Raewyn Martyn CV


MFA Painting and Printmaking, Virginia Commonwealth University, VA, 2013

Graduate Diploma of Teaching, Secondary, Victoria University College of Education, Wellington, Aotearoa New Zealand, 2007

Bachelor of Fine Arts with Honors, Massey University, Wellington, Aotearoa New Zealand, 2006


Not standing still, Blue Oyster Project Space, Dunedin (upcoming)

Jan van Eyck Academy Open Studios, 2018

Blue Oyster Summer Residency, Dunedin, 2018


The Fox and the Grapes, Kunstvereniging Diepenheim, Netherlands, 2017

Edward Hines National Forest, Hyde Park Art Center, exhibition with Sara Black, Chicago, 2017

Common Good, The Engine Room, Massey University School of Fine Arts, Wellington

The Materiality of the Invisible, Marres House of Contemporary Culture, Maastricht

Jan van Eyck Academy Open Studios, 2017

Non-human Narratives, Jan van Eyck Academy, Maastricht


House Studies II, ed. Sophie Bannan, page work in collaboration with Emma Fitts

Jan van Eyck Academy Residency, Maastricht, Netherlands, 2016-2017

CAMPING PAINTINGS, West Coast NZ and West Coast USA (ongoing)


Sector 2337 Gallery Plant Symposium: Attention Feeder with Sara Black and Amber Ginsburg, Chicago, IL

Ox-Bow School of Art, Summer Arts Faculty Residency, Saugatuck, MI

CAMPING PAINTINGS, Upper Peninsula, MI, camping residency

Virginia Center for Creative Arts, residency collaboration with Sara Black, Amherst, VA Museum of Contemporary Art

MCA Family Day: Tinker, with Sara Black, Chicago, IL

Whole House Reuse Project, collaboration with faculty and students, Canterbury Museum, Christchurch, NZ

Field Recordings, The Physics Room, Christchurch, NZ


In Formation, Sara Black and Raewyn Martyn, Harper College, Ill

Attention Feeder, visiting artist workshop with Sara Black, ACRE residency, Wi

Climate Change Heartbreak Poems reading, Tecumseh Land Trust Winter Solstice Poetry Reading


Currencies, Herndon Gallery, Antioch College, Yellow Springs, Ohio

FEED, juried biennale exhibition, 1708, Richmond, VA

Hue and Cry Journal, Issue 7, Building for an Empty Orchestra page work

Clothes Shoes, Whitebox Gallery, NYC

DAY FOLDER, as part of the VCU Arts MFA Thesis Exhibition, Anderson Gallery, Richmond, VA

Public Good, group show RAMP gallery and Waikato Museum of Art, New Zealand

The incident with the table catalogue essay published for Public Good

VCU Arts MFA Open Studios, Richmond, VA


Frankenkein, VCU Arts FAB Gallery, group show, Richmond, VA

For Loan, as part of The Obstinate Object, City Gallery, Wellington, New Zealand

Amateur Hour – VCU Arts MFA Candidacy exhibition, Art 6 Gallery, Richmond VA

Ant Eye Subjective, PAPR group show with Lisi Raskin, FAB Gallery, VCU Arts, Richmond, VA


High Quality Leisure, FAB Gallery, VCU Arts, Richmond, VA

Enjoy Public Art Gallery Summer Residency, Wellington, New Zealand

Campus a Low Hum, a mural on the exterior of the swimming pool stage, Manawatu, NZ

Glover Park Modifications project, temporary public artwork in Glover Park, and publication, Wellington, NZ

Dreamy City Without Green Spaces, micrograph essay for the Glover Park project


Open, group show, Lyall Bay Studios, Wellington, NZ

Hue and Cry Journal, page work in collaboration with Bronwyn Holloway-Smith

Painting/Blind, Dunedin Public Art Gallery, rear window installation, Dunedin, NZ


Waterwall, Raewyn Martyn, High Street Project, Christchurch, NZ               

Open, Sarah Mortlock, Karin Van Roosmalen and Raewyn Martyn, Lyall Bay Studios, Wellington, NZ

Open Home, group show curated by Melanie Oliver, Oriental Tce, Wellington, NZ


Moving Over There, Emma Fitts and Raewyn Martyn, COCA, Christchurch, NZ  

Landing, Raewyn Martyn and Noel Ivanoff, Enjoy Public Art Gallery, Wellington, NZ


Working Title, exhibition essay for the Show catalogue, published 2009, Show Gallery, Wellington, NZ


Exposure, graduate exhibition, Massey University, Wellington, NZ                     

To There and Back Again, University of Southern Queensland, Toowomba, Australia


Ja Ja Ja Nee Nee Nee live broadcast interview about Camping Paintings, as part of Marres Tourist Office at Marres Center of Contemporary Culture, Maastricht, Netherlands

Field Recordings, The Physics Room exhibition essay written by Rachel O’Neill, 2015

Deep roots, disrupted history and the unfolding present, Dayton City Paper, 12/03/2013 – Susan Byrnes

Antioch College Arts Faculty Exhibit, Yellow Springs News, 12/19/2013 – Megan Bachman

Have Paintbrush, Will Travel, Landfall Review Online, 11/01/2013 – David Eggleton

New Ramp Opens, Eyecontact, 03/11/2013 – Peter Dornauf

Pimp My House, Style Weekly, 02/19/2013 – Edwin Slipek

Problems Confronted: Painting Turned Inside OutArt New Zealand 144 Summer 2012/13 – Edward Hanfling

Enduring power of painting, The Christchurch Press, 10/05/2012 – Christopher Moore

Two Hundred and Forty Years of New Zealand Painting, Bateman, 2012

Distance is a Place, Runway Magazine, Australia, Issue 22, 2012 – Abby Cunnane

The Obstinate Exhibition: Contemporary Sculpture at Wellington’s City Gallery – Art NZ 142 Winter 2012 – Hamish Clayton

The Obstinate Object, essay and readings produced by City Gallery Wellington, 2012

Paintings Paintings – pg 14, Art New Zealand, 138 Winter 2011, a column by Ed Hanfling, 2011

Glover Park Modifications– a micrograph and pdf publication by Enjoy Public Art Gallery, 2011

Checking painting’s pulse, Art News NZ, Winter 2009 – Sue Gardiner in conversation with Patrick Lundberg

Wish-accident – written by Rachel O’Neill in response to Landing, Enjoy, 2008


2013 – 2016 Antioch College, Visiting Assistant Professor of Visual Art

2012 – VCU Arts, Adjunct Teacher of Figure Painting

2011 – 2012 VCU Arts, Teaching Assistant in Concepts and Issues and Basic Painting


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