BIOGRAPHY OF ENRIQUE MARTINEZ CELAYA

The practice of Enrique Martínez Celaya (b. Cuba, 1964) spans a broad range of media and disciplines. He creates projects for art venues such as the Museum der bildenden Künste Leipzig and the Miami Art Museum as well as environments not traditionally associated with visual arts such as the Berliner Philharmonie. He has offered lectures on art—often in its relation to literature and ethics—at venues around the world and his essays have appeared in many publications. His artwork is in the permanent collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, and others. For his work as an artist, he has received many awards and prizes including the Los Angeles County Museum of Art Young Talent Award, the California Community Foundation Fellowship, J. Paul Getty Trust Fund for the Visual Arts and the Anderson Ranch National     Artist Award.
Martínez Celaya began his art training as an apprentice to an academic painter. He studied Applied Physics at Cornell University and, supported by a fellowship from the Brookhaven National Laboratory, pursued a Ph.D. in Quantum Electronics at the University of California, Berkeley. As a scientist he worked on superconductivity, lasers and laser delivery systems, research for which he was issued an often-cited patent. He left the doctoral program at Berkeley to make art, receiving a Master of Fine Arts from the University of California, Santa Barbara in 1994 and in the same year attended the Skowhegan School of Painting & Sculpture in Maine. Martínez Celaya was named Visiting Presidential Professor at the University of Nebraska (2007-2010) and taught as a tenured professor in the faculty of Pomona College and Claremont Graduate University (1994-2003).  He serves on the Board of Directors of the Anderson Ranch Arts Center, in Snowmass, Colorado and Kaneko, in Omaha, Nebraska.
Martínez Celaya is the author of Guide, The Blog and Poems for the Bed, an early book of poetry, and has edited a collection of writings on philosophy, Sketches of Landscapes as well as a selection of poems from Les Fleurs du Mal by Charles Baudelaire. In the fall of 2010, the University of Nebraska Press will publish a collection spanning two decades of his writings, interviews and lectures entitled Enrique Martínez Celaya: Collected Writings and Interviews, 1990-2010.

ENRIQUE MARTINEZ CELAYA

Born Cuba, 1964
B.S., Applied Physics, Cornell University, Ithaca, New York, 1986
M.S., Quantum Electronics, University of California, Berkeley, California, 1989
M.F.A., Painting and Sculpture, University of California, Santa Barbara, California, 1994
Skowhegan School of Painting and Sculpture, Skowhegan, Maine, 1994
Professorship at Pomona College and Claremont Graduate University, 1994-2003
Distinguished Visiting Professorship at University of Hawai'i at Mānoa, Honolulu, Hawaii, 2001
Visiting Presidential Professorship at University of Nebraska, Lincoln, Nebraska, 2007–2010

SELECTED PROJECTS

The Open, Simon Lee Gallery, 2010
A series of paintings influenced by the writings of Martin Heidegger, Anna Akhmatova, and Robert Frost that analyzes the relationship of the painted landscape to time and location, as an act of remembrance and projection, as promise and illusion. The series also interrogates the nature of painting itself and its capacity to reveal truth.
The Wanderer, Museum of Biblical Art, 2010
An exploration of the artist's long engagement with Biblical ontology and references, often reflected in his interest in the writings of Nietzsche, Hesse, Tolstoy, Matinson, Heidegger, and Kierkegaard. The exhibition will also include a video performance in which the artist interrogates the Bible's claims to authority while simultaneously questioning the claims of his own work.
Four Paintings for Saint John the Divine, Cathedral of Saint John the Divine, 2010
The largest Cathedral in the world is the setting for an installation of four very large paintings and a giant suspended sculpture of a feather that become part of the liturgical life of the church for nearly two months.
The Palace, Baldwin Gallery, 2010
Publication features an excerpt from artist’s Presidential Lecture, “On Painting.” Inspired by the writings of Emmanuel Levinas, this project includes sketches, writings, and an environment of eleven paintings that clear aesthetic space to contemplate the individual’s ethical responsibility to the world.
An Unfinished Conversation: Collecting Enrique Martínez Celaya, Boca Raton Museum of Art, 2009-2010
Exhibition catalogue features writings by Martin Brest, Wendy Blazier, and Daniel A. Siedell. This exhibition features nineteen works drawn from the private collection of filmmaker Martin Brest. The monumental paintings, works on paper, and one sculpture span a number of different projects from 2001-07 that offer a unique perspective on the deep unity underlying the artist’s work.
Down With Me, Sara Meltzer Gallery, New York, New York, 2009
Abstract: An exhibition of nine paintings that explore the fragility of human hopes, particularly as they are embodied in our legacy, including our children. The austere landscape functions as the absolute against which the frail yet persistent human will strives.
Daybreak, LA Louver, Los Angeles, California, 2008
Abstract: An exhibition of thirteen paintings, two sculptures, and one work on paper offers a visual mediation on the capacity of aesthetic representation—trees, landscapes, animals, human figures to approach the real. This environment shows faith in the power of art while remaining suspicious of its claims to authenticity. Publication: Daybreak: 2009. Venice, California: LA Louver Gallery. Text by Enrique Martínez Celaya. 55 pages. 22 illustrations. Hardcover.

Original Drawings for Guide, Sara Meltzer Gallery, New York, New York, 2008
Abstract: An exhibition of a single work revealed in twelve parts, which emerged from the pictorial space forged through the artist's process of writing a novel, entitled Guide. Each of the parts is based on either photographic documents or memories of the California landscape, which figure prominently in the literary narrative. The work explores the relationships, dichotomies, and tensions between the landscape as a product of a literary imagination and as an empirical artifact; between the image and the word; between the abstract and concrete.

The Lovely Season, Liverpool Street Gallery, Sydney, Australia, 2008
Abstract: An exhibition of seven paintings, three works on paper, and three sculptures that span a three-year period, which include selected work from two large-scale projects, Atlantic and Shore. The environment reinterprets these projects in and through the seasons, of time, which manifest time as simultaneously a linear, chronological march toward death and a sacred, eternal recurrence of life, which gives form to our perpetual aspirations. Publication: The Lovely Season: 2008. Sydney, Australia: Liverpool Street Gallery. Text by Enrique Martínez Celaya. 63 pages. 29 illustrations. Softcover.
Nomad, Miami Art Museum, Miami, Florida, 2007
Abstract: An intimate environment that features five large-scale, oil-and-wax paintings that explores issues of exile and rootlessness through the cyclical recurrence of the seasons. The paintings evoke the dream-like state of suspension in which the exile lives: time passes and yet nothing changes. Publication: Nomad: 2007. Delray Beach, Florida: Miami Art Museum in collaboration with Whale & Star. 128 pages. Full color. Hardcover.
For Two Martinson Poems, Poorly Understood, John Berggruen Gallery, San Francisco, California, 2007
Abstract: An exhibition of painting, sculpture, works on paper, and photography emerge from a reflection on the lonely and reductive poetic vision of the Swedish poet Harry Martinson. The work considers isolation and fate through the visual metaphor of the vast and unyielding landscape upon which the human figures impress their freedom of will.
Another Show for the Leopard, Baldwin Gallery, Aspen, Colorado, 2007
Abstract: A complex environment of eight paintings, three works on paper, two sculptures, and a photograph create a constellation of events, impressions, and ideas that function as notes and marks that map the relationship of becoming to the absolute. Publication: 2007. Another Show for the Leopard. Aspen, Colorado: Baldwin Gallery. 96 pages. 66 illustrations. Hardcover.
Awaiting a Second Plan, Sara Meltzer Gallery, New York, 2007
Abstract: An environment of painting, sculpture, a photograph, and a suite of watercolors that is an aesthetic embodiment of hope and confession of failure. This reflection on art and the human condition is represented in human figures, trees, barren fields and winter landscapes as well as soap bubbles, light flares, and the lingering presence of Russian poet Osip Mandelshtam.
OPEN e v+ a 2007, Limerick Ireland, 2007
Abstract: An international invitational exhibition curated by Klaus Ottmann that addresses the important role of place. An environment installed in the sanctuary of St. Mary’s Church, which features The Boy Raising His Arm, a bronze sculpture depicting a boy in a pair of homemade pajamas, whose personal vulnerability, innocence, and ritual presence works with and against institutional religious belief enshrined in the sanctuary.
Six Paintings on the Duration of Exile, Akira Ikeda Gallery, Taura, Japan, 2007
Abstract: An environment of six large-scale mural-size paintings that feature solitary images, such as human figures, a burning tree, and a battleship, placed in severe landscapes that manifest the solitary search for human understanding in the face of a vast yet unyielding world.
Schneebett, Museum der bildenden Künste Leipzig, Germany, 2006
Abstract: Schneebett is re-installed in the context of the museum space, which offers an opportunity to extend the project's investigations of myth and death and the meaning of one's life as an act of retrospection.
Coming Home, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska, 2006
Abstract: The central sculpture configuration of Coming Home (2000), a young boy confronted by a gigantic elk both made of tar and wire, is reinstalled with related photographs and works on paper. The environment features a new component, a previously unprinted photograph from the project that functions as wallpaper that covers all four walls of the exhibition space.
The Missing Peace: Artists Consider the Dalai Lama, UCLA Fowler Museum of Cultural History, Los Angeles, California. Travel to Loyola Museum of Art, Chicago, Illinois and Rubin Museum of Art, New York, 2006
Abstract: Commissioned for an invitational exhibition that explores the political and social value of compassion, No title is a large-scale diptych that consists of a painting of a flash of lightning made of blood and a large-scale mirror.
Splinter. Return, Greg Kucera Gallery, Seattle, Washington, 2006
Abstract: This exhibition explores human consciousness through the intimate and interconnected relationship of the figure to the landscape and the pressure the latter exerts on the consciousness of the former.
Enrique Martínez Celaya. Works on Paper, Oakland Museum of California, Oakland, California, 2005
Abstract: An abridged ten-year survey of the works on paper. As visual notes and ideas, the works on paper offer insights into the close and complementary relationship between the artist’s visual and literary work as well as the deeper conceptual and structural relationships between sculpture, painting, and photography.
Shore: "Is Today Yesterday" (Part I), Akira Ikeda Gallery, Berlin, Germany, 2005
Abstract: A large environment of diverse works developed over a two-year period that includes painting, works on paper, sculpture, and photography. Through the simple yet complex and conceptually rich motif of the boy and the landscape, this exhibition considers life's illusions of permanence and the means by which we experience such realities, through the awareness of mortality.
Shore: "Is Today Yesterday" (Part II), Griffin Contemporary, Santa Monica, California, 2005
Abstract: This diverse and enigmatic environment consists of paintings, mirrors, photographs, a large bronze of a boy without an arm, and a reclining tar-body that elaborate on the life's impermanence and the potential of art to slow this impermanence.
Boy in the Landscape, John Berggruen Gallery, San Francisco, California, 2005
Abstract: The simple motif of boy in and near the ocean offers a means to study the consequences of fear and isolation in the formation of identity through an intimate environment of paintings, works on paper and a sculpture. The exhibition also includes a large takeaway sheet of writings and diagrams.
Enrique Martínez Celaya: The Photographs, Brauer Museum of Art, Valparaiso, Indiana, 2005
Abstract: A tightly focused survey exhibition of photographs and the writings and annotations associated with them. The exhibition explores the conceptual nature and structural function of the photographs in his artistic and literary project.
Schneebett, Berliner Philharmonie, Berlin, Germany, 2004
Abstract: This complex large-scale environment—the final stage in the artist’s Beethoven cycle—consists of two rooms, one that includes a “bed of snow” (Schneebett) and large-scale painting and another where the viewer contemplates an imaginative reflection on Beethoven’s deathbed. The project also included booklets for the public written by the artist, performances by the Berlin Philharmonic, and a public lecture sponsored by the American Academy in Berlin.
Poetry in Process, CU Art Museum, Boulder, Colorado, 2004
Abstract: Curated by Lisa Tamiris-Becker in collaboration with the artist, the exhibition offers a survey of the philosophical and literary trajectories of the artist’s expansive artistic project. The project also included a residency that produced the large-scale painting, Portrait of Leon Golub, and a public lecture at the Aspen Institute.
Boy (Part II), Baldwin Gallery, Aspen, Colorado, 2004
Abstract: This environment of paintings, sculptures and works on paper continues the exploration of the boy in a winter landscape motif originally initiated in All the Field is Ours.
The October Cycle, Museum of Art, Fort Lauderdale, Fort Lauderdale, Florida, 2004
Abstract: A re-installation and re-interpretation of the Sheldon’s The October Cycle, featuring a one hundred-foot wall-work using a mixture of his own blood and birch ashes and a hand-written reflection on the meaning and significance of the project. Publication: Poetry in Process. 2004. Boulder, Colorado: CU Art Museum. Text by Lisa Tamiris-Becker. 112 pages. 60 illustrations. Hardcover.
Boy (Part III), Liverpool Street Gallery, Sydney, Australia, 2004
Abstract: This environment of paintings, sculptures, and works on paper is the third and final part of a series that reflects on the ontological implications of human consciousness through the visual motif of the boy in a winter landscape.
The October Cycle, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska, 2003
Abstract: Curated by Daniel A. Siedell in collaboration with the artist, the environment presents twenty-two of the twenty-three paintings that comprise The October Cycle. The project also included a residency and public lectures supported by the Hixson-Lied College of Fine and Performing Arts at the University of Nebraska-Lincoln. Publication: The October Cycle. 2003. Seattle, Washington: Marquand Books (Published in association with Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska-Lincoln). Text by Daniel A. Siedell and Enrique Martínez Celaya. 96 pages. 38 illustrations. Hardcover.
All the Field is Ours (Boy Part I), Griffin Contemporary, Santa Monica, California, 2003
Abstract: An environment of poems, paintings and sculptures that explores the constant presence of death in life and responds to the birth of the artist’s children and to the paintings of The October Cycle through the simple yet rich motif of the young boy and winter landscape. Publication: All the Field is Ours. 2003. Santa Monica, California: Griffin Contemporary. Text by Thomas McEvilley. 60 pages. 34 illustrations. Softcover.
Recent Paintings, John Berggruen Gallery, San Francisco, California, 2003
Abstract: An environment that consists of paintings, works on paper, and seven not-for-publication poems that investigate the nature of filial relationship and its role in the process of human becoming.
The October Cycle (Part II), Griffin Contemporary, Venice, California and Danese Gallery, New York, 2002
Abstract: A two-part environment of works drawn from the twenty-three dark and reductive emulsified tar paintings that are aesthetic mediations on the transient yet sacred nature of existence. Margo Timmins, lead singer of the Cowboy Junkies, sang a spiritual at the opening in Venice.

The October Cycle (Part I), Danese Gallery, New York, 2002
Abstract: A two-part environment of works drawn from the twenty-three dark and reductive emulsified tar paintings that are aesthetic mediations on the transient yet sacred nature of existence.
Enrique Martínez Celaya, 1992-2000, The Contemporary Museum, Honolulu, Hawaii. Travel to The Orange County Museum of Art, Newport Beach, California and The Massachusetts College of Art, Boston, Massachusetts, 2001
Abstract: Curated by James Jensen in collaboration with the artist, this exhibition brings together seventy-eight objects and many of the writings associated with them to highlight the artist’s cross-disciplinary and philosophical approach and to explore its conceptual unity. All three venues presented lectures by the artist as well as other scholars, writers and curators. Publication: Enrique Martínez Celaya, 1992-2000. Cologne, Germany: Wienand Verlag. Texts in English and German by Charles Merewether, Abigail Solomon-Godeau, Howard N. Fox, Rosanna Albertini, Judson J. Emerick, Arden Reed and Colette Dartnall. 282 pages. 99 color and 90 black and white illustrations. Hardcover.
Amerika – Europa: Ein künstlerischer Dialog, Von der Heydt-Museum, Wuppertal, Germany, 2001
Abstract: An exhibition that offers a survey of the Rosenkranz Collection in Berlin, Germany. The artist is represented by a room of paintings and sculptures. Publication: Amerika – Europa: Ein künstlerischer Dialog. Wuppertal, Germany: Von der Heydt-Museum. Texts by Sabine Fehlemann, Peter Frank, Pontus Hulten, Dieter Rosenkranz, Klaus Weber, Wulf Herzogenra, Marlene Baum and Charles Merewether. 320 pages. Hardcover.
Pinturas de Merced, Galería Ramis Barquet, Monterrey, Mexico, 2000
Abstract: A complex and intricate environment of paintings, sculptures and works on paper whose interrelationship is deepened and complicated through the artist’s writings that interact with each other and with the ephemeral writings on the gallery walls. Publication: Pinturas de Merced. Monterrey, Mexico and New York: Galería Ramis Barquet. Text by Charles Merewether. 54 pages. 22 illustrations in color. Softcover.

Coming Home, Griffin Contemporary, Venice, California, 2000
Abstract: This environment includes an elk and a boy, both made of tar, wire, and feathers, and twelve works on paper, including drawings, watercolors, and photographs, which offers a complex aesthetic reflection on the formation of personal identity.
The Field, St. Pancras Chambers/Andrew Mummery Gallery, London, United Kingdom, 1999
Abstract: This project, the first art exhibition at the historic Saint Pancras Chambers in London, consists of a series of small installations where paintings, watercolors, photographs, sculptures and poems interacted with the historic rooms of the St. Pancras.
Berlin, Stephen Cohen Gallery, Los Angeles, California, 1998
Abstract: Book project that consists of twenty-six photographs taken while in Berlin, which focus attention on graveyards, memorials, and monuments of belief and include a series of poems that pursue the problems of time, presence, and absence. Both the poems and the photographs explore Berlin as an idea and a place.
Works on Paper and Poems, Baldwin Gallery, Aspen, Colorado, Griffin Contemporary, Venice, California and Luigi Marrozzini Gallery, San Juan, Puerto Rico, 1998
Abstract: This three-venue project consists of twelve poems and sixteen works of art that explores the aesthetic and literary representation of loss as a means to reflect on the dialectic of distance and attachment. The cycle
also included lectures and readings by the artist. Publication: Enrique Martínez Celaya: Works on Paper and Poems. San Juan, Puerto Rico: Luigi Marrozzini Gallery and Santa Monica, California: Griffin Contemporary.
Redemption, Burnett Miller Gallery, Santa Monica, California, 1997
Abstract: A reflection on the foundations of myth and its potential as a means of redemption through a group of philosophical writings, poems, sculptures and paintings, including The River, a plaster female figure on which the artist has painted a landscape.
Saint Catherine watches over me, Galerie Douyon, Miami, Florida, 1997
Abstract: This small yet complex environment consists of one small sculpture and four paintings that elaborate on the artist's interest in Saint Catherine of Alexandria, fourth century martyr and patron saint of philosophers and young students.

Bronx Museum of the Arts, Bronx, New York, 1996
Abstract: An environment of paintings and writings that explore the implications of exile on human freedom. The project also included a reading by the artist.
Black Paintings, University Art Museum, University of California, Santa Barbara, California, 1994
Abstract: Based on three poems, this environment of six black paintings layered with silk flowers, gold leaf, and fabric that explore presence and the act of painting as a gesture of belief. The project also included the publication of a small book of poems and paintings. Publication: The Black Paintings: Poems and Visual Works. Santa Barbara, California: University Art Museum.

Gary Nader fine art, "Enrique Martínez Celaya: Selected Work 1992-2010," Miami, Fl. Gary Nader Editions. Cataloge illustrated full color.

SELECTED WRITINGS BY EMC

Considering Painting and Meaning. This book was made for a workshop on painting at the Anderson Ranch Arts Center Snowmass Village, in Colorado, July 2-13, 2007. Originally published as a Whale & Star Working Book. The book also included selections by Jose Ortega y Gasset, Gerhard Richter, Leo Tolstoy, Andy Warhol, Lucian Freud, and a conversation with Enrique Martínez Celaya and Richard Whittaker, June 2007.
“Boy Raising His Arm.” Excerpt from a statement to curator Klaus Ottmann for the work, Boy Raising His Arm, on display at OPEN e v+a –a sense of place, March 30- June 24 in Limerick, Ireland, 2007.
“A Personal Note on Art and Compassion.” Originally published in works + conversations, No. 14 (May 2007), 10 April 2007: 24-25.
“Bad Time for Poetry.” The Blog: Bad Time for Poetry (Delray Beach, Florida: Whale & Star, 2009), 2007.
“Introductions to Projects.” Excerpts from Martínez Celaya. Early Work (Delray Beach, Florida: Whale & Star), 2006.
“Shaping Language.” This essay was published in English and Spanish; “Shaping Language,” How I Learned English, ed. Tom Miller (Washington D.C.: National Geographic Society, 2007) August 2006: 111-114; “Conformar un lenguaje,” Como Aprendí Inglés, ed. Tom Miller (Washington D.C.: National Geographic Society, 2007) August 2006: 111-114.
“Schneebett.” Originally translated into German and published in a booklet for the presentation of Schneebett at the Berliner Philharmonie, Berlin, Germany, October 17, 2004-January 1, 2005, September 2004.
“Twelve Thoughts on the October Cycle.” Originally published in Enrique Martínez Celaya: The October Cycle, 2000-2002. (Seattle, Washington: Marquand Books in association with Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska in Lincoln, 2003), 2003: 81-83. Also reproduced in Enrique Martínez Celaya: Poetry in Process (Boulder, Colorado: CU Art Museum, 2004), 2004: 78-85.
Guide. (Los Angeles, California: Whale & Star, 2002), 2002.
“Preface.” Originally published in Selections from Charles Baudelaire, Les Fleurs du Mal, with the original etchings by Odilon Redon (Venice, California: Whale & Star, 2001), 7 December 2000: 1-2.
“Notes to Anne Trueblood Brodzky.” 1999. Originally published in Anne Trueblood Brodzky’s, Unbroken Poetry: The Work of Enrique Martínez Celaya (Venice, California: Whale and Star Press, 1999), 1999: 21; 25; 32; 41.
“Berlin.” Excerpts from “Notes,” Berlin: Photographs and Poems, (Los Angeles, California: Stephen Cohen Gallery and William Griffin Editions), 1998: 9; 12.
“A Manifesto.” An earlier version was originally published in Black Painting: Poems and Visual Works (Santa Barbara, California: University Art Museum), on the occasion of EMC’s Master of Fine Arts thesis, May 1994.

SELECTED PUBLICATIONS OF WHALE & STAR (FOUNDED BY EMC IN 1998)

The Blog: Bad Time for Poetry, 2009. Delray Beach, Florida: Whale & Star. 164 pages. Softcover.
Abstract: Compilation of the blog, Bad Time for Poetry by Enrique Martínez Celaya which began on August 24, 2007 and ended on May 25, 2009. Text by Enrique Martínez Celaya.
Intimations, Selected Poems by Anna Akhmatova, 2009. Delray Beach, Florida: Whale & Star. 158 pages. Softcover.
Abstract: The most complete English-language collection of Anna Akhmatova’s poetry. Translated by Russian scholar James E. Falen and edited by Russian scholar Kevin M. F. Platt, who also contributed the introductory essay.
Modernist Archaist, 2008. Delray Beach, Florida: Whale & Star. 160 pages. Softcover.
Abstract: The most complete English-language collection of Osip Mandelstam's poetry. Edited by Russian scholar
Kevin M. F. Platt, who also contributes an illuminating essay.
Nomad, 2007. Delray Beach, Florida: Whale & Star in collaboration with Miami Art Museum. 128 pages. Full color. Hardcover.
Abstract: Published on the occasion of the exhibition Enrique Martínez Celaya: Nomad, Miami Art Museum, November 2, 2007 – January 13, 2008, Miami, Florida, 2007.
The Conversations, 2007. Delray Beach, Florida: Whale & Star. 240 pages. 22 illustrations. Softcover.
Abstract: Interviews with sixteen contemporary artists by Richard Whittaker, publisher and editor of the magazine works + conversations.
XX, 2006. Delray Beach, Florida: Whale & Star. 148 pages. 87 illustrations. Hardcover.
Abstract: 20th Anniversary edition commemorating the music and life of the music band Cowboy Junkies.
Martínez Celaya. Early Work, 2006. Delray Beach, Florida: Whale & Star. Text by Daniel A. Siedell, Thomas McEvilley, Christian Williams, Enrique Martínez Celaya and John Felstiner. 392 pages. 315 illustrations. Hardcover.
Abstract: This book examines the relationship between the artist's foremost environments and projects as well as the role of philosophy and writing in his work.
Guide, 2002. Los Angeles, California: Whale & Star (Published in collaboration with Griffin Editions and Mark Hasencamp). Text and Photographs by Enrique Martínez Celaya. Volume I (the text) 140 pages. Volume II (a suite of 10 original black and white photographs). Edition of 60. Hardcover volumes and slipcase.
Abstract: The first volume of this book project narrates a fictional journey in which the artist discusses with an ex-Franciscan the nature of art and the challenges of authenticity. The fictional aspect of the narrative is supported, but also blurred, by a second volume that presents ten black and white photographs of the landscape mentioned in the book.

Sketches of Landscapes (Readings on the Philosophy of Art) 2002. Whale & Star. Edited with commentaries by Enrique Martínez Celaya, 402 pages. Softcover.
Abstract: Formulated as an introductory book, Sketches of Landscapes included original texts of seminal works on the philosophy of art as well as selections of influential critical writings of the nineteenth and twentieth century.
Selections from Les Fleurs du Mal, 2001. Venice, California: Whale & Star. 64 pages. Softcover.
Abstract: For this project the artist assembled together—for the first time in an English publication—poems selected from Les Fleurs du Mal and the full portfolio of 9 etchings from Odilon Redon's Les Fleurs du Mal, published by Henri Fleury, Paris, France, 1923.
Joseph Beuys, Multiples and Other Forms of Politics, 2001. Whale & Star. Text by Beatrice Foessel and Johannes Stuettgen. 16 pages. Softcover.
Abstract: Working with German scholars, the artist published a small and accessible catalog with the goal of further expanding the understanding of Beuys among American audiences.
Unbroken Poetry: The Work of Enrique Martínez Celaya, 1999. Venice, California: Whale & Star. Text by Anne Trueblood Brodzky. 112 pages. 78 illustrations, 53 in color. Hardcover.
Abstract: The first book in the artist’s publishing efforts through Whale & Star was the product of an extended conversation with Anne Brodzky resulting in a book environment bringing together images, notes, interviews, diagrams and analysis to explore the source and the aims of the artist’s work.

SELECTED COLLECTIONS

Metropolitan Museum of Art, New York, New York
Whitney Museum of American Art, New York, New York
Los Angeles County Museum of Art, Los Angeles, California
Museum of Contemporary Art, Los Angeles, California
Miami Art Museum, Miami, Florida
Museum der bildenden Künste Leipzig, Germany
The Museum of Fine Arts, Houston, Texas
Sammlung Rosenkranz, Berlin, Germany
Denver Art Museum, Denver, Colorado
Museum of Contemporary Art, San Diego, California
Boca Raton Museum of Art, Boca Raton, Florida
Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska
The Colorado Collection, Boulder, Colorado
Frederick R. Weisman Art Museum, Minneapolis, Minnesota
Oakland Museum of California, Oakland, California
The Contemporary Museum, Honolulu, Hawaii
Neues Stadtmuseum der Stadt Landsberg/Lech, Germany
Davenport Museum of Art, Davenport, Iowa
The Bronx Museum of the Arts, Bronx, New York
Pomona College Museum of Art, Claremont, California
Arkansas Art Center, Little Rock, Arkansas
Brauer Museum of Art, Valparaiso, Indiana
Microsoft Art Collection, Redmond, Washington
Progressive Insurance Collection, Mayfield Village, Ohio

SELECTED HONORS

Anderson Ranch Arts Center National Artist Award, 2007
California Community Foundation Fellowship, J. Paul Getty Trust Fund for the Visual Arts, 2004
Inaugural Colorado Contemporary Arts Collaborative Artist Residency at the CU Art Museum sponsored by Kent and Vicki Logan, 2004
Hirsch Grant, 2001
Young Talent Award, Los Angeles County Museum of Art, 1998
Regents Fellowship, University of California, 1992
Interdisciplinary Humanities Fellow, University of California, 1992
Brookhaven National Laboratory Fellowship, 1986

BOARD APPOINTMENTS

Trustee, Kaneko, Omaha, Nebraska, 2009-Present
Trustee, Anderson Ranch Arts Center, Snowmass Village, Colorado, 2009–Present

SELECTED REVIEWS

Batet, Janet. “Enrique Martínez Celaya: Boca Raton Museum.” ArtNexus, No. 76, Vol. 9 2010.
Gonzalez, Gaspar. “Brush Fire.” Aspen Magazine, Holiday 2009/2010: 60.
Blazier, Wendy M. “A New Exhibition Closely Considers an Artist’s Work.” Fine Art Connoisseur, December, Vol. 6, Issue 6: 50.
Eyman, Scott. “The Paintings of Enrique Martínez Celaya.” The Palm Beach Post, 15 November 2009: 1D, 11D.
Rigual, Luis R. “People 2009: 100 Individuals Pushing Florida Into the Future.” Florida International Magazine, The Creators, April: 81.
Ollman, Leah. “Enrique Martínez Celaya.” Art in America, Exhibition Reviews March 2009: 153.
Neil, Jonathan T.D. “Enrique Martínez Celaya.” ArtReview, March 2009: 30.
“Enrique Martinez Celaya: Daybreak.” The Magazine Los Angeles, November 2008.
Donohue, Marlena. “Enrique Martinez Celaya.” ArtScene, December 2008.
“Martínez Celaya and the Exile’s Nomadism (Martínez Celaya y el Nomadismo del Exiliado).” ArtPremium, Vol. 4, No. 21 2008: 10.
Dunne, Aidan. “Space for a Sense of Place.” The Irish Times, 5 April 2007.
“Installation Schneebett in Leipzig zu sehen.” Lausitzer Rundschau, 22 June 2007.
Finkel, Jori. “Enrique Martínez Celaya.” ArtNews, May 2007: 175.
Pupat, Hendrik. “Das Haus nach innen Erweitern.” Leipziger Volkszeitung, 21 June 2007: 10.
Cash, Stephanie. “Report from Colorado.” Art in America, February 2007.
Damian, Carol. “Enrique Martínez Celaya: The Rhythms of Life.” ArtNexus, No. 67, Vol. 6 2007.
Platt, Susan. “Enrique Martínez Celaya, Seattle.” Art Papers, July/August 2007: 69-70.
Suarez De Jesus, Carlos. “Nomad.” Miami New Times, 22 November 2007.
Wendland, Johannes. Leipzig, Germany. Kunstzeitung 121, September 2006.
Leipzig lädt ins Schneebett. Die Welt, 14 July 2006.
Julke, Ralf. “Mitgefühl für Beethoven: Bildermuseum zeigt Martínez Celaya's Schneebett.” Leipzig-Internet Zeitung, 22 June 2006.
Buckwater, Timothy. “Enrique Martínez Celaya at the Oakland Museum.” The Monthly, January 2006: 5.
Frank, Peter. “Review.” LA Weekly, January 2006: 13-19.
Peters, Sue. “Review: Enrique Martínez Celaya.” Seattle Weekly, 12 April 2006.
Ollman, Leah. “Renaissance Man Looks to the Past.” Los Angeles Times, 9 December 2005.
Turner, Elisa. “The Prince of Darkness.” The Miami Herald, 7 March 2004: Section M 3, 5.
Damian, Carol. “Enrique Martínez Celaya.” ArtNexus, No. 53 Vol. 3 2004: 129-130.
Schudel, Matt. “Layers of Meaning.” South Florida Sun-Sentinel, 7 March 2004: 14-15.
Mills, Michael. “Black is Back.” Broward-Palm Beach New Times, 25-31 March 2004: 34.
Ollman, Leah. “In a Silent Season.” Art in America, May 2003: 132-137.
Genocchio, Benjamin. “An Ethereal World, Explored Breath by Breath.” The New York Times 2003 14WC.
Douglas, Sarah. “Enrique Martínez Celaya: All the Field is Ours.” The Art Newspaper, No. 140 2003: 9.
Martin, Victoria. “Enrique Martínez Celaya at Griffin Contemporary.” ArtWeek, Vol. 34, No. 10, 20 December 2003-January 2004. (cover)
Scott, Carolyn Patricia. “A Colorful New Martínez Celaya.” Los Angeles Times, 18 December 2003: E60.
Pagel, David. "Review." Los Angeles Times, 19 April 2002.
Ollman, Leah. “Primal Emotions Evoked in Black.” Los Angeles Times, 1 November 2002: E27.
Chattopadhyay, Collette. “Enrique Martínez Celaya, Orange County Museum of Art.” ArtNexus, Vol. 2, No. 44 (2002): 117–118.
Breidenbach, Tom. “Enrique Martínez Celaya.” ArtForum, February 2001: 155.
Ollman, Leah. “Insight Within Arm’s Reach.” Los Angeles Times, 26 November 2001: F2.
Heyward, Carl. "Review," Art Papers, May/June 2001: 53.
Frank, Peter, “Art Picks of the Week.” LA Weekly, 16-22 February 2001: 150.
Tompkins, Calvin. “Enrique Martínez Celaya.” The New Yorker, 11 December 2000: 26.
Knight, Christopher. “Catching the ‘Next Wave’ of Painters.” Los Angeles Times, 20 June 2000.
Chattopadhyay, Collette. “Enrique Martínez Celaya at Griffin Contemporary.” Artweek, July/August 2000: 20-21.
Hernández, David. “De Poesía, Pintura y Escultura.” Diario de Monterey (Monterrey, México), 3 May 2000: 38.
Ollman, Leah. “Poetry in Pictures.” Los Angeles Times, 26 May 2000: F-21.
Brown, Neal. "Review." The Independent, London, 24 October 1999.
Thornburg, Barbara. “Latin Quarters.” Los Angeles Times Magazine, 24 September 2000: 32-35.
Ollman, Leah. “Enrique Martínez Celaya at Griffin Contemporary Exhibitions.” Art in America, May 1999: 166.
Geer, Suvan. "Review." ArtNexus, No. 32. May-July 1999: 131-132.
Browning, Walter. “Terminal Thoughts.” Hampstead and Highgate Express, 5 November 1999.
Frank, Peter. "Review" ArtNews, February 1998: 123.
Isé, Claudine. “Visual Poetry.” Los Angeles Times, 30 October 1998: 30.
Damian, Carol. ArtNexus, January-March 1998: 132-133.
Ollman, Leah. Los Angeles Times, 25 December 1998: F-40.
Alvarez Bravo, Armando. “La Poesia, Modelo de la Plastica.” El Nuevo Herald (Miami), 2 November 1997: 5E.
Windhausen, Rodolfo. “Arte Latinoamericano.” La Prensa (Miami), 23 November 1997.
Alvarez Lezama, Manuel. San Juan Star, 3 October 1997.
Schoenkopf, Rebecca. “A Marriage in Blood.” OC Weekly (Orange County), 9 August 1996: 25.
Greene, David A. “Painting the Town.” Los Angeles Reader, Vol. 17 No. 51, 29 September 1995.
Jenkins, Steven. “An Open Heart.” Artweek, 17 November 1995.
Von Froemming, Paul. “Gifts of Love.” The Independent (Santa Barbara), 1 December 1995: 58.
Alvarez Lezama, Manuel. “Exhibit Asks Viewers to Question Boundaries.” The San Juan Star, (San Juan, Puerto Rico), 7 April 1993: F11.
Burkhart, Dorothy. “An Artist Worth Being Excited About.” San Jose Mercury News, 18 March 1992: 7D.
Alegre Barrios, Mario. “Profuso y Cálido Cromatismo en Martínez Celaya.” El Nuevo Día (San Juan, Puerto Rico), 28 June 1991.
Alegre Barrios, Mario. “Martinez Celaya Exhibe en Luigi Marronzzini.” El Nuevo Día (San Juan, Puerto Rico), 2 September 1991.

SELECTED PROFILES

Serisier, Gillian. “The Art of Space. The Space of Art.” Australian Design, 6 January 2009.
Bennie, Angela. “Quantum Man Mines the Chasm Between Art and Science.” The Sydney Morning Herald, 5 March 2008.
Gibson, Prue. “Raw Talent.” Vogue Australia, August 2008: 59.
McComb, Greg. “Enrique Martínez Celaya: Artist of Many Hues.” Latin Business Magazine, Vol. 6, No. 6, Winter 2008/2009: 16.
Sandquist, John. “Internationally Renowned Artist to Visit UNO for Centennial.” Gateway, Vol. 8, Issue 11, 3 October 2008: 6.
Schmidt, Hans-Werner, editor. Pages 126-127 in Nullsechs Nullsieben mdbk. Leipzig, Germany: Museum der bildenden Künste Leipzig, 2008.
“Anderson Ranch Honors Artist, Patrons.” The Aspen Times, 21 April 2007.
Steinhart, Frank, Executive Producer. “Enrique Martínez Celaya at Miami Art Museum” Mega TV, Coconut Grove, Florida, 13 November 2007.
Wolgamott, L. Kent. “The Artist and Nebraska.” Lincoln Journal Star, 13 October 2007.
González, Gaspar. “The Escape Artist.” Boca Raton Magazine, December 2005: 117-118, 256, 258.
Mills, Michael. “Best Local Artist.” Broward-Palm Beach New Times, May 2005: 12-18.
Knott, Marie Luise. “Künstler dieser Ausgabe: E.M. Celaya.” Le Monde Diplomatique, November 2004.
Gilbert, James. “Enrique Martínez Celaya.” Flaunt, No. 54 2004: 86-89.
Oksenhorn, Stewart. “Winter's Child.” Aspen Times Weekly, February 2004: 21-22.
Wong-Sutch, Sabina. “The Art of Living.” The Peninsula, Vol. 1, No. 1 2003: 34-40.
Rosenberg, Jeremy. “The Evolution of Enrique.” Los Angeles Times, 6 March 2001: F-22.
Wario, Bertha. “Encuentra en Pintura Respuesta a Preguntas.” El Norte (Monterrey, México), 26 April 2000.
Hein, Von Helmut. “Atemwende oder Die Welt im Kopf.” Mittelbayerische (Regens-burg, Germany), 6 August 1998: 53.
Collins, Tricia. Tablet, “The Work of Three Poets.” Zing Magazine, Winter 1998: 134-138.
García Gutiérrez, Enrique. “El Artista en su Laberinto.” El Nuevo Día, Revista Domingo, (San Juan, Puerto Rico), 21 September 1997: 10-13.
Darling, Michael. “An Unusually Rich Storehouse of Ideas.” Scene Magazine (Santa Barbara, California), 20 August 1993.

SELECTED ARTICLES AND ESSAYS

Finkel, Jori. “Layers of Devotion (and the Scars to Prove It).” The New York Times, Sunday, 23 November 2008: AR 30.
Herrera, Adriana. “Martínez Celaya: Visiones Nómadas.” El Nuevo Herald, 6 January 2008.
Siedell, Daniel A. “Enrique Martínez Celaya: Coming Home Before and After Schneebett.” artUS, January/February 2007: 10-13.
McEvilley, Thomas. “Preface.” Pages 19-23 in Martínez Celaya. Early Work. Delray Beach, Florida: Whale & Star, 2006.
Caruso, Laura, ed. RADAR: Selections from the Collection of Vicki and Kent Logan. Denver, CO: Denver Art Museum, 2006, 74-75.
Hanor, Stephanie, Hugh M. Davies, Francis Alys. TRANSactions: Contemporary Latin American and Latino Art. San Diego: Museum of Contemporary Art San Diego, 2006, 137.
Felstiner, John. “Your Song, What Does It Know?” Pages 377-379 in Martínez Celaya. Early Work. Delray Beach, Florida: Whale & Star, 2006.
Dea, Cynthia. “A Spiritual 'Peace' of Mind.” Los Angeles Times, 15 June 2006.
Gavlak, Sarah. “Portrait of the Artist.” Ocean Drive, November 2005.
Forck, Gerhard. “Schneebett: Eine Installation in der Philharmonie.” Berliner Philhamoniker Das Magazin, November/December 2004: 85.
Rakow, Mary. “Looking for a Context for Martínez Celaya’s Work.” works + conversations, No. 9, October 2004: 14 - 19.
Wolgamott, L. Kent. “Top 10 Art Shows of 2003.” Lincoln Journal Star, 28 December 2003.
Becker, Lisa Tamiris. “Enrique Martínez Celaya: Poetry in Process.” Colorado University Art Museum Bulletin, Fall 2003: 2, 5.
Siedell, Daniel A. “The October Cycle, 2000-2002.” Pages 12-29 in The October Cycle, 2000-2002. Seattle, Washington: Marquand, 2003.
McEvilley, Thomas. “Martínez Celaya: No Horizon Line.” Pages 5-10 in All the field is ours. Santa Monica, California: Griffin Contemporary, 2003.
Turner, Nancy Kay. “Enrique Martínez Celaya.” ArtScene, November 2002: 24, 25.
Merewether, Charles. “Departure Without Return.” Pages 31-47 in Enrique Martínez Celaya 1992-2000. Cologne, Germany: Wienand 2001.
Solomon-Godeau, Abigail. “Restitutional Fragments.” Pages 51-73 in Enrique Martínez Celaya 1992-2000. Cologne, Germany: Wienand, 2001.
LaBerge, Stephen. “Exploring the World of Lucid Dreaming.” Ions, Noetic Sciences Review, September-November 2000, No. 53: 15. (photo).
Brodzky, Anne Trueblood. “Unbroken Poetry.” Pages 9-41 in Unbroken Poetry: The Work of Enrique Martínez Celaya. Venice, California: Whale & Star, 1999.
Böckel, Claudia. “Er Will Bewegen: ‘No Entertaining!’ ” Mittelbayerische (Regensburg, Germany), 30 June 1998.
Frank, Peter. “Enrique Martínez Celaya.” Pages 33-37 in Enrique Martínez Celaya: Berlin, The Fragility of Nearness. Venice, California: William Griffin Editions, 1998.
Perez Ruiz, Jose Antonio. ArtNexus, May 1998: 132-133.
Riley, Charles A. “The Power of Restraint.” Pages 5-13 in Enrique Martínez Celaya. New York, New York: Tricia Collins, Grand Salon, 1996.
Pohl, Frances. “Mammas, Don’t Let Your Babies Grow Up to be Painters.” Pages 5-11 in Lions of Frosting. Santa Monica, California: Dorothy Goldeen Gallery, 1995.
Darling, Michael. “The Graduate.” Santa Barbara News Press, 29 April 1995: 23-24.

SELECTED INTERVIEWS

McComb, Greg. “Enrique Martínez Celaya: Artist of Many Hues,” Latin Business Magazine, Vol. 6 No. 6, Winter 2008/2009: 16.
O’Hanian, Hunter, “EMC2,” AspenPeak, Winter 2008/Spring 2009.
Serisier, Gillian. “Painting Himself Out of the Picture.” Artist Profile, Issue 4, August 2008: 61-63.
Whittaker, Richard. “A Conversation with Enrique Martínez Celaya, Self & Beyond Self.” works + conversations, No. 9, October 2004: 2-13.
Wolgamott, L. Kent. Radio Interview with Enrique Martínez Celaya, 23 November 2003. Excerpts published in “A Premonition of Winter: Enrique Martínez Celaya’s ‘The October Cycle’ is a contemplation of time, memory,” Lincoln Journal Star, 7 December 2003.
Hoffmann, Roald. “The Fuzzy Boundary: Science and Art,” Enrique Martínez Celaya: Poetry in Process. CU Art Museum, Boulder, Colorado, 2003: 91-99
Fox, Howard N. “Interview with Enrique Martínez Celaya,” Enrique Martínez Celaya 1992-2000. Cologne, Germany: Wienand, 2001: 77-83.
Yariv, Amnon. “Compassion and Subjectivity (Conversation with Amnon Yariv and Enrique Martínez Celaya).” Pages 67-75 in Unbroken Poetry: The Work of Enrique Martínez Celaya. Venice, California: Whale & Star, 1999.
Baechler, Donald. “Imagery and Process (Conversation with Donald Baechler and Enrique Martínez Celaya),” Pages 78-83 in Unbroken Poetry: The Work of Enrique Martínez Celaya. Venice, California: Whale & Star, 1999.
Greenstein, M.A. “Why Hegel (Interview).” Pages 73-80 in Enrique Martínez Celaya: Berlin, The Fragility of Nearness. Venice, California: William Griffin Editions, 1998.
Miles, Christopher. “A Conversation with Enrique Martínez Celaya.” Artweek, December 1997: 15-17.

MONOGRAPHS

Siedell, Daniel A., Thomas McEvilley, John Felstiner, Christian Williams and Enrique Martínez Celaya. Martínez Celaya. Early Work. Delray Beach, Florida: Whale & Star, 2006.
Tamiris-Becker, Lisa, Roald Hoffmann and Enrique Martínez Celaya. Enrique Martínez Celaya: Poetry in Process. Boulder, Colorado: CU Art Museum, University of Colorado at Boulder, 2004.
Siedell, Daniel A. The October Cycle, 2000-2002. Seattle, Washington: Marquand, 2003.
Jay Jensen (editor), Solomon-Godeau, Abigail, Charles Merewether and Howard Fox. Enrique Martínez Celaya 1992-2000. Cologne, Germany: Wienand Verlag, 2001.
Martínez Celaya, Enrique. October. Amsterdam, The Netherlands: Cinuba, 2001.
Kirby, Peter. Enrique Martínez Celaya, Studio Days. Venice, California: Media Art Services, 2001.
Brodzky, Anne Trueblood. Unbroken Poetry, The Work of Enrique Martínez Celaya. Venice, California: Whale & Star, 1999.
Martínez Celaya, Enrique and Stephen Cohen. Enrique Martínez Celaya, Berlin. Los Angeles, California: Stephen Cohen Gallery and William Griffin Editions, 1998.

SELECTED LECTURES

“Art & the University.” Originally presented at the University of Nebraska-Omaha as part of the University of Nebraska Visiting Presidential Professorship, 7 April 2009.
“Systems, Time and Daybreak.” Originally presented at Kaneko, Omaha, Nebraska as part of the University of Nebraska Visiting Presidential Professorship, 7 October 2008.
“Art and Museums.” Originally presented at the Sheldon Memorial Art Gallery at the University of Nebraska-Lincoln as part of the University of Nebraska Visiting Presidential Professorship, 15 April 2008. Originally published as “The Parting of the Exemplary Museum,” works + conversations 15, November, 2007: 34-35, 45;
 and as “Now What?” Journal of Aesthetic Education, Vol. 41 No. 2, Summer 2007: 17-21.
“Photography as Grief.” Originally presented at the Sheldon Memorial Art Gallery as part of the University of Nebraska Visiting Presidential Professorship, 18 October 2007. An earlier version was presented at the Miami Art
Museum, 8 December 2006. Previously published as “Photography as Grief (Fragments)” artUS 24/25, Fall/Winter 2008: 68-71.
“Art and Compassion.” Originally presented at the UCLA Fowler Museum of Cultural History in conjunction with the traveling exhibition The Missing Peace: Artists Consider the Dalai Lama, 2006.
“Idea Generation: Currency for the Knowledge Economy The Fuzzy Boundary: Science and Art.” Originally presented as a lecture at the Education Summit, Hope Center, Richmond, Virginia, 14 November 2005.
Lecture at the American Academy in Berlin. Originally presented at the Berliner Philharmonie [co-sponsored by the Stiftung Berliner Philharmoniker, the Forum Zukunft Berlin, and the American Academy in Berlin], Berlin, Germany, 19 October 2004.
“Poetry and Process.” Originally presented at the Aspen Institute, Aspen, Colorado in conjunction with the exhibition Poetry in Process at the CU Art Museum, Boulder, Colorado, 2004.
“New Work.” New York University, 2002.
Lecture at Orange County Museum of Art. Originally presented at the Orange County Museum of Art, Newport Beach, California, 4 December 2001. An earlier version was presented at the University of Hawai’i at Mānoa, Honolulu, Hawaii, 4 September 2001. Both lectures were given on the occasion of the travelling exhibition, Enrique Martínez Celaya: 1992-2000.

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