAHOMEY - A Serpente de Whydah, Áries Editora, Salvador, Bahia, 2004.
TRANCE TERRITORIES, Verlag Das Wunderhorn, Heidelberg, 2004.
NA TERRA SOB MEUS PES, CCBB, Rio de Janeiro, 2003.
THE ETERNOW NOW, Áries Editora, Salvador, Bahia, 2002.
CRAVO NETO - Áries Editora, Salvador, Bahia, 2002
MARIO CRAVO NETO - Carla Sozzani Editore, Milano, 2001
LARÓYÈ - Áries Editora, Salvador, Bahia, 2000
SALVADOR - Áries Editora, Salvador, Bahia 1999
ESPAÇO CRAVO - Áries Editora, Salvador, Bahia 1998
MARIO CRAVO NETO -Áries Editora, Salvador, Bahia 1995
MARIO CRAVO NETO - Edition Stemmle, Zürich 1994
ANGOLA - Fundacão Emílio Odebrecht, Salvador, Bahia 1991
MARIO CRAVO NETO - Idea book Edicione, Milano 1987
EXVOTO - Áries Editora, Salvador, Bahia 1986
OS ESTRANHOS FILHOS DA CASA - Áries Editora, Salvador, Bahia 1985
A CIDADE DA BAHIA - Áries Editora, Salvador, Bahia 1984
CRAVO, Áries Editora, Salvador, Bahia 198
BAHIA - Rhodia/Raizes, São Paulo 1980
CINEMATOGRAPHY
IYÁ-MI-AGBÁ, The Sacred Space, Directed by Juana Elbain, Documentary, 1979
NÓS, Directed by Walter Lima, 16 mm, Fiction, 1978
SMETAK, Directed by Walter Lima, 16 mm, Documentary, 1978
UBIRAJARA, Directed by André Luis Oliveira, 35 mm, Feature, 1975
VIDEOS
EXÚ DOS VENTOS, 15 minutes, 1992
NASH, U 19, AMAZONIA, 20 minutes, 1991
GW-43, GULF WAR, 30 minutes, 1990
ARTICLES IN MAGAZINES AND PERIODICALS
Jiménez, Carlos. Final del rito. El Pais. N. 773. Septiembre 16, 2006. Madrid
Alonso Molina, Óscar. Sangrientos Mitos de Origen. ABCD. Las Artese Las Letras.
N.763, Septiembre 16 al 22, 2006, Madrid
Monteiro, Luiz. Hora da transformação. Valor. Eu &. Outubro 13 2006. Rio de Janeiro.
Migliaccio, Marcelo. O tempo em transe. Jornal do Brasil. Caderno B. Setembro 22, 2006. Rio de Janeiro.
Veríssimo, Arthur. Em Nome do Pai - E do Filho. Inerview. Revista TRIP. N° 147, August 2006, São Paulo
Correia Lima, Lucia. Mario Cravo Neto, Arte Como Oferenda, A Tarde. Caderno Cultural.
Salvador, Bahia. 12 de fevereiro de 2005.
Mechler, Von Anna. Wo ist die Macht, das Leben zu meistern? Die Berliner Ausstellung» Schwarze Götter im Exil»
forscht der Macht des Voodoo nacht. Imme mehr Europäer tun dies auch. Die Welt. Freitag, September 3, 2004, Berlin.
Bonisson, Marcos. Na Terra sob Meus Pés - O Ritual da Grandeza. Bravo. D'Avila Editores. Ano 6, n. 72. São Paulo,
setembro de 2003.
Osorio, Luiz Camilo. Na Terra sob Meus Pés e Retratos de Revista Reverência e Manipulação. O Globo. Segundo
Caderno. Rio de Janeiro, 13 de setembro de 2003.
Marval, Marian. Imágenes que producen vertigo. Interview. Tiempo Libre. Caracas, septiembre 6, 2003.
Sierra, Edgar Alfonzo. Mario Cravo Neto retrata lo femenino que habita en todos los hombres. El Nacional. Caracas,
Septiembre 6, 2003.
Nungesser, Michael. Daros Latin America - Fotografie aus Lateinamerica als Debüt. Tranvia - Revue der Iberischen
Halbinsel, March 1, 2003, Berlin.
Bosshard, Fredi. La Mirada - der Blick. Die Wochenzeitung. January 16, 2003, Zürich.
Nungesser, Michael. Nationalität - Identität, Bahia de Todos os Santos-Schworze Götter, weiße Heilige - Pierre
Verger, Mario Cravo Neto, Ariel Araujo, Marepe. Kunst Forum International, February 2003, Berlin.
García, Manuel. Los artistas somos encantadores de serpientes. Lapiz - Revista Internacional de Arte. Marzo 2002,
Año XXl, Madrid. Aletti, Vince. Mario Cravo Neto. The Village Voice. February, 6 - 2001, New York, NY.
Photography: Mario Cravo Neto. The New Yorker. February, 5 - 2001, New York, NY.
Mario Cravo Neto. Foto e Video, n. 07 - 2001, Russia.
Guterman, Débora. Cravo Neto faz saudação a Exu e a seu pai. Valor Econômico. Caderno " Eu e Cultura" . 21 de
novembro de 2000, São Paulo, SP.
Moura, Diógenes. Exu Revelado. República. Editada por Luiz Felipe D'ávila. Ano 4, n. 48, outubro de 2000. São
Paulo, SP.
Anaut, Alberto. Deseo: Mario Cravo Neto. Salvador da Bahia de Todos os Santos. Matador. Revista de Cultura, Ideas
y Tendencias. Volume E, 2000. España.
Cirenza, Carlo. Laróyè. Mario Cravo Neto. Paparazzi Photo Art. Year VI, n. 21, 2000. São Paulo, SP.
Mario Cravo Neto: Sinnliche Tropen - im Reich des Samba und des Condomblé. Leica World - Das Card-Magazin.
2/1998. Berlin. Ferreira, Ivone. Mario Cravo Neto. Raça Brasil. Nº 42. Fevereiro 2000, São Paulo
Christine, Marie. Luciana. Front cover photograph for The Lincoln Center Review Magazine. Issue 23. Fall 1999.
New York.
Marcoulesco, Ileana. The Art of Illusion. Spot Fall 1999.
Sicardi-Sanders Gallery. Houston Center for Photography. Houston, Texas. Tucker, Anne Wilkes. Salvador.
Spot Fall 1999.
Sicardi-Sanders Gallery. Houston Center for Photography. Houston, Texas. Lima, Monica. Pela Lente do Amor.
Vogue Brasil. Nº 257. Carta Editorial Ltda. São Paulo. Outubro. 1999.
Bastos, Susana. Salvador não economiza o que pode mostrar. Vogue Brasil. No 257. Carta Editorial Ltda.
Outubro.1999. São Paulo
Salomão, Waly. Bewiched Participants in a Carnaval Orgy - Religion in a Erotic State - Enfeitiçados e enfetiçadas na
orgia do Carnaval - Religião em estado erótico. Photographs by Mario Cravo Neto. Big Magazine-Big Brazil. Issue 25.
1999. New York.
Amado, Jorge. SALVADOR/CRAVONETO. Hasselblad Forum. Issue 4. Volume 35. 1999. Göteborg.
Persson, Hasse. Mario Cravo Neto. Hasselblad Forum. Issue I. Volume 35. 1999. Göteborg.
Cover. Gallo de pelea. Matador, Revista de Cultura, Ideas y
Tendencias. Volume CH. La Fabrica. 1998. Madrid
Leffingwell, Edward. Through a Brazilian Lens. Art in America. Nº4. April 1998. New York
Loke, Margarett. Studing His Children's Faces: Portals Into Lives Uncluttered and Vibrant. The New York Times.
November 21-1997. New York.
Guariglia, Ana Maria. Cravo Neto mostra a NY 'Out of Bahia'. Folha de São Paulo. Outubro 20-1997. São Paulo
Chiarelli, Tadeu. Fotografia no Brasil, Anos 90. Lapis-Revista
Internacional de Arte. Julho-Setembro 1997. Madrid
Person, Hasse. Simboliskt Mario Cravo Neto e Sensuellt. Foto. 1.1997. Sweden.
International Psychoanalysis. IPA. Volume 5/ issue 1. 1996. London.
Telstart, Catarina. Sart+Vitt -sensuella och poetiska bilder från Brasilien. Göteborgs Posten. September 30.
1996. Göteborg.
Fornes, Andrea. O Imaginário Bahiano de Mario Cravo Neto. Folha de São Paulo. Revista Folha. No. 226. Agosto 1996.
São Paulo.
Cravo Neto. Photo. Special Brésil. Avril 1996. Paris.
Claudio, Ivan. Retratos da Vida. ISTOÉ. No.1333. Editoria Três. 1995. São Paulo.
Amaral, Aracy. Voluntarismo. A Tarde. Junho 28-1995. Salvador.
Mario Cravo Neto. European Photography. Volume 16. Issue 4. Spring/Summer 1995. Göttingen.
Morais, Angelica. Cravo Neto flagra a alma nas epidermes. O Estado de São Paulo. Caderno 2. Maio 12-1995.
Foerster, Abigal. Body and Soul -Mario Cravo Neto's Mistical Metaphors. Chicago Tribune. Sec.3, P.15. January 22-
1995. Chicago.
Mendenhall, Lauri. Mario Cravo Neto: At the Core of the Soul. New Port Beach/Costa Mesa Daily Pilot. October 22-
1994. Costa Mesa. CA
Cravo Neto, Mario. Scars of Our Inheritance. View Camera. September/October 1993. Sacramento CA.
Leffingwell, Edward. Mario Cravo Neto. Poliester. 5. Primavera 1993. Mexico DF.*
Fleming, Lee. Miracles of Fishes and Flesh. The Washington Post. April 10-1993. Washington DC.
Munich, Suzanne. Three Artists From Brazil. Art News. April 1993. New York.
Loke, Margareth. Mario Cravo Neto. Art News. December 1992. New York.
Hagen, Charles. Mario Cravo Neto. The New York Times. October 16-1992. New York.
Coleman, A.D. A New Lens, or Two, on the Mythologizing of Latin America. New York Observer. October 12-1992. New York.
Aletti, Vince. Mario Cravo Neto. The Village Voice. September 22-1992. New York.
Fernandes, Rubens. Mario Cravo Neto. IRIS FOTO. Setembro 1992. São Paulo.
Medeiros, Margarida. Da imagem como simbolo. Público. Abril 17-1992. Lisboa.
Medeiros, Margarida. Entre o sonho e o simbolo. (Interview).
Público. 35 Cultura. Abril 12-1992. Lisboa.
Pomar, Alexandre. Foto-Esculturas. Expresso. Abril 4-1992. Lisboa.
Carlo, Isabel. Mario Cravo Neto. Expresso. Abril 4-1992. Lisboa.
Camera International. Bestiaire. 31. Hiver. 1991. Paris.
Mendonça, Casimiro. Mario Cravo Neto. Atlante. 1. 1989. São Paulo.
Leffingwell, Edward. Report from Brazil. Art in America. January 1989. New York.
Ballarin, Roberto. Branco e Neto, Il Bràsile Oscuro. Il Gazettino del Lunedi. Maio 23-1988. Venezia.
Murray, Joan. The Sculptural Nude. Artweek. June 1987. Piedmond.
Zoom Magazine. Portraits Sculpturaux. 120. 1986. Paris.
ZOOM Le magazine de l'image. Mario Cravo Neto. (Interview). Special Bresil 1. Nº 120-1985. Paris.
Oliviera, Moracy. Espiritos sem nome. Fotoptica, Maio 1985. São Paulo.
Quintavalle, Arturo. Photoamerica -Objettivi sull'America Latina. Panorama. Marzo 12-1984. Milano.
S.M. Fotografia e Escultura unem Pai e Filho. Correio da Manha/Correio de Domingo. Fev. 1984. Lisboa.
Mendonça, Casimiro. Antestado de Vigor. Veja. Nov. 2-1983. São Paulo.
Mendonça, Casimiro. Foco em Familía. A obra de Mario Cravo pela lente de seu filho. Veja. Setembro 28-1983.
São Paulo.
Tavares de Araujo, Olivio. Beleza Ambigua e Misteriosa -Mario Cravo Neto. ISTO É. Junho 8-1983. São Paulo.
Cravo Junior, Mario. A mística compulsoria de Mario Cravo Neto. A Tarde.1982. Salvador.
Oliveira, Moraci. O Trabalho de Mario Cravo Neto. Original e Seguro. O Estado de São Paulo. Maio 15-1981. São Paulo.
Colombo Attilio. Mario Cravo Neto. Progresso Fotografico, Marzo 1981. Milano.
Carluccio, Luigi. Le Mostre a Torino -Neto alla Parisina. Gazetta del Popolo. Gennaio 18-1981.
Carluccio, Luigi. Phill Marco, Lucien Clergue, Cravo Neto. Panorama. Gennaio 12-1981. Milano.
Mendonça, Casimiro. Milagre Caseiro, as Fotos da Bahia por um Filho da Terra. Veja. Janeiro 7-1981. São Paulo.
Klintowitz, Jacob. Pierre Verger e Mario Cravo Neto. ISTOÉ. Fev. 6-1980. São Paulo.
Celestino, Antonio. Mario Cravo Neto e Pierre Verger mostram a Bahia sobre a montanha, penetrada de mar. Correio
da Bahia. 2º caderno.Setembro 17-1979. Salvador.
Pontual, Roberto. Bahia, Arte Jovem. Journal do Brasil. Janeiro 26-1976. Salvador.
Amarel, Aracy. Cravo Neto: A Sociedade o Oganica do Amanha. Folha de São Paulo. Nov. 24-1974. São Paulo.
Tavares de Araujo, Olivio. Na era do jato. Maio 23-1973. Salvador.
Kawall, Luis Ernesto. Artes Reportagem. Em Salvador Cravo Neto propostas com agua e fogo. A Tribuna.
Novembro. 5-1972.
Luz, Celina/Bocanera Jillio. A Permanecia de um Oficio.-Mario Cravo Neto, o Exercicio da Disciplina/A Irrupcão da
Natureza, Mario Cravo Neto. Journa do Brasil. Caderno B. Maio 16-1972. Rio de Janeiro.
Camera 35. On the Subway. March 1972. New York.
Para a Eternidade. Veja. Janeiro 19-1972. São Paulo.
Denvir, Bernard. Letter from São Paulo. Art International. November 20-1971.
Uma nova arte nasce com um novo artista. Jornal da Bahia. Outubro 24/25-1971. Salvador.
Ferraz, Geraldo. Aspectos da XI Bienal, Brasil. O Estado de São Paulo. Setembro 12-1971. São Paulo.
Ribeiro, Leogilson. Da natureza ao acrilico. Veja. Junho 1971. São Paulo.
Valadares, Clarival. Cravo Neto. Jornal do Comercio. Agosto 30-1970. Rio de Janeiro.
Valadares, Clarival. Bienal Nacional de Artes Plásticas. Revista da Bahia/Imprensa Oficial. 1967. Salvador.

PRIZES AND AWARDS
2005 Artist of The Year, Associação Brasileira de Críticos de Arte, São Paulo
1997 Prize Waterhouse, Panorama da Arte Brasileira 97/Museu de Arte Moderna de São Paulo, São Paulo
1996 Premio Nacional de Fotografia 1996, Ministerio da Cultura,"FUNARTE", Rio de Janeiro
1995 Best Photographer of the Year, Associação Paulista de Críticos de Arte, São Paulo
1980 Best Photographer of the Year, Associação Paulista de Críticos de Arte, São Paulo
1978 2.nd Prize for Sculpture at PANORAMA 78, Museu de Arte Moderna de São Paulo, São Paulo
1976 CORUJA DE OURO EMBRAFILME, Best Director of Photography of the Year 1976 with the film "UBIRAJARA",
Rio de Janeiro
1971 The Governor of the State of São Paulo Prize for Sculpture, IX Bienal Internacional de São Paulo, São Paulo
1965 Sculpture Prize at the I Bienal de Artes Plásticas da Bahia, Salvador.
BOOKS AND EXHIBITION CATALOGUES THAT INCLUDE MARIO CRAVO NETO
Mostra Pan Africana de Arte Contemporânea. Somewhere Over The Rainbow - La Mer. Texts by Solange Farkas and
others. Sponsored by Fundação Cultural Palmares. Edited by Associação Cultural Video Brasil. São Paulo, 2005.
Mapas Abiertos, Fotografia LatinoAmericana 1991-2002. Texts by Alejandro Castellote, Alejandro Castellanos,
Antonio Molina, Rubens Fernandes Junior. Edited by Alejandro Castellote. Lunwerg Editores, Barcelona, 2004.
Arte Foto, Centro Cultural Banco do Brasil (c. Ligia Canongia), 2002.
Mundos Creados, Latijns-Amerikaanse Fotografie, Noorderlicht Photo Festival 2002, Rotterdan (c. Wim Melis). Edited
by Illand Pietersma, Bert Platzer, Publisher - Stichting Aurora Borealis - Stichting Fotografie Noordelicht, 2002.
Traumwelten, Camerawork, Berlin, 2002
La Mirada - Looking at Photography in Latin America Today - Daros Latin America Collection. Edited by Hans Michael
Herzog, GmbH, Zürich - Switzerland, Edition Oehrli, 2002.
What Were You Thinking, Fifteen Year Anniversary Book. Edited by Achy Obejas, Published by Paper Mirror Press,
Catherine Edelmam Gallery, Chicago, 2002.
Eine Sammlung, Die photographische sammlung des Museu de Arte Moderna de São Paulo. Texts by Rodrigo
Hochfaerber, Rejane Cintrão, Tadeu Chiarelli, Rubens Fernandes Junior. Curators Rodrigo Hochfaerber and
Tadeu Chiarelli. Edited by Museu de Arte Moderna de São Paulo, São Paulo, 2001.
The Nature of Still Life, From Fox Talbot to the Present Day. Edited by Peter Weiermair. Galleria d'Arte Moderna,
Bologna and Electa, Milano, 2001.
5th Bienalle D'art Contemporain de Lyon. Vol. I e II. Curator Jean-Hubert Martin Lyon, France, 2000.
4th Fotofest 2000. Fine Print Auction. Houston, USA, 2000.
Mario Cravo: Deseos, miedos y fantasías del alma brasileña. Text by Enric Mira. Palacio de Aguirres, Cartagena, 2000.
Diálogo Arte Contemporânea Brasil/Equador. Curator Leonor Amarantes. São Paulo, Brasil - Quito, Equador. 2000.
Odense Foto Triennale 2000. Images of the World - Festival of Light. Dance and Portraiture. Edited by Finn Thrane.
Odense, Denmark, 2000.
Mario Cravo Neto. Dans og Portraet. Udgivet af Det NacionalHistoriske Museum Pa Frederiksborg. I samarbejde med
Forlaget Rhodos. Danmark 2000.
Situações da Arte Brasileira- anos 70. Curator Paula Terra e Glória Ferreira. Fundação Casa França-Brasil.
Rio de Janeiro. 2000.
A Quietude da Terra - Vida Cotidiana, Arte Contemporânea e Projeto Axé / Quiet in the Land - Everyday Life,
Contemporary Art and Projeto Axé. Concept by France Morin. Edited by France Morin and John Alan Farmer. Museu de
Arte Moderna da Bahia, Salvador. 2000.
Brasilidades. Curadoria: Paulo Reis. Realização Centro Cultural Light, Rio de Janeiro. 2000.
Mario Cravo Neto. By Jose Benloch. Palacio Aguirre de Cartagena. 2000.
Maria Bibiana do Espírito Santo: Mãe Senhora - Saudade e Memória. Organizado por José Felix dos Santos e Cida
Nóbrega. Salvador: Corrupio Edições e Promoções Culturais. 2000.
Fotografía brasileña contemporánea. Colección Joaquim Paiva. Realización: Embajada del Brasil en La Paz.
Museum Nacional de Arte. La Paz, Bolivia. 2000.
Brasilianische Fotografie, 1946-1998, Labirinto e Identidades. Text by Rubens Fernandes. Edited by Wolfsburg
Kunstmuseum, Wolfsburg. 1999.
The Promise of Photography, The DG Bank Collection. Text by Luminita Sabau. Prestel Verlag. Munich.1999.
Histories D' Oeufs. Text by Michèle Auer. Jean Streff. Editions Ides et Calendes SA. Neuchâtel. 1999.
Gil Luminoso . A poética do ser. Photographs by Mario Cravo Neto and Pierre Verger. Autoria de Bené Fontelles.
Editora da Universidade de Brasília, Brasília. 1999.
A Imagem do Som de Chico Buarque. Volume II. Curadoria Felipe Taborda. Livraria Francisco Alves Editora. Rio de
Janeiro.1999.
Waterproof-À Prova de Água. Autoria de Jorge Calado. Edition Stemmle. First Edition. Lisboa, Portugal. 1998.
Nude Photography. Masterpieces from the past 150 years. Author Peter Cornell Richter. Edited by Judith Gilbert.
Prestel - Verlag. Munich. London. NY. 1998.
A Imagem do Som de Caetano Veloso. Volume I. Curadoria Felipe Taborda. Livraria Francisco Alves Editora.
Rio de Janeiro - Brasil. 1998
Hope Photographs. Edited by Alice Rose George and Lee Marks. Essays by Robert Coles, Reynolds Price and Lionel
Tiger. Thames and Hudson. New York. 1998.
ADAM - The Male Figure in Art. Edward Lucie-Smith. Weidenfeld & Nicolson. The Orion Publishing Group. London,
1998.
Image and Memory, Photography from Latin America, 1866-1994. Author Wendy Watriss. University of Texas Press.
Fotofest. 1998
Canto a La Realidade - Fotografia Latino-Americana (1860-1993). Author Erika Billebi.
ZOOMP. Pequeno Almanaque dos Sentidos. Renato Kherlakian. Texto de José Roberto Toreiro. Zoom Confecções Ltda.
São Paulo. Verão 97/98. Die Anderen Modern. Zeigenössische Kunst aus Africa, Asien und Lateinamerika Author
Alfons Hug. Haus der Kulturen der Welt. Edition Braus. Heidelberg. 1997
Panorama de Arte Atual Brasileira 97. Apres. Milú Villela. Textos de
Tadeu Chiarelli, Rejane Cintrão e Fernando Cocchiarale. São Paulo:
Museu de Arte Moderna de São Paulo, 1997.
Mario Cravo Neto. By Amanda Hopkinson and Peter Gareffa. Contemporary Photographers. Third Edition. St. James
Press. 1995. London.
Critical Focus -Photography in the International Image Community. By A.D Coleman. Letter from: New York. Nazraeli
Press. 1995. München.
Underworld by Kelly Klein. Text by Anne Rice. Condé Nast Books. 1995. London.
American Visions/ Visiones de las Américas. Artistic and Cultural Identity in the Western Hemisphere. Edited by
Noreen Tomassi, Mary Jane Jacob and Ivo Mesquita. New York, NY. 1994.
Dictionnaire Mondial de Photographie -Des Origines á nos Jours. Larousse. 1994. Paris.
The Witkin Gallery 25. By Peter Bunnell. Lumiere Press. 1994. New York.
Mario Cravo Neto. By Amanda Hopkinson. A Hidden View. Images of Bahia, Brazil. Frontline States Limited / BCA .
1994.
Contemporary Brazilian Photography. By Paulo LonHerkenhoff. Brasiliana de Frankfurt. C.B.L. 1994. São Paulo.
Tradition and the Unpredictable. By Tucher, Alleti, Chasanoff, Traub. The Allan Chasanoff Photografic Collection. The
Museum of Fine Arts. 1994. Houston. (Exhibition catalogue).
A la recherche du pere. By Viviane Esders. Paris Audiovisuel. 1993. Paris.
Scars of our Inheritance , Mario Cravo Neto. By Susan Anderson. Body to Earth - Three Artists from Brazil -Cildo
Meireles, M.C.N., Tunga. (Exhibition Catalogue). Jan. 13-1993. Los Angeles.
Splendeurs et misères du corps. Mois de la Photo. Text by P. Borhan. Paris Audiovisuel, Paris. 1988.
Em torno da Fotografia no Brasil. By Pietro Maria Bardi. 1987. São Paulo.
Mario Cravo Neto. Mario Cravo Junior. Idea Books Edizione. (Exhibition catalogue). Palazzo Fortuny. 1987. Milano.
Encyclopédie Internationale des Photographes, 1939-1984. By Michel Auer. Editions Camera Obscura. 1984. Berne.
Historia Geral das Artes no Brasil. Vol. II. By Walter Zanini and Boris Kossoy. 1983. São Paulo.
Mario Cravo Neto. By Carole Naggar. Encyclopédie Internationale des Photographes. Edition de Seuil. 1982. Paris.
Dal Brasile -Fotografie di Mario Cravo Neto. By Giuliana Scime. SICOF '81. Milano. 1981.