'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Timothy Taylor is very pleased to announce an exhibition of new paintings by Eddie Martinez, the artist’s second exhibition with the gallery.
Deeply indebted to the histories of painting, yet realised in an immediately contemporary manner, Martinez’s canvases – formed from oil paint, enamel, spray paint, screen printing and studio detritus – are loaded with coloured, quasi-abstract masses in varying densities juxtaposed against shifting lines. The resulting dynamic imagery moves and merges from figuration to abstraction and back again.
Cowboy Town sees Martinez depart from recent bodies of work, as paintings are once again primarily figurative, although not reminiscent of early figurative works, but rather a next step from his more recent abstract canvases. Each painting in this new body of work not only steps back into figuration, but also into an almost subconscious narrative, however this plays out in an open way. Gestures are strong but also impulsive. The paintings are full of energy and movement – images linger just out of reach, eluding fixed identity. One of Martinez’s remarkable traits is his ability to intuit the general mood of the world around him and translate the sentiment very clearly to his painting.
“As the maker I try to keep myself outside the narrative as much as I can or, at the least, I try not to walk people through it.”1
In Cowboy Town the paintings are raw, pared back, exposed. Backgrounds are solid, with imagery almost hovering on top. The paint is thinner, there’s an obvious reduction in ‘stuff’. And while the palette is typical Martinez – strong blues, yellows, reds – the underlying tone is sinister. The paintings are bright but nonetheless dark. For example, in the title painting, Cowboy Town, a face emerges through colour and gesture with a distinct expression of foreboding and dread.
“What I relate to most in my own work and process is the speed and raw unfiltered mark making.”2
The title, Cowboy Town, bears numerous references. As with Island I, his last exhibition here, there’s an association with music, and specifically Rastafari culture. Music is always key to Martinez’s process. Mood and sentiment is processed through music, before entering the canvas. In this case, the Black Uhuru song can be understood as a theme for the entire project.
Martinez has exhibited internationally, including Kunstmuseum Bonn; The Saatchi Gallery, London; Garage Centre For Contemporary Culture, Moscow; Museo de la Cuidad de México, Mexico City; and Deste Foundation Centre for Contemporary Art, Athens.
In September 2017, Martinez will hold a significant solo exhibition of works on paper at the Drawing Center, New York. Martinez will also hold his first solo museum exhibition in the USA in late 2017, at The Davis Museum at Wellesley College, Massachusetts.
Eddie Martinez was born in 1977. He lives and works in Brooklyn.
1 Eddie Martinez interviewed by Alisoen Gingeras in Salmon Eye, Mitchell-Innes & Nash, New York, 2016.
2 op cit.
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