Enrique Martínez Celaya: Collected Writings and Interviews, by Enrique Martínez Celaya

By Enrique Martínez Celaya

This assortment, spanning 20 years of creative job, positive aspects choices of writings tracing the highbrow affects and improvement of 1 of the extra bold and effective minds within the modern artwork international. The writings of Enrique Martínez Celaya include public lectures; essays; interviews; correspondence with artists, critics, and students; artist statements; weblog posts; and magazine entries.
This number of writings contains the six public lectures Martínez Celaya introduced in the course of his three-year appointment because the moment vacationing Presidential Professor on the collage of Nebraska. Marked through an encyclopedic interest and huge wisdom concerning the international, those lectures discover the character of images and portray, the position of the artist as prophet, the connection of paintings to the college and the museum, in addition to reflections on his personal work.
Enrique Martínez Celaya: accrued Writings and Interviews, 1990–2010 good points seventy-nine photos from Martínez Celaya’s collection; an advent by means of Klaus Ottmann, who teaches artwork background on the institution of visible Arts in ny and is the Robert Lehman Curator for The Parrish paintings Museum in Southampton, ny; and a foreword by means of James B. Milliken, president of the college of Nebraska.

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I try to collect all the different versions of stories and look for that one thing that can send you back to a different place and time. I’ve really fought hard not to be nostalgic or romantic about it. Though you certainly use the trappings of nostalgia and romance. When I’ve looked at who I thought were the best thinkers, and not only Latin Americans, regardless of whatever emotional or intellectual power they possessed, their models and ideas were usually constructed from very simple cliché experiences.

Does the head become the sign of this reconciliation of the paradox, meaning, a body part that could most likely bring people to the recognition of this realm you’re describing? emc: I think there is an immediate recognition of a head as a consciousness without raising the theatrical problems of the full figure. A figure seems to transform the painting into a sort of stage. The head is also the strongest association with the memory of someone, and sometimes with memory itself. I’m interested in the first read of these paintings, their evocative quality rather than their symbolism, like the head being understood as the bed of thought or any of these historical views of the head or the other parts of the body.

Mag: And in the midst of painting, can the painter? emc: Yes, the painter can exist in this realm. However, the act of painting is often delusional and the painter must edit within his or her rapture. The elation or euphoria that often happens while working does not guarantee a higher plane of experience. It will be nice if it did. mag: So do you see yourself commenting on the problem raised by other painters regarding what has been called “the mystical,” or do you see yourself embarking on another path of inquiry?

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