Enrique Martínez Celaya : collected writings and interviews, by Enrique Martínez Celaya

By Enrique Martínez Celaya

This assortment, spanning twenty years of inventive job, beneficial properties decisions of writings tracing the highbrow impacts and improvement of 1 of the extra ambitious and effective minds within the modern artwork international. The writings of Enrique Martínez Celaya contain public lectures; essays; interviews; correspondence with artists, critics, and students; artist statements; weblog posts; and magazine entries.
This number of writings comprises the six public lectures Martínez Celaya brought in the course of his three-year appointment because the moment vacationing Presidential Professor on the college of Nebraska. Marked by means of an encyclopedic interest and enormous wisdom in regards to the global, those lectures discover the character of images and portray, the position of the artist as prophet, the connection of artwork to the collage and the museum, in addition to reflections on his personal work.
Enrique Martínez Celaya: accrued Writings and Interviews, 1990–2010 positive aspects seventy-nine images from Martínez Celaya’s collection; an advent through Klaus Ottmann, who teaches paintings historical past on the university of visible Arts in big apple and is the Robert Lehman Curator for The Parrish paintings Museum in Southampton, ny; and a foreword by way of James B. Milliken, president of the college of Nebraska.

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Extra resources for Enrique Martínez Celaya : collected writings and interviews, 1990-2010

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Is it the paradox you’re after or is it the representation of a metaphysical realm that you strive for? emc: I am not interested in any representation or illustration of the metaphysical. It is the epiphany I am after, not imagining what it will be like. I like the physicality of these objects but always as a vehicle. The physical aspect of these works and what they evoke generates a third state. This third state or quality is the reconciliation of the physical and the spiritual as intellectual clarity.

I have been taking photographs for some time but usually as reference for my paintings and drawings. After a while, I started to become interested in the photographs themselves. As I pinned them to my studio wall I started to develop a relationship with them as objects. From this emerged a way of addressing time and the problems of selfcontainment, which is different than the photographs that I have seen. I like pictures where their moment does not have a before or an after. Time can then be generated by photographs instead of documented by them.

I’m not so interested in the idea of recounting memories negative or positive in terms of a forgotten past. But as someone who left his country and moved from place to place, that past—in terms of a personal history—always becomes something to contend with when looking at a larger history. cm: So time, for you, is understood in terms of place? emc: In my family, conversations about memories always were prefaced with Originally published as “A Conversation with Enrique Martínez Celaya,” Artweek.

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