CV
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| Born 1970 | |
| Lives and works in Brooklyn, NY | |
| Education | |
| 1996 | Whitney Museum Independent Study Program, New York, NY |
| 1994 | Brown University, Providence, RI, BA |
| Solo and Two-person Exhibitions | |
| 2024 | Tripartite, James Harris Gallery, Dallas, TX |
| 2022 | Parts to Whole, Sikkema Jenkins and Co., New York, NY |
| 2019 | György Kepes/Cameron Martin, Sikkema Jenkins and Co., New York, NY |
| Signals, M and B, Los Angeles, CA | |
| 2018 | New Congress, James Fuentes, New York, NY |
| 2017 | Reticulations, Van Doren Waxter, New York, NY (catalogue) |
| Abstracts, University Art Museum, SUNY Albany, Albany, NY (catalogue) | |
| James Harris Gallery, Seattle, WA | |
| 2016 | Cameron Martin/Molly Zuckerman-Hartung, The Suburban, Milwaukee, WI |
| Galerie Nikolaus Ruzicska (project room), Salzburg, Austria | |
| 2014 | James Harris Gallery, Seattle, WA |
| 2012 | Galerie Nikolaus Ruzicska, Salzburg, Austria |
| 2011 | Bracket, Greenberg Van Doren Gallery, New York, NY (catalogue) |
| 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 | Focus 3: Cameron Martin, Philbrook Museum of Art, Tulsa, OK |
| Currents 97: Cameron Martin, Saint Louis Art Museum, Saint Louis, MO | |
| 2005 | Works on Paper, Greenberg Van Doren Gallery, New York, NY (catalogue) |
| Law of Ruins, G Fine Art, Wahington D.C. | |
| 2004 | A Turn Pale, Gallery Min Min, Tokyo, Japan (catalogue) |
| 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 (catalogue) |
| 2001 | New Paintings, Kevin Bruk Gallery, Miami, FL |
| 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 | |
| 2024 | Healing, Sikkema Jenkins and Co., New York, NY |
| Strange Sensation, FOYER LA, Los Angeles, CA< | |
| 2023 | 50 Paintings, Milwaukee Art Museum, Milwaukee, WI |
| Charlotte Giacobbi, Cameron Martin, Danni Pantel, Vincent Szarek, Galerie Nikolaus Ruzicska, Salzburg, Austria | |
| Moment Momentum, James Harris Gallery, Dallas, TX | |
| Hypervision, Magenta Plains, New York, NY | |
| Melvins, Public Access, New York, NY | |
| 2022 | Ceramics Club, White Columns, New York, NY |
| Pressing Innovation: Printing Fine Art in the Upper Midwest, Chazen Museum of Art, Madison, WI | |
| 2021 | Arturo Herrera, Brenda Goodman, Cameron Martin, Sikkema Jenkins and Co., New York, NY |
| The Contemporary Print: Highpoint Editions at 20, Minneapolis Institute of Art, Minneapolis, MN | |
| Un-fair, Sikkema Jenkins and Co., New York, NY | |
| 2020 | Affinities and Outliers: Highlights from the University at Albany Art Collection, University Art Museum, SUNY Albany, Albany, NY |
| Volcano!, Portland Museum of Art, Portland, OR | |
| 2019 | Friends and Family, Peter Mendenhall Gallery, Pasadena, CA, curated by Keith Mayerson |
| 20 by 20, James Harris Gallery, Seattle, WA | |
| Notebook, 56 Henry, New York, NY, curated by Joanne Greenbaum | |
| 2018 | 4 x 4, Addison Gallery of American Art, Andover, MA |
| Gaze, Van Doren Waxter, New York, NY | |
| Formal Matters, James Harris Gallery, Seattle, WA | |
| 2017 | Collect, Soloway, Brooklyn, NY |
| When We Were Young: Rethinking Abstraction From the University at Albany Art Collections (1967-present), University Art Museum, SUNY Albany, Albany, NY |
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| 2016 | Utopia Banished, Angela Meleca Gallery, Columbus, OH |
| Foundation Barbin Presents: Redux (Sort of), Kai Matsumiya Gallery, New York, NY | |
| 2015 | sorry, i’ve been trying to teach peacock how to act, Rachel Uffner Gallery, New York, NY |
| Influence, Kleinert/James Center for the Arts, Woodstock, NY | |
| Exquisite (with Amy Sillman and Henry Chapman), LABspace, Hillsdale, NY | |
| 2014 | Fixing a Hole, Koenig and Clinton, 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, Boston, 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, Innsbruck, Austria |
| Highpoint Editions- Decade One, Minneapolis Institute of Art, Minneapolis, MN | |
| After Destiny: The Contemporary American Landscape, Flanders Gallery, Raleigh, NC (catalogue) | |
| Make Skateboards, I-20 Gallery, New York, NY | |
| Waiting Ground, Kate Werble Gallery, New York, NY, curated by Heather Rowe and Tommy White (catalogue) | |
| Reclaimed: Nature and Place Through Contemporary Eyes, Seattle Art Museum, Seattle, WA | |
| Surveyor, Albright Knox Art Gallery, Buffalo, NY | |
| 2010 | Art on PaperBiennial, Weatherspoon Art Museum, Greensboro, NC |
| roundabout, City Gallery Wellington, New Zealand, traveling to the Tel Aviv Museum, Tel Aviv, Israel (catalogue) | |
| Force of Nature, The Horticultural Society of New York, New York, NY | |
| Grass Grows By Itself, Marlboro Gallery, New York, NY, curated by Sima Familant | |
| Guatavita, Eleven Rivington, New York, NY | |
| Swell: Art1950-2010, Friedrich Petzel Gallery, 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 | In Monet’s Garden, Columbus Museum of Art, Columbus, OH, traveling to the MusŽe Marmottan, Paris, France (catalogue) |
| Back to Nature, Galerie Ruzicska, Salzburg, Austria | |
| Neointegrity, Derek Eller Gallery, New York, NY | |
| Microwave 5, JosŽe 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 | 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 Forma, Howard House Contemporary Art, Seattle, WA | |
| Short Stories: Contemporary Selections, Henry Art Gallery, Seattle, WA | |
| 2004 | Whitney Biennial, Whitney Museum of American Art, New York, NY (catalogue) |
| Wayne Gonzales, Bill Adams, Cameron Martin, KS Art, New York, NY | |
| Stay Inside, Shoshana Wayne Gallery, Santa Monica, CA | |
| Colored Pencil, KS Art, New York, NY | |
| New Prints 2004/Winter, International Print Center New York, New York, NY | |
| 2003 | Giverny, Salon 94, New York, NY |
| Nature Boy, Elizabeth Dee Gallery, New York, NY curated by Doug Wada | |
| Melvins, Anton Kern Gallery, New York, NY, curated by Bob Nickas | |
| How Come, Stux Gallery, New York, NY, curated by Max Henry | |
| City Mouse/Country Mouse, Space 101, Brooklyn, NY, curated by David Hunt | |
| 2002 | Contemporary Art Project Collection, Seattle Art Museum, Seattle, WA (catalogue) |
| Everybody Knows This is Nowhere, Kevin Bruk Gallery, Miami, FL | |
| Painting and Illustration, Luckman Gallery, California State University, Los Angeles, CA, curated by Adam Ross | |
| Linger, Artemis Greenberg Van Doren Gallery, New York, NY | |
| The Sea, the Sea, Glen Horowitz Bookseller, East Hampton, NY | |
| Guide to Trust No. 2, Yerba Buena Center for the Arts, San Francisco, CA, curated by ANP (catalogue) | |
| 2001 | Three Painters: Eva Lundsager, Cameron Martin, Louise Belcourt, Lawrence Rubin, Greenberg Van Doren Fine Art, New York, NY |
| 2000 | Twice Born: Beauty, Mills Gallery, Boston Center for the Arts, Boston, MA |
| 3ness, Museum Dhondt-Dhaenens, Deurle, Belgium, curated by Dike Blair, Jimi Dams and Edith Doove (catalogue) | |
| Shifting Ground: Transformed Views of the American Landscape, Henry Art Gallery, Seattle, WA, (catalogue) | |
| Flat File, Bellwether Gallery, Brooklyn, NY | |
| 1999 | Other Paintings, Huntington Beach Art Center, Huntington Beach, CA, curated by Julie Joyce |
| Another Country, Lawrence Rubin Greenberg Van Doren Fine Art, Brent Sikkema, New York, NY | |
| Air Hockey, Howard House, Seattle, WA | |
| Antiworld, Gallery Untitled, Dallas, TX | |
| 1998 | Open, Tate, New York, NY |
| Landscapes, Meyerson Nowinski Gallery, Seattle, WA | |
| 1997 | Apartments, Artra, Milan, Italy |
| 1996 | 1996A, Holly Solomon Gallery, New York, NY |
| Images Lost and Found, Chassie Post Gallery, New York, NY | |
| 1995 | Northwest Annual, Center on Contemporary Art, Seattle, WA |
| 1994 | Home, The Bellevue Art Museum, Bellevue, WA |
| Awards | |
| 2010 | John Simon Guggenheim Memorial Foundation Fellowship |
| 2008 | Joan Mitchell Foundation Fellowship |
| 2006 | Steep Rock Arts Residency, Washington, CT |
| 2005 | Freund Fellowship, Washington University, Saint Louis, MO |
| 2001 | Artists at Giverny Fellowship and Residency, France |
| 2000 | Pollock-Krasner Foundation Award |
| 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 | |
| Portland Art Museum, Portland, OR | |
| 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 | |
| Bibliography | |
| 2022 | Lindquist, Greg, “Parts to Whole”, The Brooklyn Rail, May |
| Agustin, Hannah Keziah. “‘Pressing Innovation’ Tracks 50 Years of Printmaking History in the Upper Midwest.” Tone Madison, 14 March | |
| Hudson, Suzanne, “Close-Up: Within Limits.” Artforum April 2022: 190-3 | |
| 2019 | Scott, Andrea, “At the Galleries: Cameron Martin”, The New Yorker, January 14, p.5 |
| 2017 | Kane, Tim, “Two Different Perspectives”, Albany Times Union, August 17 |
| Shane, Robert R., “Cameron Martin: Abstracts and Reticulations”, the Brookly Rail, September |
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| “Cameron Martin”, The New Yorker, August 28, p.12 | |
| Kangas, Matthew, “Cameron Martin at James Harris”, Visual Art Source, May | |
| 2016 | Regensburger, Jeff, “Utopian Banished at Angela Meleca Gallery”, Columbus Underground, October 17 |
| Tonguette, A, “What the future might hold”, Columbus Dispatch, October 14 | |
| 2013 | Hirsch, Faye, “Cameron Martin”, Art in Print, Volume 2, Number 5 |
| Wetzler, Rachel, “Cameron Martin’s Nonspecific Landscapes”, Rhizome.blog, April 16 | |
| 2012 | Corbett, Rachel, “Armory Show 2012”, Artnet Magazine, March 8 |
| 2011 | White, Amy,”New American Landscapes at Flanders”, Independent Weekly, p. 25, August |
| “Cameron Martin”, The New Yorker, April 25 | |
| Wilson, Michael, “Cameron Martin, ‘Bracket’,” Time Out New York, April 4 | |
| White, Roger, “Immersive Uptown Gallery Experience”, Paper Monument, March | |
| Schwendener, Martha, “The Badass and the 30 Year Hallucination”, The Village Voice, Mach 9, p. 29 | |
| Lindquist, Greg, “In Conversation: Cameron Martin with Greg Lindquist”, The Brooklyn Rail, March, p. 26-28 | |
| Bollen, Chris, “Mountain Man”, Interview, March, p. 98 | |
| 2010 | Blind Spot, Issue 42, collaborative project with Miranda Lichtenstein, curated by Liz Deschenes |
| Laster, Paul, “Grass Grows by Itself”, Time Out New York, August 19-25 | |
| 2009 | Wright, Jeffrey Cyphers, “Rapid Transit: Cameron Martin: Analogue”, Brooklyn Rail, April |
| Fitchner, Brian, “Cameron Martin: Analogue”, coolhunting.com, April 1 | |
| 2008 | Komarek, Eva, “Cameron Martin- Natur verbunden”, Wirtschafts Blatt Kompact, March 14, p. 18-19 |
| Mendelsohn, Adam, “Reviews Marathon- Cameron Martin”, Art Review, February, p. 63 | |
| Rosenberg, Karen, “Art in Review: Eclipse”, The New York Times, January 4, p. E37 | |
| 2007 | Weiner, Emily, “Review- Eclipse”, Time Out New York, December 27-January 2, p. 71 |
| “Cameron Martin: Eclipse”, The New Yorker, December 17 | |
| Blair, Dike, “Editor’s Choice: Cameron Martin”, Bomb Magazine, Fall Issue, pg. 14 | |
| 2006 | Watts, James, “Impermanent Illusions”, Tulsa World, June 27, p. D3 |
| Bonetti, Davis, “Landscapes Lack People and Power”, Saint Louis Post Dispatch, April 2 | |
| Bonetti, Davis, “Best Bets”, Saint Louis Post Dispatch, March 23 | |
| 2005 | “Cameron Martin: Works on Paper”, The New Yorker, October 31 |
| 2004 | Price, Matt, “Mixed Paint- A Survey of Contemporary Painters”, Flash Art, Nov/Dec, p. 93 |
| “Reinstating the Draft- Portraits of Painters”, V Magazine, Vol 31, Fall | |
| Kimmelman, Michael, “Whitney’s Heavy Lifters Look Back”, The New York Times, May 30, p.22 Section 2 | |
| Kim, Sheila, “Investing in Lever House”, Interior Design, May, p. 188 | |
| Sundell, Margaret, “The Today Show: the Whitney sums up contemporary art in best biennial in years”, Time Out New York, March 25-April 1, p. 56 |
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| Saltz, Jerry, “The Okay Corral”, Village Voice, March 15-21, p. 86 | |
| Goodbody, Bridget, “Review- Clear Skies”, Time Out New York, February 5-12, p. 58 | |
| “Clear Skies”, The New Yorker, February 2, p. 15 | |
| Figura, Starr, “The Random and the Ordered”, Artnet, January 29 | |
| Douglas, Sarah, “United States: our selection A-Z”, The Art Newspaper, January | |
| 2003 | Reed, John, “Review- Giverny”, Time Out New York, July 24-31, p.46 |
| Tamashige, Sachiko, “Real Tokyo”, Souen, July, p. 100 | |
| “Navigation”, Brutus, July, p.110 | |
| “Complex- Ropongi”, Bijutsu-Techno, June, p.151 | |
| Hackett, Regina, “Contemporary Art Project at SAM”, Seattle Post Intelligencer, January 3 | |
| 2002 | “The Artfull Lodger”, Elle DŽcor, November |
| Landi, Ann, “The Power of Suggestion”, Art News, Summer | |
| “Planes”, Artist Project, Open City, Spring/Summer, vol. 15, p. 49-58 | |
| Johnson, Ken, “Art in Review: Standstill”, The New York Times, April 12, p. E36 | |
| Griffin, Tim, “Review- Standstill”, Time Out New York, April 11-18, p. 71 | |
| “Standstill”, The New Yorker, April 1 and April 8 | |
| 2001 | Bayliss, Sarah, “Best Bets”, Art News, July |
| Grant, Adriana, “Nature as Icon”, Art Access, May, p.13-14 | |
| Ocana, Damarys, “Rock and an art place”, The Miami Street, March 16-22, p.50 | |
| Finkel, Jori, “Review- Three Painters”, Time Out New York, February 8-15, p.63 | |
| “Three Painters”, The New Yorker, January 29, p.17 | |
| 2000 | Temin, Christine, “Twice Born at BCA”, The Boston Globe, September 27 |
| Silver, Joanne, “And now something different”, Boston Herald, August 11 | |
| Laureyns, Jeroen, “3ness- Licht, luchtig en vulchtig”, De Standaard, August | |
| DeVuono, Frances, “Shifting Ground at the Henry Gallery”, Artweek, May, p.31 | |
| McCabe, Brett, “Art About Art: the works of Scott Reeder and Cameron Martin” | |
| The Met, April 12-19, p. 27 | |
| Fredericksen, Eric, “Real Real Estate: Shifting Ground at Henry”, The Stranger, March 2-8 | |
| Kofoed, Kristian, “Changing land values- imaginative exhibit at Henry Gallery” | |
| Seattle Post Intelligencer, February 17, p. C4 | |
| 1999 | Walsh, Daniella, “A well-crafted but cold exhibit”, Orange County Register, October 31 |
| Chambers, Christopher, “Cameron Martin at Tate”, dART International, Spring/Summer | |
| Blair, Dike, “Cameron Martin at Tate”, The Thing, March/April | |
| Mitchell, Charles D, “Antiworld at gallery: untitled”, The Dallas Morning News, March 26 | |
| Hackett, Regina, “Beneath Martin’s Gray Surfaces, Flashes of Romance” | |
| The Seattle Post Intelligencer, March 15, p.D1 | |
| Rose, Cynthia, “An Artist Returns”, The Seattle Times, March 5, p.E5 | |
| 1998 | Di Rado, Elena, “N.S.E.O.”, Tema Celeste, January-March, p.63 |
| 1995 | Hackett, Regina, “COCA Puts Shabby Past Behind It” |
| The Seattle Post-Intelligencer, April, 3, p.E1 | |
| Publications | |
| Element 47-The Art Collection, essay by Barbara Bloemink, Patrick Seymore, 2014 | |
| Tandem Press: 25 Years of Printmaking, essay by Faye Hirsch, Chazen Museum of Art, University of Wisconsin-Madison, 2013 | |
| Mythos Berg- Das Alpine in Der Aktuellen Kunst, essay by Michael Rainer, RLB KunstbrŸck, 2012 | |
| Cameron Martin: Bracket, exhibition catalogue, interview with Amy Sillman, Greenberg Van Doren Gallery 2011 | |
| Can I Come Over to Your House?- The First 10 Years of the Suburban, Poor Farm Press, 2010 | |
| Cameron Martin: analogue, essays by Martha Schwendener and Alexander Dumbadze, 144 pages, GHava{press}, 2009 | |
| Eclipse, exhibition catalogue, essay by Andrea Scott, Greenberg Van Doren Gallery, 2007 | |
| In Monet’s Garden, exhibition catalogue, essays by Joe Houston, M. Melissa Wolfe and James Yood, Scala, 2007 | |
| Focus 3: Cameron Martin, exhibition brochure, interview with Catherine Morris, Philbrook Museum, 2006 | |
| Currents 97: Cameron Martin, exhibition brochure, essay by Robin Clark, Saint Louis Art Museum, 2006 | |
| Selections from the John Morrissey Collection, exhibition catalogue, essay by John Morrissey, Armory Art Center, 2006 | |
| Works on Paper: Cameron Martin, “Arbor Consanguinitatis”, story by Thad Ziolkowski, Greenberg Van Doren Gallery, 2005 | |
| Cameron Martin, catalogue essay by Martha Schwendener, Gallery Min Min, 2004 | |
| 2004 Whitney Biennial Catalogue, “The Way Things Never Were: Nostalgia’s Possibilities and the Unpredictable Past”, essay by Debra Singer; artist project |
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| The Contemporary Art Project Collection, “What Ifs: Constructed Identities and Imaginary Places in the Contemporary Art Project Collection”, exhibition catalogue essay Tara Reddy Young, Seattle Art Museum, 2002 |
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| Standstill, Introduction by Jeanne Greenberg Rohatyn, essay by Dike Blair, Artemis Greenberg Van Doren Gallery, 2002 | |
| Guide to Trust No. 2, exhibiton catalogue, Yerba Buena Center For the Arts, 2002 | |
| 3ness, “Some thoughts, 3 things and 9 artists”, exhibition catalogue essay by Dike Blair, Museum Dhondt-Dhaenens, 2000 | |
| Shifting Ground: Transformed Views of the American Landscape, “New Frontiers: Secondhand Landscape”, exhibition catalogue essay by Rhonda Lane Howard, Henry Art Gallery Press, 2000 |
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| Writing by the artist | |
| “Painting Has Issues”, Paper Monument, Volume 4, Fall 2013 | |
| “Interview with Robert Bordo”, Alexander and Bonin Gallery and the Brooklyn Rail, April 2013 | |
| “Amy Sillman: One Lump or Two”, Artforum, September 2013 | |
| “Cheyney Thompson”, Artforum, January 2012 | |
| “Dike Blair”, Artforum , May 2010 | |