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EDUCATION
Skowhegan School of Painting and Sculpture, Skowhegan, Maine; 1994
M.F.A., Painting and Sculpture, University of California, Santa Barbara, California; 1994
M.S., Quantum Electronics, University of California, Berkeley, California; 1989
B.S., Applied Physics, Electrical Engineering, Cornell University, Ithaca, New York; 1986
PROJECTS
2010
The Wanderer: Foreign Landscapes of Enrique Martnez Celaya, Museum of Biblical Art, New York, New York, 2010
Abstract: An exploration of the figure-landscape motif in the artist's work through the Bible's rich lexicon of images, themes, and narratives of exodus, exile, journey, and quest often reflected in his interest in the writings of Nietzsche, Hesse, Tolstoy, Martinson, Heidegger, and Kierkegaard. Publication: The Wanderer: Foreign Landscapes of Enrique Martínez Celaya. (New York, New York: Museum of Biblical Art), 2010. Text by Ena G. Heller, Ivan Gaskell and Daniel A. Siedell. 80 pages. 16 illustrations. Softcover.
The Open, Simon Lee Gallery, London, United Kingdom, 2010
Abstract: 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 Crossing, Cathedral of Saint John the Divine, New York, New York, 2010
Abstract: The largest Cathedral in the world is the setting for an environment of four very large paintings of the landscape which become part of the liturgical life of the church for nearly two months.
2009
The Palace, Baldwin Gallery, Aspen, Colorado, 2009
Abstract: 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. Publication features an excerpt from artist's Presidential Lecture, “On Painting.” Publication: The Palace. (Aspen, Colorado: Baldwin Gallery), 2009. Text by Enrique Mart;nez Celaya. 63 pages. 18 illustrations. Softcover.
An Unfinished Conversation: Collecting Enrique Martínez Celaya, Boca Raton Museum of Art, Boca Raton, Florida, 2009
Abstract: 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. Publication: An Unfinished Conversation: Collecting Enrique Martínez Celaya. (Boca Raton, Florida: Boca Raton Museum of Art), 2009. Text by Martin Brest, Wendy M. Blazier and Daniel A. Siedell. 64 pages. 19 illustrations. Hardcover.
An Empty Space, Akira Ikeda Gallery, New York, New York, 2009
Abstract: A ten-year exhibition of twenty shows (July 2000-June 2010). Each show features a single artist presenting a single work for six months. The project suggests an idea that content determines the state and the quality of a space, not the physical boundaries and dimensions. Koki Ikeda at the Station (2007), a watercolor on paper, explores the solitary reality of the concrete present in the face of the transitory nature and often illusory comforts of the past and the future. A catalogue accompanies each show and a boxed edition of all twenty publications will be published upon the exhibition's completion.
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.
2008
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. (Venice, California: LA Louver Gallery), 2009. 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. (Sydney, Australia: Liverpool Street Gallery), 2008. Text by Enrique Martínez Celaya. 63 pages. 29 illustrations. Softcover.
2007
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. (Delray Beach, Florida: Miami Art Museum in collaboration with Whale & Star Press), 2007. 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: Another Show for the Leopard. (Aspen, Colorado: Baldwin Gallery), 2007. 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 (2007), 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.
2006
Schneebett, Museum der bildenden Kunste Leipzig, Leipzig, Germany.
Abstract: Schneebett - the bed of snow - is installed in the context of the museum
environment searching for new interactions between the audience and the notions of myth
and death raised by Schneebett.
Martinez Celaya. Early Work. Whale and Star, Delray Beach, Florida. Text by Daniel A. Siedell.
400 pages. 322 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.
Coming Home, Sheldon Memorial Art Gallery, Univ. of Nebraska, Lincoln, Nebraska.
Abstract: The central sculpture of Coming Home (2000) is reinstalled with related
photographs and works on paper.
The Conversations. Whale and Star, Delray Beach, Florida. 144 pages. 16 illustrations. Softcover.
Abstract: Interviews of sixteen contemporary artists by Richard Whittaker, publisher and
editor of the magazine works + conversations.
The Missing Peace: Artists Consider the Dalai Lama, Traveling Exhibition.
Abstract: Upcoming environment.
XX. Whale and Star, Delray Beach, Florida. 144 pages, 90 illustrations. Hardcover.
Abstract: 20th Anniversary edition commemorating the music and life of the Cowboy Junkies.
Splinter. Return, Greg Kucera Gallery, Seattle, Washington.
Abstract: This project focuses on the relationship of the figure and the landscape. In
particular, their interconnectedness and what the landscape imposes on consciousness.
John Berggruen Gallery, San Francisco, California.
Abstract: Upcoming environment.
2005
Enrique Martinez Celaya. Works on Paper, Oakland Museum of California, Oakland, California.
Abstract: A ten-year survey exhibition of EMC's works on paper, a central component of the
artist's work and, frequently, the bridges between his writings and visual works.
Shore: "Is today yesterday" (Part I), Akira Ikeda Gallery, Berlin, Germany.
Abstract: An ambitious environment of works developed over the past two years, in which
children and the landscape articulate concerns of identity, displacement, and mortality.
Shore: "Is today yesterday" (Part II), Griffin Contemporary, Santa Monica, California.
Abstract: This environment of paintings, mirrors, a large bronze of a boy missing an arm,
photographs, and a tar-body reclining is the second installment of Shore: "Is today
yesterday."
Boy in the Landscape, John Berggruen Gallery, San Francisco, California.
Abstract: A study of the consequences of fear and isolation in the formation of identity
through an environment of paintings, works on paper and a sculpture. The exhibition also
included a large take-with-you sheet of writings and diagrams.
Enrique Martinez Celaya: The Photographs, Brauer Museum of Art, Valparaiso, Indiana.
Abstract: A survey exhibition of the artist's photographs and the writings and annotations
used to plan the final works.
2004
Schneebett, Berliner Philharmonie, Berlin, Germany.
Abstract: This large-scale installation - the final stage in the artist's Beethoven cycle - serves
as a counterpoint to the musical performances. The project also included booklets for the
public written by the artist, performances by the orchestra and a public lecture sponsored by
the American Academy in Berlin.
Poetry in Process, CU Art Museum, Boulder, Colorado.
Abstract: A survey exhibition organized around the philosophical trajectories of the artist's
work. Curated by Lisa Tamiris-Becker. Lecture at the Aspen Institute.
Publication: Poetry in Process. CU Art Museum, Boulder, Colorado. 2004. Text by Lisa
Tamiris-Becker. 112 pages. 60 illustrations. Softcover.
Boy (Part II), Baldwin Gallery, Aspen, Colorado.
Abstract: This environment of paintings, sculptures and works on paper is the second
component of a three part series that deals with the ontological concerns of ‘the boy in the
landscape.' The first piece, which acted as a catalyst for a trinity, emerged in All the Field is
Ours.
The October Cycle, Museum of Art, Fort Lauderdale, Fort Lauderdale, Florida.
Abstract: For his own re-installation of the traveling exhibition The October Cycle the artist
created a one-hundred-foot wall-work using a mixture of his own blood and birch ashes.
Boy (Part III), Liverpool Street Gallery, Sydney, Australia.
Abstract: This environment of paintings, sculptures and works on paper is the third
component of a three part series that deals with the ontological concerns of ‘the boy in the
landscape.' The first piece, which acted as a catalyst for a trinity, emerged in All the Field is
Ours.
2003
October Cycle, Sheldon Memorial Art Gallery, Univ. of Nebraska, Lincoln, Nebraska.
Abstract: An environment of works concerned with the temporary nature of existence. In
addition, the project included a residency and public lectures supported by the Hixson-Lied
College at the University of Nebraska.
Publication: The October Cycle. Marquand Books, Seattle, Washington (Published in
association with Sheldon Memorial Art Gallery and Sculpture Garden, University of
Nebraska-Lincoln). 2003. Text by Daniel A. Siedell and Enrique Martinez Celaya. 96 pages,
38 illustrations. Hardcover.
All the Field is Ours, Griffin Contemporary, Santa Monica, California.
Abstract: An environment of poems, paintings and sculptures that responded to the birth of
the artist's children and to the paintings of The October Cycle.
Publication: All the Field is Ours. Griffin Contemporary, Santa Monica, California. 2003. Text
by Thomas McEvilley. 60 pages. 34 illustrations. Softcover.
Recent Paintings, John Berggruen Gallery, San Francisco, California.
Abstract: Using paintings on canvas and paper as well as seven not-for-publication poems
the project deepened the artist's examinations of filial relationship and the notion of
‘becoming.'
2002
Guide. Whale and Star Press, Los Angeles, California (Published in collaboration with Griffin
Editions and Mark Hasencamp). Artist book. Text and Photographs by Enrique Martinez
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). A Whale and Star ‘working book.'
Edited with commentaries by Enrique Martinez Celaya, 402 pages. Softcover.
Abstract: Formulated as an introductory book, Sketches of Landscapes includes original texts
of seminal works on the philosophy of art as well as selections of influential critical writings of
the nineteenth and twentieth century.
2001
Enrique Martinez 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.
Abstract: Curated by James Jensen in collaboration with the artist, this exhibition brought
together seventy-eight objects and many of the writings associated with them to elucidate the
cross-disciplinary and philosophical approach of the artist. All three exhibitions presented
lectures by the artist as well as scholars, writers and curators.
Publication: Enrique Martinez Celaya, 1992-2000. Wienand Verlag, Cologne. 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.
Amerika – Europa: Ein kunstlerischer Dialog, Von der Heydt-Museum, Wuppertal, Germany.
Abstract: This exhibition – a broad selection of the Rosenkrantz Collection – included a room
of paintings and sculptures by the artist.
Publication: Amerika – Europa: Ein kunstlerischer Dialog. Von der Heydt-Museum,
Wuppertal, Germany. Texts by Sabine Fehlemann, Peter Frank, Pontus Hulten, Dieter
Rosenkranz, Klaus Weber, Wulf Herzogenra, Marlene Baum and Charles Merewether. 320
pages.
October. Cinubia, Amsterdam, The Netherlands.
Abstract: This artist book brings together forty-eight photographs by the artist and also
includes several of the studies and writings that led to the installation Coming Home.
Les Fleurs du Mal, Selected Poems by Charles Baudelaire and Original Etchings by Odilon
Redon. A Whale and Star ‘Artists and Writers book.' 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.
Joseph Beuys, Multiples and Other Forms of Politics. Text by Beatrice Foessel and Johannes
Stuettgen. Whale and Star. 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.
2000
Pinturas de Merced, Galeria Ramis Barquet, Monterrey, Mexico
Abstract: An environment of paintings, sculptures and works on paper interacting with each
other and with the ephemeral writings on the walls of the gallery.
Publication: Pinturas de Merced. Text by Charles Merewether. Galeria Ramis Barquet,
Monterrey, Mexico and New York. 54 pages. 22 illustrations in color. Softcover.
Coming Home, Griffin Contemporary, Venice, California.
Abstract: This installation included an elk and a boy, both made of tar and feathers, and
twelve works on paper. The artistic/philosophical project explored the formation of identity.
1999
The Field, St. Pancras Chambers, London, United Kingdom.
Abstract: For this project, the first art exhibition at the historic Saint Pancras Chambers, the
artist conceived the space as a series of small installations where paintings, watercolors,
photographs, sculptures and poems interacted with the historic rooms of the St. Pancras.
Unbroken Poetry: The Work of Enrique Martinez Celaya. Text by Anne Trueblood Brodzky.
Whale and Star Press, Venice, California. 112 pages. 78 illustrations, 53 in color. Hardcover.
Abstract: The first book in the artist's publishing efforts through Whale and 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.
1998
Works on Paper and Poems, Baldwin Gallery, Aspen, Colorado and Luigi Marrozzini Gallery, San
Juan, Puerto Rico.
Abstract: This three-venue project consisted of texts and visual works exploring loss and its
representation as well as the dialectic of distance and attachment as the central concerns on
the cycle of sixteen material works and twelve poems. The cycle also included lectures and
readings by the artist.
Publication: Enrique Martinez Celaya: Works on Paper and Poems. Luigi Marrozzini Gallery,
San Juan, Puerto Rico and Griffin Contemporary, Santa Monica, California.
Enrique Martinez Celaya, Berlin. Text by Stephen Cohen and Enrique Martinez Celaya. Stephen
Cohen Gallery and William Griffin Editions, Los Angeles, California. 84 pages, 25 illustrations.
Hardcover.
Abstract: This book brings together 25 photographs by the artist as well as related poems
and thoughts.
1997
Redemption, Burnett Miller Gallery, Santa Monica, California.
Abstract: An inquiry into the foundations of myth and the possibility of redemption through a
group of philosophical writings, poems, sculptures and paintings.
1996
Bronx Museum of the Arts, Bronx, New York.
Abstract: An environment of paintings and writings exploring exile. The project also included
a reading by the artist.
1994
Black Paintings, University Art Museum, University of California, Santa Barbara, California.
Abstract: Based on three poems, this environment of black paintings was the final
embodiment of the artist's concern with kitsch within the formation of personality. The project
also included the publication of a small book of poems and paintings.
Publication: The Black Paintings: Poems and Visual Works. University Art Museum, Santa
Barbara, California.
SELECTED PUBLIC 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
Wadsworth Atheneum Museum of Art, Hartford, Connecticut
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
The Patricia & Phillip Frost Art Museum, Miami, Florida
Sheldon Museum of Art, University of Nebraska, Lincoln, Nebraska
Joan Flasch Artists' Book Collection, School of the Art Institute of Chicago, Chicago, Illinois
The Colorado Collection, Boulder, Colorado
Frederick R. Weisman Art Museum, Minneapolis, Minnesota
Oakland Museum of California, Oakland, California
Boca Raton Museum of Art, Boca Raton, Florida
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 AWARDS
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
Art Here and Now Award, Los Angeles County Museum of Art, 1998
Regents Fellow, University of California, 1992-1994
Interdisciplinary Humanities Fellow, University of California, 1992
Brookhaven National Laboratory Fellowship, 1986-1988
FACULTY POSITIONS AND TEACHING
Faculty, Anderson Ranch Arts Center, Snowmass Village, Colorado, 2005;
Visiting Artist, University of Colorado at Boulder, Boulder, Colorado, 2004;
Visiting Artist, Massachusetts College of Art, Boston, Massachusetts, 2003;
Visiting Artist, Hixson-Lied College, University of Nebraska, Lincoln, Nebraska, 2003;
Associate Professor, Pomona College and Claremont Graduate University. 1994-2003;
Distinguished Visiting Faculty, University of Hawai'i at Manoa, Honolulu, Hawaii, 2001;
Adjunct Faculty in Painting, University of California, Santa Barbara. 1994.
SELECTED BIBLIOGRAPHY
2006
Frank, Peter. Art pick of the week. LA Weekly, 13-19 January;
Buckwater, Timothy. Critic's choice (art). The Monthly, January: 5;
Continuing and recommended: Enrique Martinez Celaya. ArtScene, January.
2005
Ollman, Leah. Renaissance man looks to the past. Los Angeles Times, 9 December;
MOCA announces major 2004 acquisitions. Art Museum Network News, 10 March;
Mills, Michael. Best local artist. Broward-Palm Beach New Times, 12-18 May;
Gonzalez, Gaspar. The escape artist. Boca Raton Magazine, December: 117-118, 256, 258;
Art. San Francisco Chronicle, 11 December: 58 (photo);
Trabajos en papel. El Mensajero, 4 December;
Enrique Martinez Celaya. Works on Paper. Art Daily, 28 November;
Beaver, Megan. Thought-provoking exhibit. The Torch, 4 November: B5;
Photography show focuses on Martinez Celaya. Northwest Indiana Times, 2 November;
Martinez Celaya exhibit open at Brauer. Campus Chronicle, 20 October: 1-2;
Farmer, David C. The Honolulu Advertiser, 6 March;
Mills, Michael. Away from the buzz. Broward-Palm Beach New Times, 7-13 April: 34;
Gavlak, Sarah. Portrait of the artist. Ocean Drive, November: 378-381.
2004
Forck, Gerhard. Schneebett: Eine installation in der Philharmonie. Berliner Philhamoniker Das
Magazin, November/December: 85;
Knott, Marie Luise. Kunstler dieser ausgabe: E. M. Celaya. Le Monde Diplomatique, November;
Turner, Elisa. The prince of darkness. The Herald, 7 March: 3M, 5M;
Damian, Carol. Enrique Martinez Celaya. Art Nexus, No. 53, Vol. 3: 129-130;
Becker, Lisa Tamiris. Enrique Martinez Celaya: Poetry in process. Colorado University Art
Museum Bulletin, Volume II: 1(photo), 3;
Rakow, Mary. Looking for a context for Martinez Celaya's work. works + conversations, No. 9,
October:14-19;
Whittaker, Richard. A conversation with Enrique Martinez Celaya, Self & beyond self. works +
conversations, No. 9, October: 2-13;
Gilbert, James. Enrique Martinez Celaya. Flaunt, No. 54: 86-89;
Mills, Michael. Black is back. Broward-Palm Beach New Times, 25-31 March: 34;
Schudel, Matt. Layers of meaning. South Florida Sun-Sentinel, 7 March: 14-15;
Voelz Chandler, Mary. Big on medium. Rocky Mountain News, 14 September: 8D, 10D-11D;
Oksenhorn, Stewart. Winter's child. Aspen Times Weekly, 21-22 February;
Marglin, Elizabeth. CU's ‘Poetry in Process' show explores identity. Daily Camera, 26 September:
6D;
Kolesnikov-Jessop, Sonia. Collectors' haven. Singapore Tatler, Vol. 22, No. 258, March;
Hassebroek, Ashley. Artist, curator collaborate for exhibition now at Sheldon. Omaha World-
Herald, 12 January;
Wagner, Patrice. A curator's recollection. works + conversations, No. 9, October: 20-21;
People. Aspen Magazine (Spring): 150 (photo);
Turner, Elisa. Critic's pick. The Herald, 20 February: 31;
Mclellan, Marian. The birds. The New Orleans Art Review, March/April: 26-29;
Lorge, Matt. Enrique Martinez Celaya at Museum of Art, Fort Lauderdale. WPLG, Channel 10, 18
February (Television);
Visual arts. Riverwalk (Winter/Spring): 46;
Shear, Robin. Good seasons. Eastsider, 26 February: 3;
Russell, Candice. Unseasonably dark. City Link, 25 February: 53.
2003
Genocchio, Benjamin. An ethereal world, explored breath by breath. New York Times: 14WC;
Ollman, Leah. In a silent season. Art in America, May: 132-113;
Douglas, Sarah. Enrique Martinez Celaya: All the field is ours. The Art Newspaper, No. 140: 9;
Wolgamott, L. Kent. A premonition of winter. Lincoln Journal Star, 7 December;
Siedell, Daniel A. The October Cycle, 2000-2002. Pages 13-29 in The October Cycle, 2000-2002.
Seattle, Washington: Marquand;
McEvilley, Thomas. Martinez Celaya: No Horizon Line. Pages 5-10 in All the Field Is Ours. Santa
Monica, California: Griffin Contemporary;
Rosenberg, Jeremy. Griffin on the move. Art and Auction, November: 161;
Martin, Victoria. Enrique Martinez Celaya at Griffin Contemporary. Art Week, No. 10, Vol. 34: 20
(Cover: December 2003 - January 2004);
Rumbaugh, Ed and L. Kent Wolgamott. KZUM's variations on the visual. KZUM, 18 November
(Radio);
Hilsabeck, Erin. Personal events inspire artist's exhibit, speech. Daily Nebraskan, 18 November;
Reed, James. Scene in L.A. Angeleno, December: 104 (photo);
Stibor, William. Live From the Mill. National Public Radio, 21 November (Radio);
Exhibition Highlights of the coming season. Art in America, August;
Continuing and recommended. Art Scene, No. 4, Vol. 23 (December);
Wong-Sutch, Sabina. The art of living. The Peninsula, No. 1, Vol. 1: 34-40;
Scott, Carolyn Patricia. A colorful new Martinez Celaya. Los Angeles Times, 18 November: E60;
Wolgamott, L. Kent. Top 10 art shows of 2003. Lincoln Journal Star, 28 December.
2002
Ollman, Leah. Primal emotions evoked in black. Los Angeles Times, 1 November: E27;
Turner, Nancy Kay. Enrique Martinez Celaya. Art Scene, November: 24, 25;
Wolgamott, L. Kent. Art facts. Lincoln Journal Star, 16 June, Section X: 12;
Wolgamott, L. Kent. New directions in contemporary art. Lincoln Journal Star, 9 June, Section X:
6-7;
Cheng, Scarlet. Armory with new arsenal. Los Angeles Times, 11 April: 14-15;
Chattopadhyay, Collette. Enrique Martinez Celaya, Orange County Museum of Art. Art Nexus,
No. 44, Vol. 2: 117–118;
Pagel, David. Los Angeles Times, 19 April;
Bryan, Kathy, Cathy Byrd and Bobbie Leigh. The top hundred collectors in America. Art and
Antiques, March: 90-91;
News & views. Art Nexus, No. 43, Vol. 1: 36, 38.
2001
Breidenbach, Tom. Enrique Martinez Celaya, Art Forum, February: 155;
Schoenkopf, Rebecca. Tar baby. OC Weekly, 23-29 November;
Solomon-Godeau, Abigail. Restitutional Fragments. Pages 51-73 in Enrique Martinez Celaya
1992-2000. Cologne, Germany: Wienand;
Merewether, Charles. Departure without Return. Pages 31-47 in Enrique Martinez Celaya 1992-
2000. Cologne, Germany: Wienand;
Fox, Howard N. Interview with Enrique Martinez Celaya. Pages 77-89 in Enrique Martinez Celaya
1992-2000. Cologne, Germany: Wienand;
Albertini, Rosanna. In the Still of Language. Pages 93-107 in Enrique Martinez Celaya 1992-
2000. Cologne, Germany: Wienand;
Emerick, Judson, and Arden Reed. Commentary. Pages 111-240 in Enrique Martinez Celaya
1992-2000. Cologne, Germany: Wienand;
Ollman, Leah. Insight within arm's reach. Los Angeles Times, 26 November: F2;
Best buys, Los Angeles Times, 10 November;
Chang, Young. The stages of Enrique Martinez Celaya. Daily Pilot, 10 November: A8, A13;
Chang, Richard. In pursuit of an epiphany of the heart and mind. Orange County Register, 9
November: 6;
Morse, Marcia. Push and pull. Honolulu Weekly, 26 September - 2 October: 11;
Gail-White, Victoria. Martinez Celaya shifting away from aesthetic choices. The Honolulu
Advertiser, 9 September: E5;
Tswei, Suzanne. Martinez Celaya scraps art education to reinvent painting. Honolulu Star-
Bulletin, Mauka Makai, 26 August: G14-G15;
Heyward, Carl. Art Papers, May/June: 53;
Frank, Peter. Art picks of the week. LA Weekly, 16-22 February: 150;
Rosenberg, Jeremy. The evolution of Enrique. Los Angeles Times, 6 March: F22;
Williams, Eliza. Los Angeles. Zoo Magazine, March: 38.
2000
Tompkins, Calvin. Enrique Martinez Celaya. The New Yorker, 11 December: 26;
Forgacs, Eva. Art Issues, January/February: 49;
Ollman, Leah. Poetry in pictures. Los Angeles Times, 26 May: F21;
Falandysz, Dan. Unbroken poetry: The work of Enrique Martinez Celaya. artstar.com, January;
Chattopadhyay, Collette. Enrique Martinez Celaya at Griffin Contemporary. Artweek, July/August:
20-21;
Made in California: Art, Image, and Identity 1900-2000. Los Angeles, California: Los Angeles
County Museum of Art. (photo);
Merewether, Charles. Breathing the Night Air. Pages 7-9 in Pictures of Mercy: Drafts of a
Landscape. New York, New York: Galeria Ramis Barquet;
Representing LA. Seattle, Washington: The Frye Art Museum. (photo);
Thornburg, Barbara. Latin quarters. Los Angeles Times Magazine, 24 September: 32-35;
Featured work, ions. Noetic Sciences Review, September-December, No. 53: 25;
Fark, Bill. California artists show diversity in museum show. North County Times, 9 June: 3-34;
Pincus, Robert L. Next wave shows the versatility and talent of Southern California artists. The
San Diego Union-Tribune, 8 June: 32-33;
Frank, Peter. Gallery picks of the week. LA Weekly, 2-9 June: 152;
Chattopadhyay, Collette. Pages 2-4 in Enrique Martinez Celaya: Paintings of Mercy. San
Francisco, California: Rena Bransten Gallery;
Bourbon, Matthew. 120 minutes in San Francisco: 4 galleries, NY Arts, May;
Wario, Bertha. Encuentra en pintura respuesta a preguntas. El Norte, Monterrey, México, 26
April;
Hernández, David. De poesia, pintura y escultura. Diario de Monterey, Monterrey, México, 3 May:
38;
Simblist, Noah. Enrique Martinez Celaya at Eyre/Moore. Red Headed Step Child, July: 1-2;
Hall, Emily. New developments: Photo fact and fiction. The Stranger, Seattle, 23 March: 33;
McLean, Clare. Artists as vehicles for their own ideas. www.artaccess.com, March: 8-9;
Fark, Bill. North county artists featured in museum exhibit. North County Times, 2 June: 3, 36;
Knight, Christopher. Catching the 'next wave' of painters. Los Angeles Times, 20 June;
The Stranger, Vol. 9, No. 39, 15-21 June;
Best bets. The Los Angeles Times, 1 June: 5;
Rice, Robin. The center of it all. Philadelphia Citypaper, 30 November – 7 December.
1999
Ollman, Leah. Art in America, May: 166;
Geer, Suvan. Art Nexus, April-June;
Brodzky, Anne Trueblood. Unbroken Poetry. Pages 9-41 in Unbroken Poetry: The Work of
Enrique Martinez Celaya. Venice, California: Whale and Star;
Yariv, Amnon. Compassion and Subjectivity (Conversation with Amnon Yariv and Enrique
Martinez Celaya). Pages 67-75 in Unbroken Poetry: The Work of Enrique Martinez Celaya.
Venice, California: Whale and Star;
Baechler, Donald. Imagery and Process (Conversation with Donald Baechler and Enrique
Martinez Celaya). Pages 78-83 in Unbroken Poetry: The Work of Enrique Martinez Celaya.
Venice, California: Whale and Star;
Bautista, Susana. The Labyrinth of the Multitude. Los Angeles, California: Luckman Gallery;
Perez, Judy. Art on the fringes. Claremont Courier, 10 April: 9;
Frank, Peter. LA Weekly, 29 October - 4 November;
Browning, Walter. Terminal thoughts. Hampstead and Highgate Express, 5 November;
M.F. Another late arrival. Highbury and Islington Express, 12 November;
Brown, Neal. The Independent, London, 24 October.
1998
Frank, Peter. ArtNews, February: 123;
Isé, Claudine. Visual poetry. Los Angeles Times, 30 October: 30;
Ollman, Leah. Los Angeles Times, 25 December: F-40;
Damian, Carol. Art Nexus, January-March: 132-133;
Frank, Peter. Enrique Martinez Celaya. Pages 33-37 in Enrique Martinez Celaya: Berlin, The
Fragility of Nearness. Venice, California: William Griffin Editions;
Solomon-Godeau, Abigail. Restitutional Fragments. Pages 39-45 in Enrique Martinez Celaya:
Berlin, The Fragility of Nearness. Venice, California: William Griffin Editions;
Greenstein, M.A. Why Hegel? (Interview). Pages 73-80 in Enrique Martinez Celaya: Berlin, The
Fragility of Nearness. Venice, California: William Griffin Editions;
Bockel, Claudia. Er will bewegen, No entertaining! Enrique Martinez Celaya in der Regensburger
Galerie Baumler. Mittelbaycrische Zeitung, Regensburg, Germany, 30 June;
Hein, Helmut. Atemwende oder die welt im kopf. Kultur, Mittelbaycrische Zeitung, 6 August;
Collins, Tricia. Tablet: The work of three poets. Zing Magazine, Winter: 34-138;
Click, Carrie. Sultan, Celaya debut Baldwin's new space. Aspen Times, 14 February: B14;
Hilty, Dru. Art and features. The Student Life, Pomona College, 30 October: 4;
Brown, T.W. The Argonaut, 14 May: 23;
Perez, Ruiz, and Jose Antonio. Art Nexus, May: 132-133;
Mittelbayerische Zeitung, 28 June: R6;
The guide to art galleries and museums in Southern California. Art Scene, 26 December.
1997
Garcia Gutiérrez, Enrique. El artista en su laberinto. El Nuevo Dia, Revista Domingo, 21
September: 10-13;
P.Y. Enrique Martinez Celaya. Buzz Weekly (Los Angeles), 31 January - 6 February: 14;
Windhausen, Rodolfo. Arte Latinoamericano. La Prensa, New York, 23 November;
Alvarez Bravo, Armando. El Nuevo Herald (Miami), 2 November: 5E;
Welles, Eleonore. Enrique Martinez Celaya. Art Scene, Vol. 6, No. 7, February;
Alvarez Lezama, Manuel. San Juan Star, 3 October;
Ellerman, Nina. Self-portrait with cup. Pomona College Magazine, Spring: 24-31;
Art Scene, Vol. 16, No. 7, March;
Christopher, Miles. A conversation with Enrique Martinez Celaya. Artweek, December: 15-17;
Alegre Barrios, Mario. El Nuevo Dia, 2 September.
1996
Schoenkopf, Rebecca. A marriage in blood. OC Weekly (Orange County), 9 August: 25;
Riley, Charles A. The Power of Restraint. Pages 5-13 in Enrique Martinez Celaya. New York,
New York: Tricia Collins • Grand Salon.
1995
Greene, David A. Painting the town. Los Angeles Reader, 29 September;
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;
Dupont, Diana. Point, Counterpoint. Santa Barbara, California: Santa Barbara Museum of Art;
Rawlins, Dorrit. Nature re(Contained). Irvine, California: Irvine Fine Arts Center;
Crowder, Joan. A vision with two views. Santa Barbara News Press, 8 December: 7-8.
1994
Von Froemming, Paul. Gifts of love. The Independent (Santa Barbara), 1 December: 58;
Westfall, Stephen. Call and Response. Pages 3-5 in Presents and Proofs. San Francisco,
California: Meridian Gallery and Santa Barbara, California: Ro Snell Gallery;
Crowder, Joan. Drawing the viewers into his personal drama. Santa Barbara News Press, 25
November: 63;
Darling, Michael. The graduate. Scene Magazine (Santa Barbara), 29 April: 23-24;
Jenkins, Steven. An open heart. Artweek, 17 November;
George, Chris. Arts Week: Daily Nexus (Santa Barbara), 19 May: 4;
Callander, Judith. The Independent (Santa Barbara), 19 May: 50.
1993
Darling, Michael. An unusually rich storehouse of ideas. Scene Magazine (Santa Barbara,
California), 20 August;
Alvarez Lezama, Manuel. Exhibit asks viewers to question boundaries. The San Juan Star,
7 April: F11;
Darling, Michael. Viewing works together, Singularly. Santa Barbara News Press, 11 October;
Arte, El Nuevo Dia (San Juan, Puerto Rico), 23 March;
Routte-Gomez, Eneid. The San Juan Star (San Juan, Puerto Rico), 23 March.
1992
Richardson, Derk. Eight days a week. San Francisco Bay Guardian (San Francisco), illustration;
Burkhart, Dorothy. An artist worth being excited about. San Jose Mercury News, 18 March: 7D;
O'Connell, Pam. Arts beat. Billboard: Express (Berkeley), 8 May: 33.
1991
Alegre, Mario. Profuso y cálido cromatismo en Martinez Celaya. El Nuevo Dia (San Juan, Puerto
Rico), 28 June;
Stalks (California) Fall, (photo).
MONOGRAPHIC PUBLICATIONS AND VIDEOS
Lisa Tamiris-Becker, Roald Hoffmann, 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), Godeau, Abigail Solomon, Charles Merewether, and Howard Fox. Enrique
Martinez Celaya 1992-2000. Cologne, Germany: Wienand. 2001;
Kirby, Peter. Enrique Martinez Celaya, Studio Days. Venice, California: Media Art Services. 2001;
Brodzky, Anne Trueblood. Unbroken Poetry, The Work of Enrique Martinez Celaya. Venice,
California: Whale and Star. 1999.
SELECTED EXHIBITION CATALOGUES
McEvilley, Thomas. All the Field is Ours. Santa Monica, California: Griffin Contemporary. 2003;
Barron, Stephanie, Michael Dear, Sherri Bernstein, Howard Fox, and Richard Rodriguez. Made in
California: Art, Image, and Identity 1900-2000. Los Angeles, California: Los Angeles County
Museum of Art. 2003;
Merewether, Charles. Pinturas de Merced. Monterrey, Mexico: Galeria Ramis Barquet. 2000;
Chattopadhyay, Collette. Paintings of Mercy. San Francisco, California: Rena Bransten Gallery.
2000;
Solomon-Godeau, Abigail, Peter Frank, and M.A. Greenstein. Berlin, The Fragility of Nearness.
Venice, California: Griffin Contemporary. 1999;
Cohen, Stephen. Enrique Martinez Celaya, Berlin. Los Angeles, California: Stephen Cohen
Gallery and William Griffin Editions. 1998;
Dupont, Diana. Point, Counterpoint. Santa Barbara, California: Santa Barbara Museum of Art.
1995;
Pohl, Frances. Lions of Frosting. Santa Monica, California: Dorothy Goldeen Gallery. 1995.
SELECTED PUBLIC LECTURES
The Artist: Theory and Philosophy, Anderson Ranch Art Center, Snowmass Village, Colorado,
2006;
Idea Generation: Currency for the Knowledge Economy, Hope Center, Richmond, Virginia, 2005;
Berliner Philharmonie [co-sponsored by the Stiftung Berliner Philharmoniker, the Forum Zukunft
Berlin, and the American Academy in Berlin], Berlin, Germany, 2004;
Hixson-Lied College, University of Nebraska, Lincoln, Nebraska, 2003;
New York University, New York, New York, 2003;
Massachusetts College of Art, Boston, Massachusetts, 2003;
Modern and Contemporary Council, Los Angeles County Museum of Art, Los Angeles, California,
2001;
Orange County Museum of Art, Newport Beach, California, 2001;
University of Hawai'i at Manoa, Honolulu, Hawaii, 2001;
San Francisco Museum of Modern Art, SECA Group, San Francisco, California, 2000;
California Center for the Arts, Escondido, California, 2000.
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