SOLO EXHIBITIONS
2013
I-20 Gallery, New York
2010
The African-American Flag Project, I-20 Gallery, New York
The Armory Show, New York
2009
Louis Cameron: Recent Videos, Jersey City Museum, Jersey City, New Jersey
New Media Series: Louis Cameron, Heineken, curated by Charlotte Eyerman, Saint Louis Art Museum, St. Louis, MO
2008
Louis Cameron: Recent Painting, Collage, and Video, Schmidt Contemporary Art, St. Louis, Missouri
2007
Louis Cameron, I-20 Gallery, New York
2006
Louis Cameron: Severe, High, Elevated, Guarded, Low, G Fine Art, Washington, DC
Louis Cameron: Projected Works, curated by James Dickerson, E. Bronson Ingram Studio Art Center, Vanderbilt University, Nashville, TN
2005
Schwarz Project 2: Louis Cameron, The Richard and Dolly Maass Gallery, Purchase College School
of Art + Design, State University of New York, Purchase, NY
Pop Secret, I-20 Gallery, New York
2004
Camouflage, Project Space 1, Susanne Vielmetter Los Angeles Projects, Los Angeles, CA
2003
Web #7, Art in General, New York
Web #4 (Project), I-20 Gallery, New York, NY
2000
Transfixed, with Mary Temple, ARTPLACE, Los Angeles, CA
Grid #10, Schmidt Contemporary Art, Los Angeles, CA
SELECTED GROUP EXHIBITIONS
2013
Stocked: Contemporary Art from the Grocery Aisles, Ulrich Museum of Art, Wichita State University, Wichita, Kansas.
2012
The Bearden Project, The Studio Museum, New York.
2010
ECHO: Sampling Visual Culture, Albright-Knox Art Gallery, Buffalo, New York.
Points of View, curated by Stefan Simchowitz at PortugalArte10, Lisbon
2009
Born in the USA, Pete’s Motors, The Berkshires, Massachusetts.
2008
Taiwan International Video Art Exhibition, Hong-Gah Museum, Taipei
Psychadelic, Overlook Gallery, Southeastern Center for Contemporary Art, Winston-Salem, North Carolina
Opportunity as Community, Artists Select Artists, Part Two, Dieu Donne, New York
2007
REMIX Color and Light, curated by Claire Schneider, Albright Knox Art Gallery, Buffalo, New York
Black Light/White Noise: Sound and Light in Contemporary Art, curated by Valerie Cassel Oliver, Contemporary Arts Museum Houston, TX
Branded and On Display, curated by Judith Hoos Fox. Krannert Art Museum, University of Illinois, Champaign, IL
2006
Unlearn, curated by Steven Matijcio. Plug In ICA, Winnipeg, Canada
Bearable Lightness… Likeness, curated by Franklin Sirmans. P.S.1/MoMA Contemporary Art Center,
New York
Collection in Context: Gesture, curated by Thelma Golden. The Studio Museum in Harlem, New York
Dak’Art 2006, curated by Amy Horschak. Dakar Biennale of Contemporary African Art, Dakar, Senegal
Round, curated by Mathew Fisher and Christina Vassallo. Shore Institute of the Contemporary Arts, Long Branch, NJ. Traveled to the Berrie Center, Ramapo College, Mahwah, NJ
2005
Harlem Postcards Fall 2005, curated by Christine Y. Kim, Studio Museum in Harlem, New York
blasts, curated by Paul Brewer, G Fine Art, Washington, DC
PpAaIiNnTtIiNnGg, curated by Karlos Carcamo, ParaSite, Beacon, NY
Musical Modes, curated by Rachel Howe, Clifford Change/Dinaburg Arts, New York, NY
Ars Digital. Curated by Joulia Strauss. The 1st Moscow Biennale, Moscow, Russia
Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, New York
2004
NextNext Visual Art, curated by Dan Cameron, Brooklyn Academy of Music, Brooklyn, NY
Abstract, USC School of Fine Arts, Los Angeles, CA
Open House: Working in Brooklyn, curated by Charlotta Kotik and Tumelo Mosaka, Brooklyn Museum of Art, Brooklyn, NY
Buy American, curated by Joe Scanlan, Galerie Chez Valentin, Paris, France
Super Salon, Samson Projects, Boston, MA
2003
Hands on Hands down, The Studio Museum in Harlem, New York, NY
2002
No Greater Love, Abstraction, Jack Tilton / Anna Kustera Gallery, New York, NY
Tract: systemic sprawl, curated by Amanda Church and Courtney Martin, Plus Ultra Gallery, Brooklyn, NY
REACTIONS, Exit Art, New York, NY
Northeast Artists: selections from New American Paintings (Book #38), OSP Gallery, Boston, MA
2001
Skowhegan Alumni Exhibition and Auction, Knoedler & Company, New York, NY
Freestyle, curated by Thelma Golden and Christine Kim, Studio Museum in Harlem, New York, NY; traveled to The Santa Monica Museum of Art, Santa Monica, CA
Made, POST, Los Angeles, CA
2000
Snapshot, Contemporary Museum, Baltimore, MD; traveled to Arcadia College Art Gallery, Glenside, PA;
Aldrich Museum of Contemporary Art, Ridgefield, CT
Fresh Cut Afros, Watts Towers Art Center, Los Angeles, CA
Go Ask Alice, POST wilshire, Los Angeles, CA
One Night Stand 1.2000, curated by Leonardo Bravo and Annetta Kappon, Park Plaza Lodge Hotel,
Los Angeles, CA
1999
LACPS Annual, Los Angeles Center for Photographic Studies, Los Angeles, CA
1998
A Skowhegan Decade 1987-1997: Alumni Exhibition and Benefit Auction, David Bietzel Gallery, New York
Bank Holiday, Old Key Bank, Skowhegan, ME
Dwellings, curated by Sandra Jackson, RUSH Arts Gallery, New York
1997
New Talent ’97, Temple Gallery, Philadelphia, PA
Art of the State: Pennsylvania 1997, The State Museum of Pennsylvania, Harrisburg, PA
On the Wall, Tyler Gallery, Tyler School of Art, Temple University, Elkins Park, PA
More or Less (thesis exhibition), Temple Gallery, Philadelphia, PA
SELECTED REVIEWS
2010
Finch, Charlie. “Must Bad Painting Be Good?” artnet.com, http://www.artnet.com/magazineus/features/ finch/must-bad-painting-be-good4-30-10.asp
2009
Brooks, LeRonn. “Interview: Louis Cameron”, Studio, Fall/Winter 2008-2009, p.32-33
“Louis Cameron: “Heineken” at SLAM.” ART-PATROL St.. Louis (January 8, 2009) http://www.art-patrol.com/?p=895
“Louis Cameron: Heineken Opens January 9 Saint Louis Art Museum,” artdaily.org (January 2, 2009) http://www.artdaily.com/index.asp?int_sec=2&int_new=28146.
2008
Bonetti, David. “Louis Cameron, Joseph Havel,” St. Louis Post-Dispatch (May 25, 2008)
Cotter, Holland. “The Topic is Race; The Art is Fearless,” The New York Times (March 30, 2008)
2007
Finch, Charlie. “Weekday Update,” artnet.com http://www.artnet.com/magazineus/features/finch/finch12-3-07.asp
Richard, Frances. “High Times, Hard Times: New York Painting 1967 – 1975,” Artforum (April 2007): Reviews, p. 265
Colpitt, Frances. “Black Light/White Noise,” artUS, Winter 2007, p.58-59.
Ludwin, Victoria. “Black Light/White Noise: Sound and Light in Contemporary Art, Contemporary Art Museum,” artshouston (July 2007)
Petersen, Amy. “Black Light/White Noise,” HoustonPress (May 31, 2007)
2006
Dawson, Jessica. “Spectrum of Warnings,” The Washington Post (September 30, 2006): C2
Capps, Kriston. “Louis Cameron: Severe, High, Elevated, Guarded, Low,” Washington City Paper (September 29, 2006): p. 95
“P.S.1 Contemporary Art Center: Bearable Lightness… Likeness,” TimeOut New York (July 6 – 12, 2006): issue 562
Murray, Derek Conrad & Murray, Soraya. “Uneasy Bedfellows: Canonical Art Theory and the Politics of Identity,” Art Journal (Spring 2006): p. 23
“The New Rogues,” Esquire (May 2006): pp. 128 – 135
Cotter, Holland. “Energy and Abstraction at The Studio Museum in Harlem,” The New York Times, Weekend Arts, Art Review (April 7, 2006): pp. B27, B30
Meyer, Richard. “Energy/Experimentation: Black Artists and Abstraction, 1965 – 1980,” Artforum (January 2006)
Genocchio, Benjamin. “Exploring the Circle From Every Angle,” The New York Times (January 1, 2006)
2005
Guy Nichols, Matthew. “Louis Cameron at I-20,” Art in America (September 2005)
Murray, Soraya and Conrad Murray, Derek. “A Rising Generation & the Pleasures of Freedom,” International Review of African American Art (IRAAA): Vol 20, No. 2 (Summer 2005), pp. 3, 7, back cover
Church, Amanda. “Louis Cameron: “Pop Secret” at I-20 Gallery” Art on Paper (May/June 2005)
Art Listings. Time Out New York Issue 487 (January 27- February 2, 2005)
2004
Beyer, Charles G. “Working in Brooklyn,” Flash Art, (July- September 2004)
Bey, Dawoud. “The Ironies of Diversity, or the Disappearing Black Artist,” www.artnet.com/magazine/features/bey/buy4-8-04.asp, April 8, 2004
Nichols, Mathew Guy. “Hands On, Hands Down at the Studio Museum in Harlem,” Art in America, February 2004
2003
“Hands On Hands Down,” The New Yorker, September 1, 2003, p.16
Rubinstein, Raphael. “A Quiet Crisis,” Art in America (March 2003): 39.
“Artists In Residence 2002 – 2003” SMH Arts (Summer 2003)
Levin, Kim. “Voice Choices: Night Guide,” villagevoice.com (January 18, 2003)
Byrd, Cathy. “Is there a ‘post-black’ art? Investigating the legacy of the ‘Freestyle’ show.” Art Papers, vol. 26, no. 6 (Nov-Dec 2002): 34-9.
2002
Brockington, Horace. “Paint It Black: Abstraction/ A Trans-History,” NY Arts Magazine,
September 2002, p. 63
Byrd, Cathy. “Is there a ‘post-black’ art? Investigating the legacy of the ‘Freestyle’ show,” Art Papers (November/December 2002): 34-39
Cotter, Holland. “No Greater Love: Abstraction,” New York Times (October 11, 2002): E38
Schmerler, Sarah. “Tract: Systemic Sprawl,” Time Out New York (July 11-18, 2002): 47
“Plus Ultra,” The New Yorker (July 8, 2002): 14
New American Paintings (March 2002): Number 38, p. 30-33. Juror: Lilian Tone
Irvine, Steve. “Freestyle at the Santa Monica Museum of Art,” Artweek (December 2001/January 2002): 18
2001
Waxman, Lori. “Freestyle,” New Art Examiner (November-December, 2001): 90.
Murray, Derek. “Freestyle,” NKA: Journal of Contemporary African Art (Fall/Winter 2001):92-93
Murray, Derek. “Home to Harlem,” The International Review of African-American Art (Volume 17, Number 4): 48-51
Frank, Peter. “Freestyle, Willie Robert Middlebrook,” LA WEEKLY (November 16-22, 2001): 142
Valdez, Sarah. “Freestyling,” Art in America (September, 2001): 134-39, 162
Garnett, Joy. “Into Africa,” Artnet.com (June 26, 2001): http://www.artnet.com/magazine/reviews/garnett/garnett6-26-01.asp
Brockington, Horace. “Freestyle: Studio Museum in Harlem,” NY Arts Magazine (June 2001): 36-37
Griffin, Tim. “Race Matters,” Time Out New York (May 24-31, 2001): 55-56
“The New Masters,” Vibe (May, 2001): 138-43
Cotter, Holland. “A Full Studio Museum Show Starts With 28 Young Artists and a Shoehorn,” New York Times (May 11, 2001):E36
2000
Harvey, Doug. “Gender, Race,” LA WEEKLY (August 4-10, 2000): 47
1999
Ise. Claudine. “Framing the Many Possibilities of Photography in the Tech Age,” Los Angeles Times (March 5, 1999): F34
AWARDS AND FELLOWSHIPS
2006
Fellowship in Painting, New York Foundation for the Arts, New York
EXHIBITION CATALOGUES
Best of New York Art 2009, with text by Xavier Tresaco. Pages 59-61, Theredoom Publications. New York, New York, 2009
Branded and On Display, curated by Judith Hoos Fox. Krannert Art Museum, University of Illinois, Champaign, IL, 2007
Energy/ Experimentation: Black Artists and Abstraction 1964 – 1980, transcribed roundtable discussion, The Studio Museum in Harlem, New York, 2006
Dak’Art 2006: 7th Biennial of African Contemporary Art, with text by Amy Horschak, Dakar, Senegal, 2006
EXTREME Abstraction, with text by Louis Grachos and Claire Schneider, Albright-Knox Art Gallery, Buffalo, New York, 2005
Open House: Working in Brooklyn, with text by Charlotta Kotik, Arnold lehman, and Tumelo Mosaka, Brooklyn Museum of Art, Brooklyn, New York, 2004
“Handmade, Excerpts From A Conversation 5.23.03,” Hands on, Hands down, edited by Christine Kim, (exhibition brochure) The Studio Museum in Harlem, New York, 2003
Freestyle, with text by Raina Lampkins-Fielder, The Studio Museum in Harlem, New York, 2001