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The artist Enrique Martínez Celaya and the collectors Gudrun and Martin Fritsch have the same passion for many years: their enthusiasm for German artist Käthe Kollwitz and the examination of her work. While the Berlin-based collectors have built a significant private Kollwitz collection, the artist has referenced his 100-year-older predecessor in many of his own works. Perhaps this is why there are telling parallels between the artistic practices of Martínez Celaya and Kollwitz. Both explore the correlation of drawing and sculpture, and both articulate a deeply felt humanism. For this exhibition at Galerie Judin, Enrique Martínez Celaya has created a group of works that capture the essence of his exploration of Käthe Kollwitz, shown here in a fascinating dialogue with works from the Fritsch Collection. ENRIQUE MARTINEZ CELAYA (*1964) was born in Cuba, grew up in Spain and Puerto Rico, and studied physics and painting in the United States. He is a painter, sculptor, and writer living in Los Angeles, California. His work is represented in exhibitions and collections of important institutions worldwide. KÄTHE KOLLWITZ (1867-1945) studied in Berlin and Munich and became Germany's first female art professor. Her work in drawing, printmaking, and sculpture made her one of the most significant German artists of the last century.
This collection, spanning nearly a decade of artistic activity, features selections of writings that trace the intellectual influences and track the development of one of the more formidable and productive minds in the contemporary art world. The writings comprise Enrique Martínez Celaya’s public lectures; essays; interviews; correspondence with artists, critics, and scholars; artist statements; blog posts; and journal entries. These texts were written during Martínez Celaya’s appointment as Visiting Presidential Professor at the University of Nebraska; Roth Distinguished Visiting Scholar at Dartmouth College; and, most recently, as the first Provost Professor of Humanities and Arts at the University of Southern California. Marked by Martínez Celaya’s encyclopedic curiosity and considerable knowledge about the world, these writings and interviews explore the role of art in life, evaluate texts by other modern and contemporary artists and thinkers, and reveal the artist’s deep engagement with artistic, philosophical, and literary lines of inquiry.
"In mid-December, 2018, a man stood before one of the most beloved paintings in Europe, Botticelli's The Birth of Venus, and had a heart attack (Henri Neuendorf,ArtNet News, December 19, 2018 https://news.artnet.com/art-world/heart-attack-botticelli-uffizi-1425448). Venus is that painting you're thinking of, the one with the shapely, wheat-haired woman standing in a seashell, with one hand covering her breasts and the other holding her long, golden locks in front of her groin. Floating above her right shoulder are two winged figures with their arms wrapped around each other, who blow air on her like distant kisses. On her left stands a woman (the Hora of Spring?) who holds what looks like a drape and gazes directly at our goddess, whose face, tilted just so, looks toward the viewer with a gentle yet mature glance, as if she was born knowing all one needs to know of love and seduction. Fortunately, the man whose heart failed while looking back at our all-knowing Venus survived, but he was not the first to collapse while viewing art in Florence, and no doubt he will not be the last. It has happened often enough that there is a medical term for the phenomenon named after the first notable man to succumb, "Stendhal Syndrome." Apparently the French author of On Love, a treatise on romantic passion, reported that he fell ill in 1817 after viewing too much Florentine art (Bamforth 945). Is it any wonder that Botticelli's winged figures hang on to each other so tightly? To be awestruck is to be in imminent danger"--
Distributed by the University of Nebraska Press for Whale and Star Press Enrique Martínez Celaya's aesthetic project revives and reinterprets the classic Western metaphysical tradition relating aesthetics to ethics, the Beautiful to the Good and the True. His work embodies his belief that being a certain kind of artist means being a certain kind of person and that in and through art he gains clarity about himself and his relationship to the world. His project is thus profoundly ethical and, in important ways, spiritual. Through art Martínez Celaya reconciles himself to the world as he reconciles his past with his present and projects his future. This volume also participates in the process of reconciliation and projection by interpreting his work through the series, cycles, and projects, which include painting, sculpture, photographs, poetry, and prose that have defined it since the mid-1990s. Curator of the Sheldon Memorial Art Gallery, Daniel A. Siedell, has worked with Martínez Celaya on several projects and offers a radical commentary on his work, arguing that Martínez Celaya's ambitious aesthetic project is best understood as an embodiment of a religious Weltanschauung and as a search for that most elusive of religious virtues: hope. The complex cohesion of Martínez Celaya's work is further explored by other writers, who by placing it in different contexts reveal their own distinctive engagement with it. Art critic Thomas McEvilley, a philologist who writes about art, philosophy, and religion, explores how Martínez Celaya has combined Germanic feeling with a surrealist plastic vocabulary to "present a world." Literary critic and Paul Celan scholar John Felstiner traces the contours of an aesthetic lineage that includes Goya, Eliot, Celan, and Beethoven. Former Washington Post journalist and Hollywood producer and writer Christian Williams adopts the conventional artist's chronology to craft a powerful account of Martínez Celaya's life, which has become intimately entwined with his own.
"Distributed by the University of Nebraska Press for Whale and Star Press" Immediately after the publication of "Les Fleurs du Mal" in 1857, Baudelaire was prosecuted and found guilty of obscenity and blasphemy. Today, "Les Fleurs du Mal" is considered by many to be the most important and influential poetry collection published in Europe in the 19th century. For Baudelaire, love was the essence of the forbidden, and he saw the individual as a divided being, drawn equally towards good and evil, the ideal and the sensual. His originality sets him apart from the dominant literary schools of his time and his poetry is regarded as the last brilliant summation of Romanticism, the precursor of Symbolism, and the first expression of Modernity. This volume brings together, for the first time, "Les Fleurs du Mal" and the original etchings by Odilon Redon inspired by the text. These wonderful examples of the work of Odilon Redon, the greatest of the French Symbolists, depict the world of fantasy, which he believed few dared to envision.
In On Art and Mindfulness, world-renowned artist and celebrated teacher Enrique Martínez Celaya shares his views and advice on the art-making process, the development of a practice, the management of obstacles, and the day-to-day choices we must make in order to remain creative and honest. Drawn from sold-out workshops that Martínez Celaya taught over nine years at the Anderson Ranch Arts Center in Snowmass, Colorado, On Art and Mindfulness serves as a practical guide for artists as well as anyone who wishes to live a mindful, productive life.
Dramatically reinventing the lineage of Goya, Sargent and Manet, Lynette Yiadom-Boakye imbues the Black subjects in her paintings with atmospheric grace and elegance Taking inspiration from the techniques of historic European portraiture, Lynette Yiadom-Boakye's oil paintings could almost be from a much older era if it were not for the contemporary details of the Black subjects that populate her work. Though her subjects are people conjured in her imagination, Yiadom-Boakye imbues her portraits with a near-tangible spirit through her deliberate brush strokes and rich dark tones. The result is paintings that seem to exist outside of time while still remaining grounded in reality. This lavishly illustrated volume of nearly 80 paintings and drawings--some of which have never been exhibited before--accompanies the first major survey of Yiadom-Boakye's work, shown at Tate Britain. In addition to new fiction writing by the artist, this publication includes in-depth thematic essays on Yiadom-Boakye's artistic development, reflecting the dual aspects of the artist's career as both a painter and a writer and offering an intimate insight into her creative process. Lynette Yiadom-Boakye (born 1977) is a British artist and writer acclaimed for her atmospheric oil paintings that depict imagined sitters in dark color palettes, executed with a contemporary sensibility while still rooted in an art historical practice. She attended Central Saint Martins School of Art and Design, Falmouth College of Art and the Royal Academy Schools. In 2018, she was awarded the prestigious Carnegie Prize.
An astounding novel from Argentina that is a meditation on the beautiful and the grotesque in nature, the art of landscape painting, and one experience in a man's life that became a lightning rod for inspiration. An Episode in the Life of a Landscape Painter is the story of a moment in the life of the German artist Johan Moritz Rugendas (1802-1858). Greatly admired as a master landscape painter, he was advised by Alexander von Humboldt to travel West from Europe to record the spectacular landscapes of Chile, Argentina, and Mexico. Rugendas did in fact become one of the best of the nineteenth-century European painters to venture into Latin America. However this is not a biography of Rugendas. This work of fiction weaves an almost surreal history around the secret objective behind Rugendas' trips to America: to visit Argentina in order to achieve in art the "physiognomic totality" of von Humboldt's scientific vision of the whole. Rugendas is convinced that only in the mysterious vastness of the immense plains will he find true inspiration. A brief and dramatic visit to Mendosa gives him the chance to fulfill his dream. From there he travels straight out onto the pampas, praying for that impossible moment, which would come only at an immense pricean almost monstrously exorbitant price that would ultimately challenge his drawing and force him to create a new way of making art. A strange episode that he could not avoid absorbing savagely into his own body interrupts the trip and irreversibly and explosively marks him for life.
This collection, spanning nearly a decade of artistic activity, features selections of writings that trace the intellectual influences and track the development of one of the more formidable and productive minds in the contemporary art world. The writings comprise Enrique Martínez Celaya’s public lectures; essays; interviews; correspondence with artists, critics, and scholars; artist statements; blog posts; and journal entries. These texts were written during Martínez Celaya’s appointment as Visiting Presidential Professor at the University of Nebraska; Roth Distinguished Visiting Scholar at Dartmouth College; and, most recently, as the first Provost Professor of Humanities and Arts at the University of Southern California. Marked by Martínez Celaya’s encyclopedic curiosity and considerable knowledge about the world, these writings and interviews explore the role of art in life, evaluate texts by other modern and contemporary artists and thinkers, and reveal the artist’s deep engagement with artistic, philosophical, and literary lines of inquiry.
"Brings kids inside the world of music by helping them understand what proficient listeners think and feel as they listen to music, and what musicians think and feel as they play music ... Students construct their own understandings of music, first through an exploration of their personal relationship to music, then through a series of listen and talk sessions, and finally, by composing their own pieces and exploring the connections between their lives and the works of music they create ... All lessons fulfill the National Standards for Music Education"--From publisher description.