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'''Cameron Rowland''' is an [[American people|American]] artist |
'''Cameron Rowland''' is an [[American people|American]] artist (1988- present). Rowland graduated from [[Wesleyan University]] with a BA in 2011, and after being awarded the MacArthur Fellowship returned there to address the student body.<ref name="wesleyanargus2019-10-29" /> He spoke about his 2018 work ''Depreciation'' that critically examined the economics of slavery. |
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== Early Life == |
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Rowland graduated from [[Wesleyan University]] with a BA in 2011, and after being awarded the MacArthur Fellowship returned there to address the student body.<ref name=wesleyanargus2019-10-29/> He spoke about his 2018 work ''Depreciation'' that critically examined the economics of slavery. |
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Cameron Rowland was born in [[Philadelphia, Pennsylvania]] in 1988.<ref>{{cite web|title=Biography of Cameron Rowland|url=https://www.widewalls.ch/artist/cameron-rowland/|date=December 27, 2015|work=Widewalls.ch}}</ref> He was chosen as a [[MacArthur Fellow]] in 2019.<ref name="Newsday2019-09-25" /> He is one of the six fellows from [[New York City]]. |
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== Artistry == |
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Rowland's artwork focuses on critiquing systems and institutions that perpetuate or benefit from racial injustices. Many of the objects Rowland uses for his artwork derive from online government auctions and scrap yards, from decommissioned municipal buildings and manufacturers of commercial security apparatuses. These objects are often overlooked by society, but serve a very important purpose in everyday life. For example, one of his works includes manhole leveler rings, which are used to adjust the height of manhole covers when roads are paved. These rings, which few would recognize, are one of the major products manufactured via inmate labor in the New York State prison industry, and are indispensable fixtures of urban infrastructure.<ref>{{Citation|title=Cameron, Sir Edward (John), (14 May 1858–20 July 1947)|date=2007-12-01|url=http://dx.doi.org/10.1093/ww/9780199540884.013.u223412|work=Who Was Who|publisher=Oxford University Press|access-date=2020-05-08}}</ref> |
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[[File:ManHole_Levelers.jpg|thumb|Artwork by Rowland: ''Leveler (Extension) Rings for Manhole Openings'', 2016.]] |
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Other works of his use such objects as wooden desks and wooden benches manufactured by prison laborers for far less than minimum wage. |
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According to ''[[Artnet]]'' Rowland is an example of an artist who is able to place conditions on collectors of his work.<ref name=artnet2019-10-24/> They reported that, in some instances, collectors were only allowed to rent, not own, particular works. Since 2015, Rowland has made about half of his works available in this manner. Art Basel's upcoming 2019 Miami Beach show will be the first show to present solely works circulated under this model.<ref>{{cite web|url=http://moussemagazine.it/cameron-rowland-michael-eby-2019/|title=The (Anti-)Social Life of Things: Cameron Rowland •|date=June 6, 2019|website=Mousse Magazine|language=it-IT|access-date=November 12, 2019}}</ref> |
According to ''[[Artnet]]'' Rowland is an example of an artist who is able to place conditions on collectors of his work.<ref name=artnet2019-10-24/> They reported that, in some instances, collectors were only allowed to rent, not own, particular works. Since 2015, Rowland has made about half of his works available in this manner. Art Basel's upcoming 2019 Miami Beach show will be the first show to present solely works circulated under this model.<ref>{{cite web|url=http://moussemagazine.it/cameron-rowland-michael-eby-2019/|title=The (Anti-)Social Life of Things: Cameron Rowland •|date=June 6, 2019|website=Mousse Magazine|language=it-IT|access-date=November 12, 2019}}</ref> |
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== Exhibitions == |
== Exhibitions == |
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Cameron Rowland's art has been featured in such collections as the [[Museum of Modern Art]] and the [[Museum of Contemporary Art, Los Angeles]], among others.<ref>{{cite web|title=Cameron Rowland - MacArthur Foundation|url=https://www.macfound.org/fellows/1048/|website=www.macfound.org|access-date=November 12, 2019}}</ref> Notably, his work featured in the Museum of Contemporary Art, entitled ''2015 MOCA REAL ESTATE ACQUISITION'', revealed the Museum's history of benefiting from racist systems like [[redlining]]. |
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| ⚫ | In it he used the Museum's donor plaque listing the Community [[Redevelopment agency|Redevelopment Agency]] of Los Angeles's sale of the land on which the Museum sits to point out the 8.4 million dollar profit the Museum gained from the redlining process.<ref>{{cite web|url=https://www.culturetype.com/2019/09/28/2019-macarthur-fellows-include-artist-cameron-rowland-and-landscape-architect-walter-hood/|title=2019 MacArthur Fellows Include Artist Cameron Rowland and Landscape Architect Walter Hood|language=en-US|access-date=November 12, 2019}}</ref> |
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|+Cameron Rowland Exhibitions<ref>{{Cite web|title=Cameron Rowland Exhibitions|url=https://www.widewalls.ch/exhibition/cameron-rowland/cameron-rowland-exhibitions/|website=Widewalls|access-date=2020-05-06}}</ref> |
|+Cameron Rowland Exhibitions<ref>{{Cite web|title=Cameron Rowland Exhibitions|url=https://www.widewalls.ch/exhibition/cameron-rowland/cameron-rowland-exhibitions/|website=Widewalls|access-date=2020-05-06}}</ref> |
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Revision as of 18:50, 8 May 2020
Cameron Rowland | |
|---|---|
| Born | 1988 (age 35–36) |
| Nationality | USA |
| Occupation | 3-D Visual Artist |
| Known for | MacArthur Fellow |
Cameron Rowland is an American artist (1988- present). Rowland graduated from Wesleyan University with a BA in 2011, and after being awarded the MacArthur Fellowship returned there to address the student body.[1] He spoke about his 2018 work Depreciation that critically examined the economics of slavery.
Early Life
Cameron Rowland was born in Philadelphia, Pennsylvania in 1988.[2] He was chosen as a MacArthur Fellow in 2019.[3] He is one of the six fellows from New York City.
Artistry
Rowland's artwork focuses on critiquing systems and institutions that perpetuate or benefit from racial injustices. Many of the objects Rowland uses for his artwork derive from online government auctions and scrap yards, from decommissioned municipal buildings and manufacturers of commercial security apparatuses. These objects are often overlooked by society, but serve a very important purpose in everyday life. For example, one of his works includes manhole leveler rings, which are used to adjust the height of manhole covers when roads are paved. These rings, which few would recognize, are one of the major products manufactured via inmate labor in the New York State prison industry, and are indispensable fixtures of urban infrastructure.[4]
Other works of his use such objects as wooden desks and wooden benches manufactured by prison laborers for far less than minimum wage.
According to Artnet Rowland is an example of an artist who is able to place conditions on collectors of his work.[5] They reported that, in some instances, collectors were only allowed to rent, not own, particular works. Since 2015, Rowland has made about half of his works available in this manner. Art Basel's upcoming 2019 Miami Beach show will be the first show to present solely works circulated under this model.[6]
Exhibitions
Cameron Rowland's art has been featured in such collections as the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles, among others.[7] Notably, his work featured in the Museum of Contemporary Art, entitled 2015 MOCA REAL ESTATE ACQUISITION, revealed the Museum's history of benefiting from racist systems like redlining.
In it he used the Museum's donor plaque listing the Community Redevelopment Agency of Los Angeles's sale of the land on which the Museum sits to point out the 8.4 million dollar profit the Museum gained from the redlining process.[8]
| Year | Exhibition Title | Gallery/Museum | Solo/Group |
| 2017 | Louise Lawler: WHY PICTURES NOW | MoMA, New York City, New York | Group[10] |
| 2017 | Unfinished Conversations: New Work from the Collection | MoMA, New York City, New York | Group[11] |
| 2016 | Cameron Rowland | Kunsthalle Freiburg, Freiburg, Switzerland | Solo |
| 2016 | 91020000 | Artists Space, New York, New York | Solo |
| 2016 | When Did Intimacy Begin Width | New York, New York | Group |
| 2016 | Takashi Murakami’s Superflat Collection n―nFrom Shōhaku and Rosanjin to Anselm Kiefer | Yokohama Art Museum, Yokohama, Japan | Group |
| 2015 | A Constellation | The Studio Museum in Harlem, New York, New York | Group |
| 2015 | 2015 MOCA REAL ESTATE ACQUISITION | Los Angeles, California | Solo |
| 2015 | Infamous Lives | Oracle, Berlin, Germany | Group |
| 2015 | Greater New York | MoMA PS1, Long Island City, New York | Group |
| 2015 | The Wattis Institute | San Francisco, California | Group |
| 2015 | Raymond Roussel | Galerie Buchholz, New York, New York | Group |
| 2015 | The Chicken and The Egg and The Chicken | Rodeo, London, UK | Group |
| 2015 | The Fall | Rodeo, Istanbul, Turkey | Group |
| 2015 | Slip of the Tongue | Venice, Italy | Group |
| 2015 | International Currency | Lodos, Mexico City, Mexico | Group |
| 2015 | Overtime: The Art of Work | New York | Group |
| 2015 | ESSEX STREET @ ESSEX STREET | ESSEX STREET, New York, New York | Group |
| 2015 | AGGRO CULTURE | Holiday Cafe, Brooklyn, New York | Group |
| 2014 | Bait, Inc | ESSEX STREET, New York, New York | Solo |
| 2014 | THE CONTRACT | ESSEX STREET, New York, New York | Group |
| 2014 | Theater Objects: A Stage for Architecture and Art | LUMA Foundation, Zurich, Switzerland | Group |
| 2014 | U:L:O | Interstate, Brooklyn, New York | Group |
| 2014 | The Husk | Untitled, New York, New York | Group |
| 2014 | Samsonite | SWG3, Glasgow, Scotland | Group |
| 2013 | Conspicuous Unusable | Miguel Abreu, New York, New York | Group |
| 2013 | Collecting Matters | Galerie der HFBK, Hamburg, Germany | Group |
| 2013 | Turnkey of Forever After Bed | Stuy Love Affair, Brooklyn, New York | Group |
| 2013 | An Agreement | Wilfred Yang, Los Angeles, California | Solo |
| 2012 | Visibility and Aesthetic Control | Appendix Space, Portland, Oregon | Solo |
| 2012 | Those | Wave Hill Sunroom Project Space, Bronx, New York | Solo |
| 2012 | Concerns and Returns | Weingrüll, Karlsruhe, Germany | Group |
| 2011 | Both Together | Basel, Switzerland | Group |
References
- ^
Claire Femano (October 29, 2019). "Cameron Rowland '11's "Depreciation" Explores the Ties between Slavery and Property Relations". Wesleyan Argus. Retrieved November 8, 2019.
Rowland's talk revolved around his 2018 work, titled "Depreciation," reflecting on the legal-economic regime of property in the United States as one that was founded on slavery and colonization. The idea that the origins of property rights in the country can be traced back to racial domination and slavery, is central to the understanding of this work.
{{cite news}}: CS1 maint: url-status (link) - ^ "Biography of Cameron Rowland". Widewalls.ch. December 27, 2015.
- ^
Joan Gralla (September 25, 2019). "LIer a 2019 MacArthur 'genius' grant recipient". Newsday. Retrieved September 29, 2019.
Six geniuses live in New York City: theater artist Annie Dorsen, 45; Mary Halvorson, 38, a jazz and rock guitarist and composer; Saidiya Hartman, 58, a Columbia University professor who traced "the aftermath of slavery in modern American life"; contemporary dance choreographer Sarah Michelson, 55; artist Cameron Rowland, 30, for portraying systemic racism; and neuroscientist Vanessa Ruta, 45, who explores stimuli that affect neural circuits and behaviors, the foundation said.
{{cite news}}: CS1 maint: url-status (link) - ^ "Cameron, Sir Edward (John), (14 May 1858–20 July 1947)", Who Was Who, Oxford University Press, 2007-12-01, retrieved 2020-05-08
- ^
Brian Boucher (October 24, 2019). "In the Post-Warren Kanders Era, Artists and Dealers Wonder: Should Collectors Be Vetted?". Artnet. Retrieved November 9, 2019.
Whitney Biennial artists are not the only ones who try to control where their work goes. MacArthur "genius" grantee Cameron Rowland negotiates contracts with potential collectors; some are restricted to renting his work.
{{cite news}}: CS1 maint: url-status (link) - ^ "The (Anti-)Social Life of Things: Cameron Rowland •". Mousse Magazine (in Italian). June 6, 2019. Retrieved November 12, 2019.
- ^ "Cameron Rowland - MacArthur Foundation". www.macfound.org. Retrieved November 12, 2019.
- ^ "2019 MacArthur Fellows Include Artist Cameron Rowland and Landscape Architect Walter Hood". Retrieved November 12, 2019.
- ^ "Cameron Rowland Exhibitions". Widewalls. Retrieved 2020-05-06.
- ^ "Louise Lawler: WHY PICTURES NOW | MoMA". The Museum of Modern Art. Retrieved 2020-05-06.
- ^ "Unfinished Conversations: New Work from the Collection | MoMA". The Museum of Modern Art. Retrieved 2020-05-06.
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