{{Short description|American artist (born 1988)}} {{use mdy dates|date=January 2025}} {{Infobox artist | name = Cameron Rowland |image = File:Cameron Rowland giving a lecture at Columbia GSAPP.jpg | alt = | caption = Rowland speaking at Columbia University in 2020 | birth_date = {{Birth year and age|1988}} | birth_place = Philadelphia, Pennsylvania, U.S. | death_date = <!-- {{Death date and age|YYYY|MM|DD|YYYY|MM|DD}} (death date then birth date) --> | death_place = | alma_mater = Wesleyan University (BA) | notable_works = ''New York State Unified Court System'' (2016)<br />''Depreciation'' (2018) | awards = MacArthur Fellowship | style = Conceptual art }}
'''Cameron Rowland''' (born 1988) is an American conceptual artist whose work has been exhibited internationally and acclaimed for its structural analytic approach to addressing issues of American slavery, mass incarceration, and reparations.<ref name="Parse write-up" />
Rowland graduated from Wesleyan University in 2011 and they were awarded the MacArthur Fellowship in 2019 after several solo and group exhibitions at venues including the Museum of Modern Art, Whitney Museum of American Art, Kunsthal Aarhus, and La Biennale de Montreal. Rowland is noted for their distinct method of loaning some works to collectors and institutions rather than selling them outright, an approach meant to mirror the experience of low-income people shopping at rent-to-own stores like Rent-A-Center and disrupt the traditional value structure in the contemporary art market.<ref name="Parse write-up" />
== Biography == 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|access-date=April 16, 2020|archive-url=https://web.archive.org/web/20190925133446/https://www.widewalls.ch/artist/cameron-rowland/|archive-date=September 25, 2019|url-status=live}}</ref> They became known for their conceptual art addressing social injustice in contemporary society<ref name=":0">{{Cite web|title=Cameron Rowland - Conceptual Critic of Society|url=https://www.widewalls.ch/artists-to-watch-2016/cameron-rowland/|website=Widewalls|access-date=2020-05-09|archive-url=https://web.archive.org/web/20161012081416/http://www.widewalls.ch/artists-to-watch-2016/cameron-rowland/|archive-date=2016-10-12|url-status=live}}</ref> and displaying ready-made objects that are obtained through abstruse economic exchanges.<ref name=":1">{{Cite web|title=CAMERON ROWLAND 91020000|url=https://brooklynrail.org/2016/03/artseen/cameron-rowland-91020000|last=Trouillot|first=Terence|date=2016-03-04|website=The Brooklyn Rail|language=en-US|access-date=2020-05-09|archive-url=https://web.archive.org/web/20191229053938/https://brooklynrail.org/2016/03/artseen/cameron-rowland-91020000|archive-date=2019-12-29|url-status=live}}</ref> After their exhibitions at Essex Street gallery in 2014 and MoMA PS1’s Greater New York show in 2015, their work gained a wider audience.<ref name=":0" /> They spoke at the graduation ceremony of their alma mater Wesleyan University in 2019.<ref name="wesleyanargus2019-10-29"/>
Rowland lives and works in Queens, New York.<ref name=":4" />
== Art practice == Rowland's artwork focuses on critiquing systems and institutions that perpetuate or benefit from racial injustices. Many of the objects Rowland uses for their 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 their 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|work=Who Was Who|publisher=Oxford University Press|doi=10.1093/ww/9780199540884.013.u223412}}</ref> Other works of theirs use such objects as wooden desks and wooden benches manufactured by prison labourers for far less than minimum wage. Rowland encourages museums not just to show work about marginalised communities but actually do something about how they live.<ref name=":2">{{Cite web|title=Cameron Rowland: D37|url=https://brooklynrail.org/2019/02/artseen/Cameron-Rowland-D37|last=Jen|first=Alex|date=2019-02-05|website=The Brooklyn Rail|language=en-US|access-date=2020-05-09|archive-url=https://web.archive.org/web/20200131132811/https://brooklynrail.org/2019/02/artseen/Cameron-Rowland-D37|archive-date=2020-01-31|url-status=live}}</ref>
Rowland is an example of an artist who is able to place conditions the terms of collection for their work.<ref name=artnet2019-10-24/> In some instances, collectors are only allowed to rent, not own, particular works. In a correspondence between the artist, their dealer, and an anonymous collector, published by ''Parse'', Rowland explained that the rental model echoes the experiences of people shopping at stores like Rent-A-Center, where service fees and inflated prices often cost customers much more than if they had been able to purchase the item upfront. The lending model for Rowland represents a restructuring of value in the art market and an examination of the exchange of capital between artists and collectors.<ref name="Parse write-up">{{cite web |last1=Birkett |first1=Richard |last2=Rowland |first2=Cameron |title=Rotate the Pass-Thru |url=https://parsejournal.com/article/rotate-the-pass-thru/ |website=Parse |publisher=University of Gothenburg |access-date=29 April 2022 |archive-url=https://web.archive.org/web/20210828071706/https://parsejournal.com/article/rotate-the-pass-thru/ |archive-date=28 August 2021 |date=Autumn 2015 |url-status=live}}</ref> Since 2015, Rowland has made about half of their works available in this manner. Rowland's 2019 show at Art Basel in Miami Beach was their first show that solely presented works circulated under this model.<ref name=":4">{{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|archive-url=https://web.archive.org/web/20191028174457/http://moussemagazine.it/cameron-rowland-michael-eby-2019/|archive-date=October 28, 2019|url-status=live}}</ref>
His work ''Attica Series Desk'' (2016) consists of an office desk manufactured by incarcerated labourers at Attica Correctional Facility and purchased through the New York state correctional industries catalogue.<ref name=":3">{{Cite news |last=Tarbox |first=Wilson |last2=Packard |first2=Cassie |last3=Cholakova |first3=Ivana |last4=Peterson |first4=Vanessa |last5=Siddall |first5=Victoria |last6=Selfridge |first6=Lou |last7=Norton |first7=Margot |last8=Stead |first8=Chloe |last9=Moffitt |first9=Evan |date=2025-10-24 |title=The 25 Best Works of the 21st Century |url=https://www.frieze.com/article/roundtable-25-years-25-works-255 |access-date=2025-12-03 |work=Frieze |language=en |issue=255 |issn=0962-0672}}</ref> ''Frieze'' named the work No.1 of "The 25 Best Works of the 21st Century", stating that "the work confronts the material traces of systemic inequity and property relations, making visible what is often hidden."<ref name=":3" />
== Major exhibitions ==
=== ''91020000'' (2016) === In 2016, Rowland staged the exhibition ''91020000'' at Artists Space in New York. The title is derived from Artists Space’s customer account number with Corcraft, a company that manufactures affordable commodities to sell to government agencies, schools, and non-profit organizations, like Artists Space. Rowland purchased four courtroom benches made of oak, a particle board office desk, and seven cast aluminum manhole rings through a partnership with Artists Space. These objects were laid across the presentation space, leaving the viewer to observe without knowing their significance until they pick up the paper accompanying the work which tells them the objects were made by the cheap labor of New York State’s prison inmates. Rowland interprets the prison labor force to be a practiced form of neo-slavery that continues to thrive in our present economy.
In Rowland’s essay explaining the work, they explicate how the 13th Amendment made it possible to incarcerate ex-slaves for vagrancy, allowing private companies and later state governments to exploit prisoners’ free labor. They also explain how a similar tactic was used during the war on drugs in the 1970s, and since then the country has seen a massive rise in incarceration, especially among African Americans.
Rowland approaches their role as an artist to be like an investigative reporter, seeking out intellectual, factual, and material evidence to support their written claims. They also assume the role of active consumer by taking ownership of the objects as a form of antagonism. They reclaim these objects that are markers of corrupt history, stripping the objects of their use-value, and positioning them as relics of structural racism.
A work included in the show is ''Disgorgement'' (2016), which is a contractual agreement. Similar to how Rowland used some of ''D37''{{'}}s budget, they used some of the budget from the show to purchase $10,000 worth of the insurance company Aetna's shares, which held slave insurance policies for slave owners prior to the abolition of slavery, planning to hold onto the shares until the US government makes financial reparations for slavery, at which time the shares will be liquidated toward the payment of reparations.<ref name=":1" />
=== ''D37'' (2018–2019) === ''D37'', shown at the Museum of Contemporary Art, Los Angeles (MoCA) in 2018 and 2019, was one of Rowland's largest solo exhibitions. Rowland uses artwork budgets and research to reveal Los Angeles’ role in the violent displacement of the poor and people of color.
Bunker Hill, the site of MoCA, is a historically Mexican and Chinese neighborhood marked area “D37”, hence the name of the exhibition. It was assigned the lowest Security Grade by the Home Owners' Loan Corporation (HOLC) in 1939, and HOLC’s Residential Security Map calls Bunker Hill “a slum area and one of the city’s melting pots”. HOLC changed into the Federal Housing Administration and guided the Los Angeles CRA to attempt to cover up its violence through artificial acts of community service. Rowland focuses on these instances of legally sanctioned racism through D37, unveiling the very mechanisms of a government that makes its own rules to justify its own injustices.
The gallery consisted of carefully selected objects seized by police under civil asset forfeiture that resonate of past ownership. These include used bikes, two leaf blowers, and a one green stroller. Another work, ''Assessment'' (2018), which is a late eighteenth-century grandfather clock from Paul Dalton Plantation in South Carolina, stood at the end of the gallery. Also included were property tax receipts on slaves and other owned goods from Mississippi and Virginia that show how these slave states profited and relied on black bodies to build their infrastructure and governments.
[[File:Depreciation Rowland 2018.jpeg|thumb|''Depreciation'' (2018) at the National Gallery of Art's showing of ''Afro-Atlantic Histories'' in 2022]]
The gallery closed with ''Depreciation'' (2018), which consists of a series of legal documents and contracts that show Rowland’s usage of ''D37’s'' budget. They used part of the money to acquire one acre of land on Edisto Island, South Carolina to restrict the land and devalue it, and indicates that the current value is $0. They do this because of an empty promise placed on the area in 1865, which stated that slaves would receive forty acres and a mule, which included Edisto Island. The initiative was rescinded in 1866 by President Andrew Johnson.<ref name=":2" /> In 2023, the Dia Art Foundation announced it had entered into a long-term loan agreement with Rowland and the nonprofit the artist had created to purchase the land on Edisto Island; Dia agreed to steward the land and showcase the exhibition documents as part of its permanent collection. Unlike the other traditional land art that is in Dia's collection or under Dia's stewardship, the land involved in ''Depreciation'' is not accessible to the public, a purposeful choice by the artist to restrict any usage of the land.<ref>{{cite web |last1=Greenberger |first1=Alex |title=Cameron Rowland Is Loaning an Acre of Land in South Carolina to Dia—But You Can’t Visit It |url=https://www.artnews.com/art-news/news/cameron-rowland-dia-art-foundation-edisto-island-depreciation-1234669113/ |website=ARTnews |access-date=22 May 2023 |date=19 May 2023}}</ref><ref>{{cite web |title=Dia Announces Stewardship of Cameron Rowland’s Depreciation, 2018 |url=https://www.diaart.org/about/press/dia-announces-stewardship-of-cameron-rowlands-depreciation-2018/type/text |website=Dia Art Foundation |access-date=22 May 2023 |date=18 May 2023}}</ref>
== Notable works in public collections == {{Div col|colwidth=40em}} *''Handpunch'' (2014–2015), Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York;<ref>{{cite web |title=Handpunch |url=https://bard.emuseum.com/objects/4360/handpunch |website=Hessel Museum |publisher=Bard College |access-date=14 November 2022 |archive-url=https://web.archive.org/web/20221114034057/https://bard.emuseum.com/objects/4360/handpunch |archive-date=November 14, 2022 |url-status=live }}</ref> and Whitney Museum, New York<ref name="Whitney listing">{{cite web |title=Cameron Rowland Handpunch |url=https://whitney.org/collection/works/49527 |website=Whitney |publisher=Whitney Museum |access-date=30 April 2022 |archive-url=https://web.archive.org/web/20200811105538/https://whitney.org/collection/works/49527 |archive-date=11 August 2020 |url-status=live}}</ref> *''Disgorgement'' (2016), Museum of Modern Art, New York<ref name="MoMA listing 1">{{cite web |title=Cameron Rowland, Disgorgement |url=https://www.moma.org/collection/works/203679?artist_id=48471&page=1&sov_referrer=artist |website=MoMA |publisher=Museum of Modern Art |access-date=30 April 2022 |archive-url=https://web.archive.org/web/20210421195943/https://www.moma.org/collection/works/203679?artist_id=48471&page=1&sov_referrer=artist |archive-date=21 April 2021 |url-status=live}}</ref> *''Insurance'' (2016), Museum of Modern Art, New York<ref name="MoMA listing 2">{{cite web |title=Cameron Rowland, Insurance |url=https://www.moma.org/collection/works/203674?artist_id=48471&page=1&sov_referrer=artist |website=MoMA |publisher=Museum of Modern Art |access-date=30 April 2022 |archive-url=https://web.archive.org/web/20210421195945/https://www.moma.org/collection/works/203674?artist_id=48471&page=1&sov_referrer=artist |archive-date=21 April 2021 |url-status=live}}</ref> *''Insurance'' (2016), Art Institute of Chicago<ref>{{cite web |title=Insurance |url=https://www.artic.edu/artworks/239635/insurance |website=ArtIC |publisher=Art Institute of Chicago |access-date=14 November 2022 |archive-url=https://web.archive.org/web/20221114033751/https://www.artic.edu/artworks/239635/insurance |archive-date=14 November 2022 |url-status=live}}</ref> *''National Ex-Slave Mutual Relief, Bounty and Pension Association Badges'' (2016), Museum of Modern Art, New York<ref name="MoMA listing 3">{{cite web |title=National Ex-Slave Mutual Relief, Bounty and Pension Association Badges |url=https://www.moma.org/collection/works/203673?artist_id=48471&page=1&sov_referrer=artist |website=MoMA |publisher=Museum of Modern Art |access-date=30 April 2022 |archive-url=https://web.archive.org/web/20210421195946/https://www.moma.org/collection/works/203673?artist_id=48471&page=1&sov_referrer=artist |archive-date=21 April 2021 |url-status=live}}</ref> *''New York State Unified Court System'' (2016), Museum of Modern Art, New York (Work rented to museum, at cost)<ref name="MoMA listing 4">{{cite web |title=New York State Unified Court System |url=https://www.moma.org/collection/works/203677?artist_id=48471&page=1&sov_referrer=artist |website=MoMA |publisher=Museum of Modern Art |access-date=30 April 2022 |archive-url=https://web.archive.org/web/20220403031736/https://www.moma.org/collection/works/203677?sov_referrer=artist&artist_id=48471&page=1 |archive-date=3 April 2022 |url-status=live}}</ref> *''Payroll'' (2016), University of Chicago Booth School of Business Art Collection<ref>{{cite web |title=Cameron Rowland |url=http://art.chicagobooth.edu/chicago/index.php?q=artist&ID=134 |website=Booth School Art Collection |publisher=University of Chicago |access-date=14 November 2022 |archive-url=https://web.archive.org/web/20221114034409/http://art.chicagobooth.edu/chicago/index.php?q=artist&ID=134 |archive-date=14 November 2022 |url-status=live}}</ref> *''Jim Crow'' (2017), Carnegie Museum of Art, Pittsburgh<ref name="Carnegie listing">{{cite web |title=Jim Crow |url=https://collection.cmoa.org/objects/71448a90-9c52-49c2-8403-367ec034ff65 |website=CMOA |publisher=Carnegie Museum of Art |access-date=30 April 2022 |archive-url=https://web.archive.org/web/20220430003725/https://collection.cmoa.org/objects/71448a90-9c52-49c2-8403-367ec034ff65 |archive-date=30 April 2022 |url-status=live}}</ref> *''2015 MOCA REAL ESTATE ACQUISITION'' (2018), Museum of Contemporary Art, Los Angeles<ref name="MoCA listing">{{cite web |title=2015 MOCA REAL ESTATE ACQUISITION |url=https://www.moca.org/collection/work/2015-moca-real-estate-acquisition |website=MOCA |publisher=Museum of Contemporary Art, Los Angeles |access-date=30 April 2022 |archive-url=https://web.archive.org/web/20210516121822/https://www.moca.org/collection/work/2015-moca-real-estate-acquisition |archive-date=16 May 2021 |url-status=live}}</ref> *''Assessment'' (2018), Tate, London<ref>{{cite web |title=Assessment |url=https://www.tate.org.uk/art/artworks/rowland-assessment-l04306 |website=Tate |access-date=14 November 2022 |archive-url=https://web.archive.org/web/20221114033851/https://www.tate.org.uk/art/artworks/rowland-assessment-l04306 |archive-date=14 November 2022 |url-status=live}}</ref> *''Depreciation'' (2018), stewarded by Dia Art Foundation, Beacon, New York<ref>{{cite web |title=Dia Announces Stewardship of Cameron Rowland’s Depreciation, 2018 |url=https://www.diaart.org/about/press/dia-announces-stewardship-of-cameron-rowlands-depreciation-2018/type/text |website=Dia Art Foundation |access-date=22 May 2023 |date=18 May 2023}}</ref> *''Group of 11 Used Bikes - Item: 0281-007089'' (2018), Museum für Moderne Kunst, Frankfurt, Germany (Work rented to museum, at cost)<ref>{{cite web |title=Group of 11 Used Bikes |url=https://collection.mmk.art/en/nc/werkdetailseite/?werk=2019%2F43L |website=MMK |publisher=Museum für Moderne Kunst |access-date=14 November 2022 |archive-url=https://web.archive.org/web/20221114035215/https://collection.mmk.art/en/nc/werkdetailseite/?werk=2019%2F43L |archive-date=14 November 2022 |url-status=live}}</ref> *''Stihl Backpack Blower - Item: 0514-005983'' (2018), Museum für Moderne Kunst, Frankfurt, Germany (Work rented to museum, at cost)<ref>{{cite web |title=Stihl Backpack Blower |url=https://collection.mmk.art/en/nc/werkdetailseite/?werk=2019%2F39L |website=MMK |publisher=Museum für Moderne Kunst |access-date=14 November 2022 |archive-url=https://web.archive.org/web/20221114034804/https://collection.mmk.art/en/nc/werkdetailseite/?werk=2019%2F39L |archive-date=14 November 2022 |url-status=live}}</ref> *''probability of escape'' (2020), Institute of Contemporary Art, Miami<ref name="ICAM listing">{{cite web |title=probability of escape |url=https://icamiami.org/collection/cameron-rowland-probability-of-escape-2020/ |website=ICA Miami |publisher=Institute of Contemporary Art, Miami |access-date=30 April 2022 |archive-url=https://web.archive.org/web/20210301132412/https://icamiami.org/collection/cameron-rowland-probability-of-escape-2020/ |archive-date=1 March 2021 |url-status=live}}</ref> *''Lynch Law in America'' (2021), Art Institute of Chicago<ref name="AIC listing">{{cite web |title=Lynch Law in America |url=https://www.artic.edu/artworks/261467/lynch-law-in-america |website=AIC |publisher=Art Institute of Chicago |access-date=30 April 2022 |archive-url=https://web.archive.org/web/20220430004038/https://www.artic.edu/artworks/261467/lynch-law-in-america |archive-date=30 April 2022 |url-status=live}}</ref>
{{Div col end}}
== Awards == Rowland was chosen as a MacArthur Fellow in 2019.<ref name="Newsday2019-09-25" />
== Exhibitions == Rowland has staged a number of solo shows at galleries and museums, including ''Bait, Inc.'' (2014), Maxwell Graham Gallery, New York;<ref>{{cite web |title=Cameron Rowland, Bait, Inc. |url=https://maxwellgraham.biz/exhibitions/bait-inc-2/ |website=Maxwell Graham Gallery |access-date=22 May 2023}}</ref> ''91020000'' (2016), Artists Space, New York;<ref>{{cite web |title=Cameron Rowland: 91020000 |url=https://artistsspace.org/exhibitions/cameron-rowland |website=Artists Space |access-date=22 May 2023}}</ref> ''Birmingham'' (2017) Galerie Buchholz, Cologne;<ref>{{cite web |title=Cameron Rowland "Birmingham" |website=Mousse Magazine |url=https://www.moussemagazine.it/magazine/cameron-rowland-birmingham-galerie-buchholz-cologne |access-date=19 July 2024}}</ref> ''D37'' (2018), Museum of Contemporary Art, Los Angeles;<ref>{{cite web |title=Cameron Rowland D37 |url=https://www.moca.org/exhibition/cameron-rowland-d37 |website=MOCA |publisher=Museum of Contemporary Art, Los Angeles |access-date=22 May 2023}}</ref> ''3 & 4 Will. IV c.73'' (2020), Institute of Contemporary Arts, London;<ref>{{cite web |title=Cameron Rowland |url=https://www.ica.art/exhibitions/cameron-rowland |website=ICA |publisher=Institute of Contemporary Arts |access-date=22 May 2023}}</ref> and ''Amt 45 i'' (2023), Museum für Moderne Kunst, Frankfurt.<ref>{{cite web |title=Cameron Rowland |url=https://www.mmk.art/en/whats-on/cameron-rowland |website=MMK |publisher=Museum für Moderne Kunst |access-date=22 May 2023}}</ref>
Rowland has also participated in a large number of group exhibitions, including La Biennale de Montreal (2016);<ref>{{cite web |title=Cameron Rowland |url=http://www.bnlmtl2016.org/artistes/cameron-rowland/ |website=BNLMTL2016 |publisher=La Biennale de Montreal |access-date=22 May 2023 |archive-url=https://web.archive.org/web/20170920144406/http://www.bnlmtl2016.org/artistes/cameron-rowland/ |archive-date=20 September 2017 |language=fr |url-status=usurped}}</ref> Whitney Biennial (2017);<ref>{{cite web |title=Whitney Biennial - Cameron Rowland |url=https://whitney.org/exhibitions/2017-biennial?section=50 |website=Whitney |publisher=Whitney Museum |access-date=22 May 2023}}</ref> São Paulo Art Biennial (2018);<ref>{{cite web |title=33 Bienal |url=http://33.bienal.org.br/en/exposicao-coletiva-detalhe/5334 |website=Bienal |publisher=São Paulo Art Biennial |access-date=22 May 2023}}</ref> and ''Afro-Atlantic Histories'' (2021-2023).
==References== {{Reflist|refs= <ref name=artnet2019-10-24>{{cite news |url = https://news.artnet.com/market/artists-vetting-collectors-1685464 |title = In the Post-Warren Kanders Era, Artists and Dealers Wonder: Should Collectors Be Vetted? |work = Artnet |author = Brian Boucher |date = October 24, 2019 |page = |location = |isbn = |language = |trans-title = |archiveurl = https://web.archive.org/web/20191029053042/https://news.artnet.com/market/artists-vetting-collectors-1685464 |archivedate = October 29, 2019 |accessdate = November 9, 2019 |url-status = live |quote = 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. }}</ref>
<ref name=wesleyanargus2019-10-29>{{cite news |url = http://wesleyanargus.com/2019/10/29/cameron-rowland-11s-depreciation-explores-the-ties-between-slavery-and-property-relations/ |title = Cameron Rowland '11's "Depreciation" Explores the Ties between Slavery and Property Relations |work = Wesleyan Argus |author = Claire Femano |date = October 29, 2019 |archiveurl = https://web.archive.org/web/20191108062246/http://wesleyanargus.com/2019/10/29/cameron-rowland-11s-depreciation-explores-the-ties-between-slavery-and-property-relations/ |archivedate = November 8, 2019 |accessdate = November 8, 2019 |url-status = live |quote = 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. }}</ref>
<ref name=Newsday2019-09-25>{{cite news |url = https://www.newsday.com/long-island/zachary-lippman-macarthur-genius-i32206 |title = LIer a 2019 MacArthur 'genius' grant recipient |work = Newsday |author = Joan Gralla |date = September 25, 2019 |archive-url = https://web.archive.org/web/20190929194859/https://www.newsday.com/long-island/zachary-lippman-macarthur-genius-1.36816141 |archive-date = September 29, 2019 |access-date = September 29, 2019 |url-status = live |quote = 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. }}</ref> }}
==Further reading== *{{cite magazine |last=Green |first=Linda Mai |title=First Look: Cameron Rowland |magazine=Art in America |volume=103 |issue=8 |page=53 |date=September 2015 |id={{EBSCOhost|109948724|dbcode=f6h}} |oclc=1514286 |url=https://www.artnews.com/art-in-america/features/first-look-cameron-rowland-63137/ |access-date=30 January 2025}} *{{cite news |last1=Smith |first1=Roberta |author1-link=Roberta Smith |id={{ProQuest|1760988855}} |title=In Cameron Rowland's '91020000,' Disquieting Sculptures |url=https://www.nytimes.com/2016/01/29/arts/design/in-cameron-rowlands-91020000-disquieting-sculptures.html |url-access=limited |access-date=30 January 2025 |work=The New York Times |date=28 January 2016}} *{{cite magazine |last=Kitnick |first=Alex |title=Openings: Cameron Rowland |magazine=Artforum |date=March 2016 |volume=54 |issue=7 |pages=260–265 |url=https://www.artforum.com/features/openings-cameron-rowland-228013/ |url-access=limited |access-date=29 January 2025 |id={{ProQuest|1774332325}} |oclc=1009005169 }} *{{cite magazine |last=Bodick |first=Noelle |date=April 2016 |magazine=Modern Painters |volume=28 |issue=4 |title=Cameron Rowland |pages=98–99 |oclc=60640142 |id={{EBSCOhost|113615009|dbcode=asu}} }} *{{cite magazine |last=Markus |first=David |title=Cameron Rowland |magazine=Art in America |volume=104 |issue=4 |date=April 2016 |pages=114–115 |oclc= |id={{EBSCOhost|114088896|dbcode=f6h}} |url=https://www.artnews.com/art-in-america/aia-reviews/cameron-rowland-62137/ |access-date=29 January 2025 }} *{{cite magazine |last=Gat |first=Orit |title=Cameron Rowland |date=May 2016 |issue=179 |page=214 |magazine=frieze |url=https://www.frieze.com/article/cameron-rowland |url-access=limited |id={{EBSCOhost|115449900|dbcode=asu}} |oclc=32711926 |access-date=29 January 2025 }} *{{cite magazine |last=Wang |first=Jackie |title=Cameron Rowland and the Carceral Laboratory |date=November–December 2018 |issue=199 |magazine=frieze |url=https://www.frieze.com/article/cameron-rowland-and-carceral-laboratory |url-access=limited |oclc=32711926 |access-date=29 January 2025 }} *{{cite news |last1=Knight |first1=Christopher |author1-link=Christopher Knight (art critic) |oclc=3638237 |id={{ProQuest|2167865011}} |title=Review: In Cameron Rowland's 'D37' at MOCA, the legacy of slavery takes frightfully familiar forms |url=https://www.latimes.com/entertainment/arts/la-et-cm-moca-cameron-rowland-20190116-story.html |url-access=limited |access-date=30 January 2025 |work=Los Angeles Times |date=16 January 2019}} *{{cite magazine |last=Mutambu |first=Tendai |date=April 2020 |title=Cameron Rowland: 3 & 4 Will. IV c. 73 |magazine=Art Monthly |issue=435 |pages=30–31 |oclc=4547163 |id={{EBSCOhost|142490475|dbcode=a9h}}}} *{{cite magazine |last=Vishmidt |first=Marina |title=Marina Vishmidt on Cameron Rowland |date=April 2020 |magazine=Artforum |volume=58 |issue=8 |url=https://www.artforum.com/events/cameron-rowland-3-246873/ |url-access=limited |access-date=29 January 2025 |id={{ProQuest|2426195617}} |oclc=20458258 }} *{{cite magazine |last=Shields |first=Derica |title=No Escape from Empire: Cameron Rowland at London’s ICA |date=17 September 2020 |magazine=frieze |url=https://www.frieze.com/article/no-escape-empire-cameron-rowland-londons-ica |url-access=limited |oclc=32711926}} *{{cite journal |last1=Stabler |first1=Albert |title=The Contractual Aesthetics of Sharecropping in Black Conceptualism |journal=Critical Arts: A South-North Journal of Cultural & Media Studies |date=December 2020 |volume=34 |issue=6 |publisher=Routledge / UNISA Press / University of KwaZulu-Natal |oclc=498883117 |id={{EBSCOhost|148425786|dbcode=asu}}}} *{{cite news |last1=Steinhauer |first1=Jillian |display-authors=etal |title=3 Art Gallery Shows to See Right Now |url=https://www.nytimes.com/2021/06/09/arts/design/3-art-gallery-shows-to-see-right-now.html |url-access=limited |access-date=30 January 2025 |work=The New York Times |date=9 June 2021 |oclc=1645522 |id={{ProQuest|3127494056}}}} *{{cite magazine |last=Binyam |first=Maya |title=Cameron Rowland |magazine=Art in America |date=September–October 2021 |volume=109 |issue=5 |id={{EBSCOhost|151869137|dbcode=f6h}} |oclc=1514286 }} *{{cite magazine |last=Samudzi |first=Zoé |title=Rethinking Reparations |magazine=Art in America |volume=111 |issue=4 |date=Fall 2023 |pages=72–79 |id={{EBSCOhost|169858777|dbcode=a9h}} |oclc=1514286 }} *{{cite magazine |last=Khela |first=Ajeet |title=Cameron Rowland and the Politics of Obstruction |date=18 July 2024 |magazine=frieze |url=https://www.frieze.com/article/cameron-rowland-glasgow-international-2024 |url-access=limited |oclc=32711926 |access-date=29 January 2025 }} *{{cite web |last=Dean |first=Aria |author-link=Aria Dean |website=4Columns |title=Cameron Rowland |date=20 December 2024 |url=https://4columns.org/dean-aria/cameron-rowland |access-date=29 January 2024}} *{{cite magazine |last=Fateman |first=Johanna |author-link=Johanna Fateman |title=How Cameron Rowland Became the Leading Land Artist of the 21st Century |date=29 January 2025 |magazine=Cultured |department=The Critic's Table |url=https://www.culturedmag.com/article/2025/01/29/cameron-rowland-artist-dia-beacon-criticism |url-access=subscription |access-date=29 January 2025 |oclc=1009005169 }}
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{{DEFAULTSORT:Rowland, Cameron}} Category:1988 births Category:21st-century African-American artists Category:21st-century American artists Category:African-American contemporary artists Category:American conceptual artists Category:American contemporary artists Category:Living people Category:Wesleyan University alumni Rowland, Cameron