CAMERON MARTIN
American, born 1970
Lives and works in New York
EDUCATION
1996 Whitney Museum Independent Study Program, New York, NY
1994 BA, Semiotics, Brown University, Providence, RI
SELECTED SOLO EXHIBITIONS
2013 Galerie Nikolaus Ruzicska, Salzburg, Austria
2011 “Bracket,” Greenberg Van Doren Gallery, New York, NY
2009 “Ski Dubai,” The Suburban, Oak Park, IL
2008 Gallery Min Min, Tokyo, Japan
Galerie Nikolaus Ruzicska, Salzburg, Austria
2007 “Eclipse,” Greenberg Van Doren Gallery, New York, NY (catalogue)
Eleven Rivington, New York, NY
2006 “Currents 97: Cameron Martin”, Saint Louis Art Museum, St. Louis, MO
Focus 3: Cameron Martin, Philbrook Museum of Art, Tulsa, OK
2005 “Works on Paper,” Greenberg Van Doren Gallery, New York, NY
“Law of Ruins,” G Fine Art, Washington DC
2004 “A Turn Pale,” Gallery Min Min, Tokyo, Japan
“Clear Skies,” Artemis Greenberg Van Doren Gallery, New York, NY
2003 “Never Rider,” Gallery Min Min, Tokyo, Japan
2002 “Standstill,” Artemis Greenberg Van Doren Gallery, New York, NY
2001 “New Paintings,” Kevin Bruk Gallery, Miami, FL
“Three Pictures,” Howard House, Seattle, WA
2000 “Cameron Martin,” Angstrom Gallery, Dallas, TX
1999 “Future Views,” Tate, New York, NY
“The Future Lasts Forever,” Howard House, Seattle, WA
SELECTED GROUP EXHIBITIONS
2022 “The Enduring Print,” Atrium Gallery, St. Louis, MO
2015 “Wintry Mix,” Atrium Gallery, St. Louis, MO
2014 “Summer Rotation,” Atrium Gallery, St. Louis, MO
“Fixing a Hole,” Clinton and Koenig, New York, NY
“Delusion/Illusion,” Galleri Haaken, Oslo, Norway
“Monochromatic,” Triumph and Disaster, Montgomery, AL
2013 “White House,” Galerie Clemens Gunzer, Zurich, Switzerland
“Decade One: Highpoint Editions,” Sherman Gallery, Boston University, MA
“How You Gonna Get Back to Jersey?,” Planthouse, New York, NY
“Black Rabbit, White Hole,” Samuel Freeman Gallery, Los Angeles, CA
2012 “25 Years of Tandem Press,” Chazen Museum, Madison, WI (catalogue)
2011 “Mythos Berg,” RLB Kunstbruecke, Inssbruck, Austria
“Highpoint Editions—Decade One,” Minneapolis Institute of Art, Minneapolis, MN
“After Destiny,” Flanders Gallery, Raleigh, NC
“Make Skateboards,” I-20, New York, NY
“Waiting Ground,” Kate Werble Gallery, New York, NY
“Accrochage,” Galerie Nikolaus Ruzicska, Salzburg, Austria
“Reclaimed,” Seattle Art Museum, Seattle, WA
“Surveyor,” Albright Knox Art Gallery, Buffalo, NY
“Landscape,” Atrium Gallery, St. Louis, MO
2010 “Prints,” Atrium Gallery, St. Louis, MO
“Art on Paper Biennial,” Weatherspoon Art Museum, Greensboro, NC (catalogue)
“roundabout,” City Gallery Wellington, New Zealand (catalogue)
“Force of Nature,” The Horticultural Society of New York, New York, NY
“Guatavita,” Eleven Rivington, New York, NY
“Grass Grows By Itself,” Marlboro Gallery, New York, NY, curated by Sima Familant
“Swell: Art 1950-2010,” Friedrich Petzel, New York, NY
2009 “edia Int’l Group,” Foundation Barbin, New York, NY
“Uncharted,” University at Albany Art Museum, Albany, NY
“Infinitesimal Eternity: Images Made in the Face of Spectacle,” Yale School of Art, New Haven, CT (catalogue)
“Untitled (A Brink of Infinity),” Western Bridge, Seattle, WA
2008 “Gray,” Dinter Fine Art, New York, NY
“Water,” G Fine Art, Washington D.C.
“The Group Exhibition,” Gallery Min Min, Tokyo, Japan
2007 “Body / Spirit,” Atrium Gallery, St. Louis, MO
In Monet’s Garden, Columbus Museum of Art, Columbus, OH, traveling to the Musée Marmottan, Paris, France (catalogue)
Back to Nature, Galerie Ruzicska, Salzburg, Austria
Neointegrity, Derek Eller Gallery, New York, NY
Microwave 5, Josée Bienvenu Gallery, New York, NY
Shipworm and Gribble, Secret Project Robot, Brooklyn, NY
Back East, Mandrake, Los Angeles, CA
New Prints 2007/Spring, International Print Center New York, New York, NY
Melvins, Mandrake, Los Angeles, CA
Water, Ferragamo Gallery, New York, NY
2006 “Paper, Paper,” Atrium Gallery, St. Louis, MO
Ruth Root, Alex Brown, Cameron Martin, Sally Ross, Gallery Min Min, Tokyo, Japan
Pop and After, Saint Louis Art Museum, Saint Louis, MO
Tandem Press Highlights 1995-2005, Chazen Museum of Art, Madison, WI
Selections from the John Morrissey Collection, Armory Art Center, West Palm Beach, FL (catalogue
2005 “Structure,” Lucas Schoormans Gallery, New York, NY
“No Facsimile,” Florescent Gallery, Knoxville, TN
“Terra Non Firma,” Howard House, Seattle, WA
“Short Stories: Contemporary Selections,” Henry Art Gallery, Seattle, WA
2004 “Stay Inside,” Shoshana Wayne Gallery, Santa Monica, CA
“Whitney Biennial,” Whitney Museum of American Art, New York, NY
“New Prints 2004/Winter,” International Print Center, New York, NY
2003 “Giverny,” Salon 94, New York, NY
“Nature Boy,” Elizabeth Dee Gallery, New York, NY
“City Mouse/Country Mouse,” Space 101, Brooklyn, NY
2002 “Contemporary Art Project Collection,” Seattle Art Museum, WA
“Everybody Knows This Is Nowhere,” Kevin Bruk Gallery, Miami, FL
“Linger,” Artemis Greenberg Van Doren Gallery, New York, NY
“Guide to Trust No. 2,” Yerba Buena Center for the Arts, San Francisco, CA
2001 “Three Painters: Eva Lundsager, Cameron Martin, Louise Belcourt,” Lawrence Rubin Greenberg Van Doren Fine Art, New York, NY
2000 “3ness,” Museum Dhondt-Dhaenens, Deurle, Belgium
“Shifting Ground, Transformed Views of the American Landscape,” Henry Art Gallery, Seattle, WA
1999 “Other Paintings,” Huntington Beach Art Center, CA
1998 “Open,” Tate, New York, NY
1997 “Apartments,” Artra, Milan, Italy
1996 “1996A,” Holly Solomon Gallery, New York, NY
1995 “Northwest Annual,” Center on Contemporary Art, Seattle, WA
1994 “Home,” Bellevue Art Museum, WA
AWARDS
2010 John Simon Guggenheim Memorial Foundation Fellowship
2008 Joan Mitchell Foundation Fellowship
2006 Steep Rock Arts Residency, Washington, CT
2005 Freund Teaching Fellowship, Washington University, St. Louis, MO
2001 Artists at Giverny Fellowship and Residency, France
2000 Pollock-Krasner Foundation Award
1994 Samuel T. Arnold Fellowship
PUBLIC COLLECTIONS
Addison Gallery of American Art, Andover, MA
Albright Knox Art Gallery, Buffalo, NY
Cleveland Museum of Art, OH
Henry Art Gallery, Seattle, WA
Minneapolis Institute of Art, MN
Philbrook Museum, Tulsa, OK
Saint Louis Art Museum, MO
Seattle Art Museum, WA
University of Wisconsin, Madison, WI
U.S. State Department Art Bank Program, Washington DC
Whitney Museum of American Art, New York, NY
Selected Bibliography: Books and Catalogues
2011 Cameron Martin: Bracket, exhibition catalogue, interview with Amy Sillman, Greenberg Van Doren Gallery
2010 Can I Come Over to Your House? The First 10 Years of the Suburban, Poor Farm Press
2009 Cameron Martin: analogue, essays by Martha Schwendener and Alexander Dumbadze, GHava{press}
2007 Eclipse, exhibition catalogue, essay by Andrea Scott, Greenberg Van Doren Gallery
In Monet’s Garden, exhibition catalogue, essays by Joe Houston, M. Melissa Wolfe and James Yood, Scala
2006 Focus 3: Cameron Martin, exhibition brochure, interview with Catherine Morris, Philbrook Museum
Currents 97: Cameron Martin, exhibition brochure, essay by Robin Clark, Saint Louis Art Museum
Selections from the John Morrissey Collection, catalogue essay by John Morrissey, Armory Art Center
2005 Thad Ziokowski. Cameron Martin, Works on Paper. New York: Greenberg Van Doren Gallery
2004 Martha Schwendener. Cameron Martin. Tokyo: Gallery Min Min
Chrissie Iles et al. 2004 Biennial Exhibition. New York: Whitney Museum of American Art
2002 Tara Reddy Young. The Contemporary Art Project Collection. Seattle: Seattle Art Museum
Dike Blair. Standstill. New York: Artemis Greenberg Van Doren Gallery
Guide to Trust No. 2. San Francisco: Yerba Buena Center for the Arts
2000 Dike Blair. 3ness. Deurle, Belgium: Museum Dhondt-Dhaenens
Rhonda Lane Howard. Shifting Ground: Transformed Views of the American Landscape. Seattle: Henry Art Museum
Selected Bibliography: Articles and Reviews
2013 Wetzler, Rachel, “Cameron Martin’s Nonspecific Landscapes”, Rhizome Journal, April 16
Hirsch, Faye, “Cameron Martin”, Art in Print, Volume 2, Number 5
2012 Rachel Corbett, “Armory 2012,” Artnet Magazine, March 8
2011 Chris Bollen, “Mountain Man,” Intervie, March, p. 98
“Cameron Martin,” The New Yorker, April 25
Greg Lindquist, “In Conversation: Cameron Martin with Greg Lindquist,” The Brooklyn Rail, March, p. 26-28
Martha Schendener, “The Badass and the 30 Year Hallucination,” The Village Voice, March 9, p. 29
Roger White, “Immersive Uptown Gallery Experience,” Paper Monument, March
Michael Wilson, “Cameron Martin, ‘Bracket’,” Time Out New York, April 4
Amy White, “New American Landscape at Flanders, “ Independent Weekly, August, p. 25
2010 Blind Spot, Issue 42, collaborative project with Miranda Lichtenstein, Liz Deschenes, editor
Paul Laster, “Grass Grows by Itself,” Time Out New York, August 19-25
2009 Brian Fitchner, “Cameron Martin: Analogue,” coolhunting.com, April 1
Jeffrey Cyphers Wright, “Rapid Transit: Cameron Martin: Analogue,” Brooklyn Rail, April
2008 Eva Komarek, “Cameron Martin—Natur verbunden,” Wirtschafts Blatt Kompact, March 14, p. 18-19
Adam Mendelsohn, “Reviews Marathon—Cameron Martin,” Art Review, February, p. 63
Karen Rosenberg, “Art in Review: Eclipse,” New York Times, January 4, p. E37
2007 Dike Blair, “Editor’s Choice: Cameron Martin,” Bomb Magazine, Fall Issue, p. 14
“Cameron Martin: Eclipse,” The New Yorker, December 17
Emily Weiner, “Review—Eclipse,” Time Out New York, December 27-January 2, p. 71
2006 Davis Bonetti, “Best Bets,” Saint Louis Post Dispatch, March 23
Davis Bonetti,” Landscapes Lack People and Power,” Saint Louis Post Dispatch, April 2
James Watts, “Impermanent Illusions,” Tulsa World, June 27, p. D3
2005 “Cameron Martin: Works on Paper,” The New Yorker, October 31
2004 Margaret Sundell. "The Today Show: The Whitney Sums up the State of Contemporary Art in the Best Biennial in Years." Time Out New York, March 25-April 1, p. 56
Bridget Goodbody. "Cameron Martin: Clear Skies." Time Out New York, February 5-12, p. 58
2003 John Reed. "Review—Giverny" Time Out New York, July 24-31, p. 46
2002 Ken Johnson. "Art in Review: Standstill." The New York Times, April 12, p. 36
Tim Griffin. "Review—Standstill." Time Out New York, April 11-18, p. 71
2000 Frances DeVuono. "Shifting Ground at the Henry Gallery." Artweek, May, p. 31