KATY MARTIN is visual artist whose work combines painting, photography and performance. She also makes film and video.
Her work has been exhibited at Galerie Arnaud Lefebvre and Light Cone (Paris); The Museum of Modern Art, Anthology Film Archives, Saint Peter’s Church, The Clemente, PPOW Gallery, The Painting Center and The Tribeca Film Festival (New York); Alexander/Heath Contemporary (Virginia); The Harvard Art Museums (Boston); GalerieForum Am Meer (Berlin); Green Dog Arts (N. Ireland); and The Shanghai Duolun Museum and The Art Museum of Shanghai University. Awards include a residency in the Chinese painting department at Shanghai University, a film preservation by Anthology Film Archives and a fellowship from the National Endowment for the Arts.
Long-term collaborations include performance projects with three Paris artists (since 2012), a weekly photo exchange with a Berlin artist (since 2011) and curatorial projects with a Shanghai film curator (2005-2010).
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 leading Chinese art magazine (Yishu Shijie), and curated Chinese media art in the US (at Thomas Erben Gallery and Anthology Film Archives).
In 2008, through Artists Exchange International, Katy was invited by the Metropolitan Museum of Art to create a new work based on an object in its 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 interview on the soundtrack 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. 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).