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Enrique Martínez Celaya: Collected Writings and Interviews, 1990-2010 PDF

266 Pages·2010·7.747 MB·English
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Enrique Martínez Celaya Enrique Martínez Celaya Collected Writings and Interviews, 1990–2010 enrique martínez celaya | introduction by klaus ottmann | foreword by james b. milliken university of nebraska press | lincoln and london © 2010 by Enrique Martínez Celaya. Introduction © 2010 by Klaus Ottmann. Foreword © 2010 by the Board of Regents of the University of Nebraska. Acknowledgments for the use of copyrighted material appear as footnotes on chapter openers, which constitute extensions of the copyright page. All rights reserved. Manufactured in the United States of America. Library of Congress Cataloging-in-Publication Data Martínez Celaya, Enrique, 1964– Enrique Martínez Celaya : collected writings and interviews, 1990–2010 / Enrique Martínez Celaya; introduction by Klaus Ottmann ; foreword by James B. Milliken. p. cm. Includes bibliographical references. isbn 978-0-8032-3474-1 (pbk. : alk. paper) 1. Martínez Celaya, Enrique, 1964– —Written works. 2. Martínez Celaya, Enrique, 1964– —Interviews. 3. Artists—United States—Interviews. I. Title. n6537.m3935a35 2010 709.2—dc22 2010019379 Set in Meta and Minion Pro by Bob Reitz. Designed by A. Shahan. For Edilia ix Foreword by James B. Milliken xi Introduction by Klaus Ottmann 1 Notes, 1990 4 Notes, 1991 5 Notes, 1992 9 Notes, 1993 12 A Manifesto, 1994 17 Notes, 1994 18 Notes, 1996 Contents 22 From an Interview with Christopher Miles, 1997 27 Notes, 1997 28 From an Interview with M. A. Greenstein, 1998 36 Notes, 1998 37 Berlin, 1998 38 From a Conversation with Donald Baechler, 1999 42 Notes to Anne Trueblood Brodzky, 1999 46 From a Conversation with Amnon Yariv, 1999 50 From an Interview with Howard N. Fox, 1999 55 Notes, 2000 57 Notes, 2001 58 Making and Meaning, 2001 62 From a Lecture at the Orange County Museum of Art, 2001 66 Notes, 2002 67 From a Letter to Daniel A. Siedell, 2002 70 From an Interview with L. Kent Wolgamott, 2003 77 From Twelve Th oughts on Th e October Cycle, 2003 81 Letter of Resignation, 2003 84 From a Letter to Lisa Tamiris Becker, 2003 87 From a Conversation with Roald Hoff mann, 2003 97 Schneebett, 2004 100 Notes, 2004 103 Letter to Leon Golub, 2004 104 From an Interview with Richard Whittaker, 2004 111 From a Lecture at the Berliner Philharmonie, 2004 117 Notes, 2005 118 Letter to the Editor of the New York Times, 2005 120 Th e Fuzzy Boundary: Science and Art, 2005 124 Shaping Language, 2006 129 Notes, 2006 130 Introductions to Projects, 2006 141 Photography as Grief, 2007 149 From Th e Blog: Bad Time for Poetry, 2007 Sunday, August 26. Adorno as Cliché 149 Saturday, September 1. Th e Road 150 Wednesday, September 5. Th e end is important in all things (II) 151 Th ursday, September 6. Criticism and Imitation 151 Saturday, September 8. A New Body of Work 152 Wednesday, September 12. In Favor of Speaking Up 153 Sunday, September 16. Complexity and Tidy Packages 154 Th ursday, September 27. Refl ections on a Return 155 Tuesday, December 4. Tall Words 156 157 A Personal Note on Art and Compassion, 2007 161 Notes, 2007 169 From Considering Painting and Meaning, 2007 172 Boy Raising His Arm, 2007 173 From Th e Blog: Bad Time for Poetry, 2008 Th ursday, February 7. Santa Monica Studio 173 Tuesday, February 12. Soul Searching 174 Monday, March 17. A Witty Age 174 Th ursday, May 13. Being Cuban 175 Th ursday, June 12. On Looking at the Work Done 176 Wednesday, July 16. Th e Hand 177 Tuesday, October 14. Unreasonable Pursuits: Moby-Dick 178 Tuesday, October 21. A Sentimental Education 179 Tuesday, December 2. Radical Doubting 180 Tuesday, November 11, 2008; Wednesday, December 17, 2008; Tuesday, December 23, 2008; Friday, January 9, 2009. Painting and Structure 181 184 Art and Museums, 2008 192 From an Interview with Gillian Serisier, 2008 196 Systems, Time, and Daybreak, 2008 203 From an Interview with Greg McComb, 2008 208 From an Interview with Prue Gibson, 2009 211 From Th e Blog: Bad Time for Poetry, 2009 Friday, January 23; Friday, January 30. Failure 211 Tuesday, February 3. Meltingly sweet, in autumn 212 Th ursday, February 5. Innocent Fraud 213 Tuesday, April 28. You and the Kindle 214 Tuesday, May 12; Wednesday, May 13. Get Rid of Your Excuse 216 219 Art and the University, 2009 227 Notes, 2009 231 Th e Prophet, 2009 240 On Painting, 2010 James B. Milliken, President of University of Nebraska Foreword Th e University of Nebraska’s relationship with Enrique Martínez Celaya began through the university’s outstanding Sheldon Museum of Art, which acquired several of Enrique’s works. Former Sheldon curator and now Uni- versity of Nebraska at Omaha professor Dan Siedell has continued to col- laborate with Enrique. Th e University of Nebraska Press, in a wise decision made years ago, agreed to distribute the publications of Enrique’s press, Whale & Star, which include beautiful productions of his own writings and catalogs, as well as the work of some of the writers he most admires. I fi rst met Enrique fi ve years ago in connection with the installation at the Sheldon of his work Coming Home. I encountered an engaging, articulate, and disarmingly polite man with an unusual academic back- ground—in physics—and an intriguing personal history. He was comfort- able with conversation on any topic, especially—and, it seemed at the time, diplomatically—issues involving higher education and the University of Nebraska. We continued our conversation on art, ideas, and the modern university in many locations, including at his studios in Los Angeles and Florida and on the campuses of the University of Nebraska. I would be happy to take credit for the decision to deepen the univer- sity’s relationship with Enrique by naming him to a Visiting Presiden- tial Professorship, but I have come to realize that the idea was at least as much his as mine. He saw special qualities at the university that he found promising, and the plan for his successful visiting professorship, with its many valuable dimensions, almost entirely his. Th e essential role and responsibility of universities in the exploration of ideas has informed Enrique’s interest in and approach to his relationship with the University of Nebraska. At each step, he has looked for ways to challenge himself and us to think more deeply about this role we play with our students, our faculty, and the larger community. In a culture that oft en expects so little of substance from its artists, Enrique is a bracing breath of fresh air. ix

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