| BORN | |
| 1982, Los Angeles, CA | |
| Lives and works in Los Angeles, CA | |
| EDUCATION | |
| 2008 | MFA | UCLA, Los Angeles, CA |
| 2004 | BFA | Cooper Union, New York, NY |
| SOLO EXHIBITIONS | |
| 2021 | Erarta Museum of Contemporary Art, Saint Petersburg, Russia |
| Forest Lawn Museum, Los Angeles, CA (forthcoming) | |
| 2020 | Vatnajökull, M+B, Los Angeles, CA |
| Yossi Milo Gallery, New York, NY | |
| 2019 | Rocks and Eagles, Newark Museum, Newark, NJ |
| 2018 | AgX.Hb, M+B, Los Angeles, CA |
| 2017 | 1864, Jackson Fine Art, Atlanta, GA |
| 2016 | River and Sky, Yossi Milo, New York, NY |
| 2015 | More Pictures from Wai’anae, Praz-Delavallade / Vedovi Galerie, Brussels, Belgium |
| Pictures from Wai’anae, M+B, Los Angeles, CA | |
| 2014 | Woodblocks, Praz-Delavallade, Paris, France |
| Matthew Brandt: Sticky/Dusty/West, Virginia Museum of Contemporary Art, VA | |
| Excavations, Yossi Milo Gallery, New York, NY | |
| Lakes and Reservoirs, SCAD Museum of Art, Savannah, GA | |
| Matthew Brandt: Sticky/Dusty/Wet, Columbus Museum of Art, Columbus, OH | |
| 2013 | Velvet and Bubble Wrap, M+B, Los Angeles, CA |
| Water & Polaroid, Highlight Gallery, San Francisco, CA | |
| Matthew Brandt: Sticky/Dusty/Wet, Columbus Museum of Art, Columbus, OH | |
| 2012 | Lakes, Trees, and Honeybees, Yossi Milo Gallery, New York, NY |
| 2011 | Two Ships Passing, M+B, Los Angeles, CA |
| 2009 | Chocolate, Bees, Dust, Sperm, and Sprinkles, Cardwell Jimmerson Gallery, Culver City, CA |
| GROUP EXHIBITIONS | |
| 2022 | Watershed: Surfacing Histories in the Great Lakes Basin, University of Michigan Museum of Art, Ann Arbor, MI (forthcoming) |
| 2021 | The Art of Trees, Gund Gallery, Kenyon College, Gambier, OH |
| Ansel Adams in Our Time, Portland Art Museum, Portland, OR | |
| 2020 | On Earth, Technology and Photography in the Natural World, Foam Fotoraphiemuseum, Amsterdam, Netherlands |
| 2019 | On Earth, Technology and Photography in the Natural World, Arles, les Contres De La Photographie, Arles, France |
| Back to the Future: The 19th Century in the 21st Century, Mai Mano House, Budapest, Hungary | |
| Le Magasin, Praz-Delavallade, Los Angeles, CA | |
| 2018 | Ansel Adams in Our Time, Museum of Fine Arts, Boston, MA (forthcoming) |
| Back to the Future: The 19th Century in the 21st Century, C/O Berlin, Berlin, Germany | |
| A New Way of Walking, Timothy Taylor, London, UK | |
| Out of the Crate: New Gifts and Purchases, Detroit Institute of Arts, Detroit, MI | |
| Evolver, LA Louver, Los Angeles, CA | |
| Back to the Future: The 19th Century in the 21st Century, FOAM Museum, Amsterdam, Netherlands | |
| New Territory: Landscape Photography Today, Denver Art Museum, Denver, CO | |
| A Fire That No Water Could Put Out: Civil Rights Photography, High Museum of Art, Atlanta, GA | |
| Look Again: Collecting 45 Years of Photograph, High Museum of Art, Atlanta, GA | |
| C’est Comme Vous Voulez, Praz-Delavallade, Los Angeles, CA | |
| 2017 | Sonne auf Papier. Kunst Experiment Fotografie, Dresden City Museum, Dresden, Germany |
| I Love L.A., Praz-Delavallade, Los Angeles, CA | |
| Prix Pictet: Disorder (touring exhibition) Palau Robert, Barcelona, Spain (2017); The Museum Of Photographic Arts, San Diego, CA (2017); Kunstverein, Hamburg, Germany (2016); The Gallery of Photography, Dublin, Ireland (2016); Bank Gallery, Tokyo, Japan (2016); LUMA Westbau, Zurich, Switzerland (2016) International Red Cross and Red Cresent Museum, Geneva, Switzerland (2016); Municipal Gallery of Athens, Greece (2016); CAB Art Center, Brussels, Belgium (2016); MAXXI, Rome, Italy (2016); Somerset House, London, England (2016): Musee d’Art Moderne de la Ville Paris, France (2015) | |
| 2016 | The Poetics of Place: Contemporary Photographs from the Met Collection, The Metropolitan Museum of Art, New York, NY |
| New Matter: Recent Forms of Photography, Art Gallery of New South Wales, Sydney, Australia | |
| PLEASE HAVE ENOUGH ACID IN THE DISH!, Organized by Vinny Dotolo, M+B, Los Angeles, CA | |
| Boundless: A California Invitational, Museum of Photographic Arts, San Diego, CA | |
| Retro-spective: Analog Photography in a Digital World, Museum of Contemporary Art, Jacksonville, FL | |
| Material Matters: Water, Pigment, and Light, Van Every Gallery, Davidson College, Davidson, NC | |
| Touch the Sky: Art and Astronomy curated by Mary-Kay Lombino, Vassar College, Poughkeepsie, NY | |
| Sun on Paper, Städtischen Galerie Nordhorn, Nordhorn, Germany | |
| A Matter of Memory: Photography as Object in the Digital Age, George Eastman Museum, Rochester, NY | |
| What’s Up, Soho Revue, London, UK | |
| Disorder, Somerset House, London, UK | |
| 2015 | Disorder, Musée d’Art Moderne de la Ville de Paris, France |
| The Magic Medium, Los Angeles County Museum of Art, Los Angeles, CA | |
| Russian Doll, M+B, Los Angeles, CA | |
| Mediated Images, Brand New Gallery, Milan, Italy | |
| Thief Among Thieves, Museum of Contemporary Art Denver, Denver, CO | |
| Light, Paper, Process, J. Paul Getty Museum, Los Angeles, CA | |
| Second Chances, Aspen Art Museum, Aspen, CO | |
| Sitter, Canzani Center Gallery, Columbus College of Art & Design, Columbus, OH | |
| Anti-Grand: Contemporary Perspectives on Landscape, Joel and Lila Harnett Museum of Art, University of Richmond Museums, VA | |
| 2014 | Of My Affection, Anonymous Gallery, Mexico City |
| Modern Alchemy: Experiments in Photography, The Heckscher Museum of Art, Huntington, NY | |
| Me and Benjamin, curated by M+B, Galerie Xippas, Paris, France | |
| Transformational Imagemaking: Handmade Photography Since 1960. Contemporary Photography and Visual Arts Center, Buffalo, NY | |
| Homeland [IN]security: Vanishing Dreams, Dorsky Gallery, Long Island City, NY | |
| Phantoms in the Dirt, Museum of Contemporary Photography, Columbia College, Chicago, IL | |
| Process Priority, Steven Zevitas Gallery, Boston, MA | |
| The Fifth Season, James Cohan Gallery, New York, NY | |
| After Ansel Adams, Museum of Photographic Arts in San Diego, CA | |
| Beyond Earth Art, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY | |
| NADA New York 2014, NY | |
| Process, Photo Center Northwest, Seattle, WA | |
| Out of the Ordinary, The Bascom: Center for the Visual Arts, Highlands, NC | |
| Trouble with the Index, California Museum of Photography, Riverside, CA | |
| What is a Photograph?, The International Center of Photography, New York, NY | |
| Substance, Timothy Taylor Gallery, London, UK | |
| 2013 | The Polaroid Years: Instant Photography and Experimentation, Norton Museum of Art, West Palm Beach, FL |
| Reality Check, Massachusetts College of Art and Design, Boston, MA | |
| Currents: Photographs from the collection of Allen Thomas Jr., Contemporary Art Museum (CAM), Raleigh, NC | |
| Land Marks, Metropolitan Museum of Art, New York, NY | |
| Reality Check, Bakalar & Paine Gallery, Boston, MA | |
| Dwelling in Erasure, Charlie James Gallery, Los Angeles, CA | |
| Unique, Von Lintel Gallery, New York, NY | |
| Rogue Wave, L.A. Louvre, Los Angeles, CA | |
| Staking Claim: A California Invitational, Museum of Photographic Arts, San Diego, CA | |
| The Black Mirror, Diane Rosenstein Fine Art, Los Angeles, CA | |
| 2012 | After Image: The Photographic Process(ed), Cerritos College Art Gallery, Norwalk, CA |
| Group Show in New Photography in Palma, Mallorca Landings, Palma de Mallorca, Spain | |
| Surface Tension, The Center for Photography, Woodstock, NY | |
| MOTA, See Line Gallery, Los Angeles, CA | |
| Photography Is, Higher Pictures, New York, NY | |
| The Crystal Chain, Invisible Exports, New York, NY | |
| 2011 | Every Photograph Is In Visible, Churner and Churner, New York, NY |
| Assembly: Eight Emerging Photographers, Fred Torres Collaborations, New York, NY | |
| Of Memory and Time, Hendershot Gallery, New York, NY | |
| 2010 | Bedtime for Bonzo, M+B, Los Angeles, CA |
| Genre Studies, Cardwell Jimmerson Gallery, Culver City, CA | |
| Edges of Light, Arts Benicia, Benicia, CA | |
| Assembly: Eight Emerging Photographers from Southern California Fotofest 2010 Biennial, Houston, TX | |
| matrix, Philadelphia Photo Arts Center, Philadelphia, PA | |
| Capitalism in Question (Because It Is), Pitzer Art Galleries, Pitzer College, Claremont, CA | |
| 2009 | Shock and Awe, Gatov Galleries, California State University, Long Beach, CA |
| Chef’s Theory, 533 Gallery, Los Angeles, CA | |
| 2008 | 2008 Torrance Juried Art Exhibition, Torrance Art Museum, Torrance, CA |
| Some Young LA Artists, Cardwell Jimmerson Gallery, Culver City, CA | |
| Laboratory, UCLA Thesis Exhibition, Wight Gallery (UCLA Broad Art Center), Los Angeles, CA | |
| 2007 | Greater Los Angeles Masters of Fine Art Exhibition, CSU, Long Beach, CA |
| The Most Curatorial Biennial of the Universe, Apexart, New York, NY | |
| 2005 | Art Auction of the ‘Peter Coopers’, Cooper Union, New York, NY |
| 2004 | Thesis Exhibition, Cooper Union, New York, NY |
| 2001 | Ryman-Carroll Foundation Group Exhibition, Gallery 825, Los Angeles, CA |
| Post-Ryman Group Exhibition, Schomburg Gallery, Santa Monica, CA | |
| 2000 | Emerging Young Artist Fund and Scholarship Exhibition, Colburn Performing Art Centers, Los Angeles, CA |
| 1999 | Pro and Protégés, Barnsdall Metropolitan Art Gallery, Los Angeles, CA |
| SPECIAL PROJECTS | |
| 2016 | Matthew Brandt video presentation, in collaboration with Julianna Barwick at the Museum of Modern Art, New York, NY |
| Saturday Nights at The Getty: Julianna Barwick and Matthew Brandt, The Getty Museum, CA | |
| SELECTED BIBILIOGRAPHY | |
| 2021 | Bishar, Trevor. “The Earth: Matthew Brandt,” Musée Magazine, April 21 |
| Aviv, Rachel. "How Elizabeth Loftus Changed the Meaning of Memory." The New | |
| Mooallem, Jon. "Matthew Brandt." Element: A Yoffy Press Triptych featuring Matthew Brandt, Chris McCaw and Meghann Riepenhoff. Yoffy Press, March [book] | |
| 2018 | The Voyages Issue,” The New York Times Magazine." September 21 (cover) |
| Cascone, Sarah. “The Detroit Institute of Arts Has Bought Murky Photographs That an Artist Developed in Water From Flint, Michigan.” Artnet, August 8 | |
| Delson, Susan. "In Denver, Landscapes Soaked, Digitized and Irradiated." The Wall Street Journal, June 8 | |
| Keats, Jonathan. "Printed With Tap Water From Flint, Michigan, These Pictures Show Why Film Photography Still Matters." Forbes, February 26 | |
| Tsomondo, Dzana. "Matthew Brandt Uses Unique Silver printing Technique for New Series." Photo District News, February 9 | |
| 2017 | Ollman, Leah. "Rematerializing Photography." Art in America, June 1 |
| Cash, Stephanie. "Q&A with Photographer Matthew Brandt." Burnaway, May 26 | |
| "Readings," Harper's, January | |
| 2016 | Yerekbakan, Osman Can. “Matthew Brandt,” Artspeak, November |
| Sanchez, Gabriel H. “Matthew Brandt’s Poison Pictures,” Aperture, December 13 | |
| Hodara, Susan. “At Vassar, Seeing the Heavens with Paint, Pencil and Cocaine,” The New York Times, June 4 | |
| Whalen, Danielle. “5 Must-See Booths at the AIPAD Photography Show 2016,” Artinfo, April 14 | |
| 2015 | Harren, Natilee. “Light, Paper, Process: Reinventing Photography.” Artforum, September |
| Ollman, Leah. “Light, Paper, Process, an Inventive Subversion of Photography,” Los Angeles Times, May 1 | |
| Riefe, Jordan. “Lights! Camera! Bodily Fluids! Photographers bend the rules,” The Guardian. April 17 | |
| 2014 | Lester, Paul. “Review: Matthew Brant,” Modern Painters, April 5 |
| "Matthew Brandt,” The New Yorker, May 5 | |
| Bates, Rebecca. “Artist Matthew Brandt Revives the History of Early Photography,” Architectural Digest 27 March 27 | |
| Sanchez, Gabriel. “What is a Photograph?”, Artforum, March 1 | |
| Li, Jennifer. “Matthew Brandt at M+B,” Art in America, March | |
| 2013 | “20 Artists to Collect Now,” Architectural Digest, December |
| Bramowitz, Julie. “Matthew Brandt and a Handful of Dust,” Interview Magazine, November, 15 | |
| “THR Art Issue: Top 10 L.A. Artists Coveted by Hollywood,” The Hollywood Reporter, November 4 | |
| “50 Under 50: The Next Most Collectible Artists,” Art+Auction, June | |
| Westerbeck, Colin. “Top Finds at Paris Photo Los Angeles,” Art in America, May 16 | |
| Gardiner, Ross. “Beauty in the Bread Down,” LA Canvas | |
| Johnson, Ken. “AIPAD Photography Show,” The New York Times, April 5 | |
| 2012 | Lowry, Vicky. “Matthew Brandt,” Elle Décor, November |
| Deitch, Jeffery and Close, Chuck. “Top 30 Under 30 in Art & Design,” Forbes | |
| Di Nardo, Arianne, “Mixed media: Matthew Brandt,” Lay Flat, October 8 | |
| “Matthew Brandt: Lakes, Trees, and Honeybees,” Le Journal de la Photographie, July 21 | |
| “Matthew Brandt,” Time Out New York, July 5 | |
| Dykstra, Jean. “Matthew Brandt,” Photograph Magazine, July/August | |
| Gopnik, Blake. “Self-portraits with Buzz,” The Daily Beast, June 28 | |
| “Matthew Brandt,” Museé Magazine, June | |
| “Goings on about Town: Art,” The New Yorker, June, 19 | |
| Shaheen, Susan. “Water Works: Matthew Brandt’s Experimental Landscapes,” The New Yorker, June 5 | |
| Laluyan, Oscar. “The Secret Life of Photographs by Brandt,” Arte Fuse, May 30 | |
| Johnson, Elizabeth. “Lakes, Trees and Honeybees,” CNN Photos, May 23 | |
| Rothman, Lily. “Lakes, Trees and Honeybees: Matthew Brandt at Yossi Milo Gallery,” Time Light Box, May 22 | |
| “Matthew Brandt’s Lakes, Trees and Honeybees at Yossi Milo Gallery,” The Huffington Post, May 8 | |
| Schwendener, Martha. “Closing Generation Gaps,” The New York Times, March 29 | |
| 2011 | Diehl, Travis. “Review: Matthew Brandt at M+B,” Modern Painters, December 2011/January 2012 Issue |
| “The 100 Best Fall Shows: Matthew Brandt at M+B,” Modern Painters, September | |
| Cheh, Carol.“Best Art I Saw all Week: Matthew Brandt’s Electric Photographs in ‘Two Ships Massing’ at M+B: Don’t Touch or You’ll Get shocked,” LA Weekly, September 28 | |
| “Goings on about Town: Art,” The New Yorker, August 2 | |
| Aletti, Vince. “Assembly: Eight Emerging Photographers from Southern California,” The New Yorker, April 11 | |
| 2010 | “Contemporary U.S. Photography” Schilt Publishing, Amsterdam |
| “Capitalism in Question (Because It Is),” Pitzer College Pres | |
| Davies, Stacy, “Really Want the Red Pill,” Inland Empire Weekly, February | |
| “Hands Up,” Self-published | |
| 2009 | Choate, Andrew. “Review of Chocolate, bees, dust, sperm & sprinkles at Cardwell Jimmerson” Art ltd., July/August |
| 2008 | Cunningham, Mark. “Surface Tension: Matthew Brandt’s Lakes and Reservoirs 2,” Octopus, volume 4, Fall |
| PUBLICATIONS | |
| 2015 | |
| 2014 | |
| 2013 | Dust Rising: Public Library, Los Angeles: Golden Spike Press |
| COLLECTIONS | |
| Art in Embassies, US Department of State, Washington, DC | |
| Art Gallery of New South Wales, Sydney, Australia | |
| Bidwell Projects, Cleveland, OH | |
| The Brooklyn Museum of Art, NY | |
| Cincinnati Art Museum, Cincinnati, OH | |
| The Columbus Museum of Art, OH | |
| Denver Art Museum, Denver, CO | |
| The Detroit Institute of Arts, MI | |
| Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY | |
| Hammer Museum, Los Angeles, CA | |
| The High Museum, Atlanta, GA | |
| George Eastman Museum, Rochester, NY | |
| J. Paul Getty Museum, Los Angeles, CA | |
| Solomon R. Guggenheim Museum, NY | |
| Jimenez – Colon Collection, Ponce, Puerto Rico | |
| Los Angeles County Museum of Art, Los Angeles, CA | |
| Metropolitan Museum of Art, New York, NY | |
| Minneapolis Institute of Art, Minneapolis, MN | |
| The Mohn Family Foundation | |
| National Gallery of Art, Washington, DC | |
| Newark Museum, Newark, NJ | |
| North Carolina Museum of Art, NC | |
| Norton Museum of Art, West Palm Beach, FL | |
| UBS Art Collection, New York, NY | |
| Royal Danish Library, National of Photography, Copenhagen, Denmark | |
| The Sir Elton John Photography Collection | |
| Statoil Collection, Stamford, Connecticut | |
| Virginia Museum of Fine Arts, Richmond, VA | |
| Vassar College, Pughkeepsie, NY | |
| The Wieland Collection, Atlanta, GA | |
