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b. chapters in books
“Non-compositional and Non-hierarchical: Rasheed Araeen’s Search for the Conceptual and the Political in British Sculpture,” Anglo-American Exchange in Post-War Sculpture, 1945-1975, ed. Rebecca Peabody (Los Angeles: J. Paul Getty Museum and Getty Research Institute, 2011) 122-132.
“The Studio and the City: S.P.A.C.E. Ltd. and Rasheed Araeen’s Chakras,” The Studio Reader, eds. Michelle Grabner and Mary Jane Jacob (Chicago: The School of the Art Institute of Chicago and the University of Chicago Press, 2010) 302-310.
“The Twentieth-Century Dandy as Cultural Provocateur: Yinka Shonibare, MBE and the Diary of a Victorian Dandy,” Black British Aesthetics Today, ed. R. Victoria Arana (London: Cambridge Scholars Press, 2007) 193-205.
c. refereed journal articles
“Art World, Network and Other Alloway Keywords,” Tate Papers (number 16, Autumn 2011):www.tate.org.uk/research/publications/tate-papers/art-world-network-and-other alloway keywords.
“Rasheed Araeen, Live Art and Radical Politics in Britain,” Getty Research Institute Journal (number 2, 2010) 107-24.
“Net from the Warp,” NKA: Journal of Contemporary African Art 24 (2009) 120-125.
d. non-refereed journal articles
“Simpler Revolutionaries: Jorn, Pollock and Lawrence Alloway,” JORN & POLLOCK Revolutionary Roads (Louisiana Museum of Modern Art, 2013)
“Modernism's Fantasy: Zander Blom's Painting till Now,” Zander Blom: Paintings Volume I (Capetown: Stevenson, 2013), 7-15.
“Assembled Material,” Nicole Awai: Almost Undone (New York: Vilcek Foundation, 2011), unpaginated.
Contributor, Now Dig This!:Art and Black Los Angeles, 1960-1980, ed. Kellie Jones (Los Angeles: Hammer Museum, 2011) 150-152;210;214.
“Spiral,” Alternatives: Spaces, Places, Voices in Art Spaces Archives Project: http://asap.org/content/spiral-courtney-martin-0 (2004). Reprinted in NKA: Journal of Contemporary African Art 29 (Fall 2011) 86-98.
“Fracture and Action: Wangechi Mutu’s Collages, 1999-2010,” Wangechi Mutu: My Dirty Little Heaven (Hatje Canz, 2010) 47-55.
“They’ve All Got Painting: Frank Bowling’s Modernity and the Post-1960 Atlantic,” Afro-Modern: Journey’s through the Black Atlantic, eds. Tanya Barson and Peter Gorschlüter (Liverpool: Tate Liverpool, 2010) 48-57.
“Mistaken for a Cloud,” Forever Foreign: Rina Banerjee (London: Haunch of Venison, 2010) 28-31.
“Leslie Hewitt,” Contact Sheet: The Light Work Annual no. 157 (2010) 40-45.
“On Painterliness…: Hurvin Anderson and Courtney J. Martin,” Small Axe: Vocabularies (November 2009): http://smallaxe.net/wordpress3/vocabularies/2009/11/23
“Empty and Full Against the Night Sky,” Kader Attia: Signs of Reappropriation (Savannah College of Art and Design, 2009), unpaginated.
“Lessons Learned about Abstract Recursivity,” Teaching an Old Dog New Tricks (Copenhagen: Den Frie Udstillingsbyning, 2008) 92-97.
“Surely, There Was a Flow…: African-British Artists in the Twentieth Century,” Flow, ed. Christine Y. Kim (New York: Studio Museum in Harlem, 2008) 62-69.
“Simulacra and Fantasy,” Rina Bannerjee: Exotic Industries (Berlin: Galerie Volker Diehl, 2007) 120-121.
“In Financial Times,” Financial Times: Godfried Donkor (London: Hackney Museum, 2007), unpaginated.
“Wishes Are Where Desire and Aspiration Live,” I Wish it Were True: William Cordova and Leslie Hewitt (New York: Jamaica Center for Arts and Learning, 2007), unpaginated.
“Sight Was Regulated, Shapes Were Continually Re-fashioned: Alia Syed’s Eating Grass,” Zones of Contact: 2006 Biennale of Sydney (Woolloomooloo, N.S.W.: Biennale of Sydney, 2006) 258-259.
“The Re-selection of Ancestors: Abstraction in the Second Generation,” Energy/Experimentation: Black Artists and Abstraction, 1964–1980, ed. Kellie Jones (New York: Studio Museum in Harlem, 2006) 80-84.
“Every Word Has Potential, Every Image Is Its Mate: William Cordova and Katherine Jackson,” Fine Print (Kresge Gallery at Ramapo College of New Jersey, 2006) 4-6.
“Preassaig,” Ester Partegas, Calories: Units of Energy 1998-2005 (Australia, 2006) 39-42.
“Out Of Malaise: Edward Ruscha’s Level 2003,” Yale University Art Gallery Bulletin (New Haven: Yale University Press, 2005) 110-114.
“Post-Post Black: Senam Okudzeto in Basel,” NKA: Journal of Contemporary African Art 16/17 (Fall/Winter 2002) 54-59.
e. book reviews
“Brixton Calling,” a review of David A. Bailey, Ian Baucom, and Sonia Boyce, eds., Shades of Black: Assembling Black Arts in 1980s Britain (Durham and London: Duke University Press, 2005) Art Journal (Spring 2007)119-120.
Selected Curatorial Positions
2014 Curator, Minimal Baroque: Post-Minimalism and Contemporary Art, Rønnebæksholm, Naestved, Denmark
2012-2013 Curator, Drop, Roll, Slide, Drip… Frank Bowling’s Poured Paintings 1973-1978, Tate Britain, London, England
2010 Curator, Masks: New Work by Mamiko Otsubo, Curatorial Research Lab, Winkleman Gallery, New York, New York
2010 Guest Curator, The Moving Index, Art Office for Film and Video:artoffice.org
2007 Curator, Poison America: Sharon Gilbert’s Bookworks Arts of the Book Collection, Yale University, New Haven, Connecticut
2004 Curator, The C-Series: Artists’ Books and Collective Action History of Disappearance: Live Art from New York
Nathan Cummings Foundation, New York, New York
Baltic Centre for Contemporary Art, Gateshead, England
Neon Campobase, Milan, Italy (2006)
Liverpool Biennial, Liverpool, England (2006)
Århus Kunstbygning, Århus, Denmark (2010)
Professor Martin specializes in modern and contemporary Art, twentieth-century British art and sculpture studies. Her current research looks at art after 1968, the history of art criticism and exhibitions.
April 2014, International Research Programme, the Danish Art Foundation’s International Research Programme.
June 2013, The Danish Arts Council’s International Research Programme, Statens Kunstrȧd/Danish Arts Council
geographic research area
education and training
on the Web
- Afro Modern: Journeys through the Black Atlantic at Tate Publishing
- Curator, Minimal Baroque: Post-Minimalism and Contemporary Art, Rønnebæksholm, Naestved, Denmark
- “Simpler Revolutionaries: Jorn, Pollock and Lawrence Alloway,” JORN & POLLOCK Revolutionary Roads (Louisiana Museum of Modern Art, 2013)
awards and honors
Academic honors, fellowships, and honorary societies
2009 Curator Visiting Programme, Kunstrȧdet/Danish Arts Council
2008-2009 Getty Research Institute, Predoctoral fellow
2008 John F. Enders Award, Yale University
2008 Edward Alexander Bouchet Graduate Honor Society
2007 Henry Moore Institute Research Fellowship
2005 Travel Award, Historians of British Art
2004 Travel Grant, Paul Mellon Centre for Studies in British Art
Member, Tate Papers Academic Advisory Board
- HIAA 0010 - A Global History of Art and Architecture. Fall 2014, Spring 2017.
- HIAA 0801 - Art After 68. Spring 2015.
- HIAA 0870 - 20th Century British Art: Edwardian to Contemporary. Fall 2015.
- HIAA 1090 - Writing About the Arts. Spring 2017.
- HIAA 1870B - SoCal: Art in Los Angeles, 1945 to the Present. Fall 2014.
- HIAA 2801 - Art After India. Spring 2015.
- HIAA 2870H - What is Contemporary Art History. Fall 2015.