KATY MARTIN is visual artist whose work combines painting, photography and performance.   She also makes film and video.

Her work has been exhibited - nationally and internationally - at Galerie Arnaud Lefebvre (Paris); Anthology Film Archives, Saint Peter’s Church, The Museum of Modern Art, PPOW Gallery, The Clemente, The Painting Center and Tribeca Film Festival (New York); The Sackler/Harvard Art Museums (Boston); Alexander/Heath (Virginia): Light Cone Scratch Projections (Paris); GalerieForum Am Meer (Berlin); Green Dog Arts (Belfast, N. Ireland); The Shanghai Duolun Museum and the Art Museum of Shanghai University.

She is represented by Galerie Arnaud Lefebvre, Paris. Awards include a film preservation by Anthology Film Archives and a grant from the National Endowment for the Arts.

Katy is also part of the Meeting Point Project, a collaboration with three Paris artists (since 2012); and she has a weekly photo exchange with a Berlin artist/filmmaker (since 2011).


Katy has an in-depth interest in Chinese painting. For her, it’s been a way to open up gestural abstraction.

She first traveled to China, in 2005, to show her films at the Shanghai Duolun Museum. Between 2005-2010, working in collaboration with a Shanghai film curator, she programmed American film/video in China (at MoCA Shanghai), was a regular contributor to a top Chinese art magazine (Yishu Shijie), and curated Chinese media art in the US (at Thomas Erben Gallery and Anthology Film Archives).

In 2016, Katy was an artist-in-residence in the Chinese painting department at the College of Fine Art, Shanghai University. In 2008, through Artists Exchange International, she was invited by the Metropolitan Museum of Art to create a new work based on an object in their collection. She chose “Fish and Rocks” by the Chinese painter, Bada Shanren, and she’s been influenced by his art ever since.

Also, between 1978-1981, she made two films about Jasper Johns and the silkscreen print process.  The films have shown widely and the soundtrack interview has been published several times.

What’s stayed with Katy as an influence is this: Jasper uses one art form to open up another, for example by using strategies that are better suited to printmaking to make his paintings. Over the years, Katy’s art has developed as a hybrid form where painting takes place within the context of photography, and performance allows for the act of painting.

In 1974, Katy wrote an analysis of the puns in Marcel Duchamp’s film, Anémic-Cinéma, that was published in Studio International (London).