Eddie Martinez (artist)

Last updated
Eddie Martinez
Born1977 (age 46–47)
Groton Naval Base, United States
Known forPainting, drawing, sculpture
StyleFigurative, abstract
Spouse Sam Moyer
Website Eddie Martinez
Eddie Martinez, When We Were In Good Hands, oil, spray paint, enamel, collaged canvas and silkscreen ink on canvas, 72" x 108", 2016-17. Eddie Martinez When We Were In Good Hands 2017.jpg
Eddie Martinez, When We Were In Good Hands, oil, spray paint, enamel, collaged canvas and silkscreen ink on canvas, 72" x 108", 2016–17.

Eddie Martinez (born 1977) is a New York-based artist best known for large-scale paintings that feature bold color, urgent line and brushwork, and graphic shapes and forms. [1] [2] [3] His style combines painting and drawing, abstraction and representation, and a casual approach to materials with an eclectic iconography of figurative elements. [1] [4] [5] While contemporary in his choice of materials and subjects, he bridges a wide range of historical influences, including CoBrA, Action painting, neo-expressionism and Philip Guston, and classical conventions of portraiture, still life and allegorical narrative, filtered through the lens of daily experience and popular culture. [6] [7] [8] [9]

Contents

Martinez has exhibited internationally, including solo museum shows at the Bronx Museum of the Arts, [10] The Drawing Center, [11] Yuz Museum Shanghai, [12] and Museum of Contemporary Art Detroit, [13] and group exhibitions at the Saatchi Gallery in London and Garage Museum of Contemporary Art in Moscow, among others. [14] [15] His work belongs to public institutions including the Bronx Museum, Morgan Library & Museum, Marciano Collection, Saatchi Collection, and Colección Jumex (Mexico City). [16] Martinez is married to artist Sam Moyer, and lives and works in Brooklyn, New York. [17] [12]

Early life and career

Martinez was born in 1977 on the Groton Naval Base in Connecticut. [18] His family moved frequently, particularly after his parents' marriage ended, and he grew up in California, Florida, Texas and Massachusetts. [5] [19] [18] He began creating his own character-based art as an adolescent in San Diego. [20] [10] After moving back to the northeast, he attended the Art Institute of Boston, but found his working style and subject matter more influenced by the urban culture and iconography around him and left after a year. [18] [8] [1]

While in Boston in the early 2000s, he began exhibiting his art and worked as an art handler for the Institute of Contemporary Art, Boston. [5] [7] After a move to Brooklyn in 2004, he began to attract steadily increasing attention through group, solo gallery, and eventually, museum exhibitions. [3] [1] [21] [22] In 2008, he received a Bauernmarkt Residency from the Lenikus Collection in Vienna. [23]

Work and critical reception

Martinez's work shifts between traditional and unconventional modes of abstract and figurative painting and drawing, reinterpreting the past (his own and that of art history) and blurring boundaries to push his practice in new directions. [24] [21] His paintings are described as energetic, visceral and immediate, with bold line, coarse brushwork, and aggressive color and texture achieved through combinations of oil, enamel and spray paint, silkscreening, and collaged elements on canvas. [3] [25] [26] His drawing—key to his work and a significant inspiration for his painting—functions like a spontaneous, daily biographical-journalistic tool; critics describe it as looser and more unrehearsed and speculative than his paintings, comparing its simple style to that of Paul Klee. [27] [28] [29] Martinez prefers a rapid working process, with little pre-thought in order to maintain spontaneity; he likens it to the back-and-forth movement between action and pause, contact and regrouping in boxing. [8] [12] In addition to painting and drawing, Martinez has produced large and small-scale abstract sculpture, made or developed from found objects and cast in bronze, which derive from his painting practice. [5] [19]

Eddie Martinez, The Grass is Never Greener, mixed media on canvas, 72" x 118", 2009. Eddie Martinez The Grass is Never Greener 2009.jpg
Eddie Martinez, The Grass is Never Greener, mixed media on canvas, 72" x 118", 2009.

Early work

Martinez's first New York solo show at ZieherSmith (2006) presented raw, mixed-media paintings and drawings that critics suggest drew on his immediate environment with an introspective, diaristic focus, creating a dialogue between the external world and the internal syntax of painting. [29] [3] They portray a recurring, whimsical cast of wide-eyed figures in hats, parrots and coiled snakes set in incongruous, sometimes fantastical environments dense with vivid pattern and color, spires, towers and rooftops, road signs and potted plants (e.g., Wild Pilgrims, 2005 or Snakesperience, 2006). [3] [29] [30] Some paintings combine multiple genres (portraiture, still life, allegorical narrative), while others focus on one, as in Mario Situation (2006), which Art In America's David Coggins wrote "reinvigorates the still life … in a spirit of clear-eyed exploration rather than postmodern posturing." [3] [29] Critics have compared the energy and approach of Martinez's early (and later) work to the path between drawing and painting pioneered by Cy Twombly. [31] [3]

In 2010, New York Times critic Roberta Smith characterized Martinez's evolving style as "a kind of updated, liberated Neo-Expressionism" drawing widely from Picasso, early Peter Saul, Arshile Gorky, de Kooning and David Hockney. [1] Others describe its "kitchen-sink quality"—loaded with ideas, gesture and texture, scattered fields, pileups of shapes and cartoony objects, thick brushstrokes, bursts of paint—as functioning like rebuses or hieroglyphs to create not-quite-decipherable messages. [28] In several paintings of this time, Martinez introduced speech bubbles (Back Looker, 2009) or tabletops (The Grass Is Never Greener, 2009), which serve as framing devices for clustered forms or paintings within paintings, and create space within the compositions. [28] [25] Contrasting with the bright cacophony of much of his work, Martinez also explored all-white tableaux with motifs squeezed straight from caulk tubes and all-black canvases with incised images revealing under-layers of coloration (e.g., Bad War). [1] [25] Critics likened some of this work, in its appearance and mix of humor and darkness, to the work of Guston and Basquiat. [28] [25]

In late 2010, Martinez created the 8-by-28-foot installation The Feast (ZieherSmith, Art Basel Miami Beach), a variation on his table paintings that matched expressionistic painting with Renaissance and Baroque historical themes, depicting a raucous banquet table attended by twelve figures; [32] [33] [19] it attracted notice after being purchased by collector Charles Saatchi. [22]

Later work

In his post-2010 work, Martinez turned toward abstraction. [20] [19] [7] He made a dramatic shift in the solo show "Matador" (Journal Gallery, 2013), paring down his content to a single composition of four interlocking, bulbous shapes in red, blue, yellow and black, repeated on five 7-by-10-foot white canvases, with slight variations in style, arrangement, and texture. [2] [34] The bold color and cartoonish forms recall Miró and Picasso, while the rugged surfaces—viscous oil paint scraped, smudged and attacked with a wide palette knife, housepainter’s brush and disc sander—suggest action painting, complicated by hasty, contemporary bursts of spray paint and banal collaged elements (gum wrappers, baby wipes). [2] [35] The show's title linked the processes of painters and matadors, while its focused variations alluded to the orchestrated repetitions of the bullfight, urban signage and serial art. [2] [35]

Following that show, Martinez took a hiatus from painting and turned to three-dimensional work: modest abstract sculptures of scavenged found objects, initially combined in ramshackle configurations that he painted brightly or in bronze. [19] He translated them into larger, human-scaled pieces using plaster, Styrofoam and wood planks, which were exhibited at Kohn Gallery (2014). [5] [19] That show also featured large gestural, sketchy paintings pared down to airy compositions of colliding, abstract blobby slabs of primary colors (e.g., Perfect Stranger, 2014), that reviews suggest resembled the sculptures. [19] [36]

In his shows "Salmon Eye" (2016) and "Cowboy Town" (2017), Martinez returned with amalgamations of abstraction and figuration emphasizing the immediacy and speed of drawings, which were painted with less textural surface build-up and more white space. [6] [4] [7] They originated as small Sharpie drawings that he enlarged as black silkscreens on canvas, sometimes treating the lines like a blueprint and others times disregarding or obscuring them entirely with oils, enamel, and spray paint. [4] [7] Critics suggested the latter show, which featured forms emerging out of chaos (e.g., When We Were in Good Hands, Cowboy Town) reflected a dystopian response to the contemporary U.S. sociopolitical climate. [37] [38]

Martinez attracted institutional recognition in the latter 2010s, with five museum solo shows in three years. [21] His first, "Ants at a Picknic" at the Davis Museum (2017), presented a new series of large-scale mandala paintings, painted bronze tabletop sculptures and large framed drawings. [39] In the paintings, the mandalas serve as containers for shapes and marks, much like his earlier table works; based on small drawings that he enlarged, they highlight Martinez's command of linework. [40] His immersive, four-wall, salon-style exhibition at The Drawing Center the same year recreated the wall of abstract drawings—done at home and in the world—accruing in his studio over several years. [41] [11] It ultimately comprised roughly two thousand drawings (many swapped in throughout the show), from idle, automatic-drawing doodles to painting studies; some of his paintings were hung over them to highlight the connections between the two mediums. [41] [11]

In his Bronx Museum show, "White Outs" (2018), Martinez reversed course from his typically colorful work by focusing on a process of erasure in which he intentionally blotted out silkscreened drawing forms with varying shades of white. [10] [42] The resulting, large-scale works, characterized by ghostly shapes, occasional bursts of colors and rich textures, suggested a simulated snowstorm (whiteout) while nodding to historical pieces by Robert Ryman, Rauschenberg and Johns. [10] [42] [21] Exhibitions at the Museum of Contemporary Art Detroit ("Fast Eddie") and the Yuz Museum in Shanghai ("Open Feast") in 2019 respectively featured, among other work, new floating "blockhead" paintings reworking an early skull motif and a vibrant 65-foot variation on his table paintings. [13] [12]

Martinez has had three later solo exhibitions at Mitchell-Innes & Nash: "Love Letters" and "Yard Work" (both 2018) and "Homework" (2020). [43] [21] "Love Letters" featured largely abstract paintings based on enlarged images drawn on a small, personalized notepad (the names and address often visible); Identifiable forms arrayed in a loosely associative way occasionally peek out to create a sense of reality described as both playful and discomfiting. [43] "Homework," an online exhibition of small works on cardboard made during the COVID-19 lockdown, continued Martinez's interest in exploring seriality by testing and repeating single compositions and forms. [21] [12]

Collections

Martinez's work is represented in the permanent collections of institutions including the Bronx Museum of the Arts, Modern Art Museum of Fort Worth, Davis Museum at Wellesley College, Marciano Collection, Morgan Library & Museum, Pérez Art Museum Miami, and Rhode Island School of Design Museum in the U.S., the Saatchi Collection and Hiscox Collection in London, and the Colección Jumex (Mexico City). [44] [22] [16] He has also built a recognized base of American, European and Asian private collectors. [24] [21] Two of his paintings were sold at the 2019 International Contemporary Art Fair (FIAC) in Paris for prices ranging up to $150,000; the same year, his 12-foot-wide canvas High Flying Bird (2014) sold at a Christie's auction for US$2 million, while his canvas Empirical Mind State (2009) sold for £615,000 in 2020. [45] [21] [46]

Exhibitions

Martinez's early exhibitions included group shows at the Deste Foundation in Athens, Museum of Contemporary Art of Rome, Museum of Mexico City and Saatchi Gallery, and solo shows at ZieherSmith (2006–10) and Loyal Gallery (Stockholm, 2006–8), among others. [3] [47] [1] [15]

In subsequent years, he has had solo exhibitions at Journal Gallery, Half Gallery and Mitchell-Innes & Nash in New York, Timothy Taylor Gallery (London), Kohn Gallery (Los Angeles) and Perrotin (Hong Kong), and made group appearances at the KUNSTEN Museum of Modern Art and Kunstmuseum Bonn, among others. [35] [38] [48] [15] His first solo museum show took place at the Davis Museum at Wellesley College in 2017, followed by shows at The Drawing Center, Bronx Museum, Museum of Contemporary Art Detroit, and Yuz Museum. [39] [11] [10] [13] [12] Martinez is represented by Blum & Poe (Los Angeles), Mitchell-Innes & Nash (New York) and Perrotin. [49] [21] [50]

Related Research Articles

<span class="mw-page-title-main">Damien Hirst</span> British artist (born 1965)

Damien Steven Hirst is an English artist and art collector. He is one of the Young British Artists (YBAs) who dominated the art scene in the UK during the 1990s. He is reportedly the United Kingdom's richest living artist, with his wealth estimated at US$384 million in the 2020 Sunday Times Rich List. During the 1990s his career was closely linked with the collector Charles Saatchi, but increasing frictions came to a head in 2003 and the relationship ended.

<span class="mw-page-title-main">Saatchi Gallery</span> Physical and online contemporary art museum in Chelsea, London

The Saatchi Gallery is a London gallery for contemporary art and an independent charity opened by Charles Saatchi in 1985. Exhibitions which drew upon the collection of Charles Saatchi, starting with US artists and minimalism, moving to the Damien Hirst-led Young British Artists, followed by shows purely of painting, led to Saatchi Gallery becoming a recognised authority in contemporary art globally. It has occupied different premises, first in North London, then the South Bank by the River Thames, and finally in Chelsea, Duke of York's HQ, its current location. In 2019 Saatchi Gallery became a registered charity and began a new chapter in its history. Recent exhibitions include the major solo exhibition of the artist JR, JR: Chronicles, and London Grads Now in September 2019 lending the gallery spaces to graduates from leading fine art schools who experienced the cancellation of physical degree shows due to the pandemic.

Jennifer Anne Saville is a contemporary British painter and an original member of the Young British Artists. Saville works and lives in Oxford, England and she is known for her large-scale painted depictions of nude women. Saville has been credited with originating a new and challenging method of painting the female nude and reinventing figure painting for contemporary art. Some paintings are of small dimensions, while other are of much larger scale. Monumental subjects come from pathology textbooks that she has studied that informed her on injury to bruise, burns, and deformity. John Gray commented: "As I see it, Jenny Saville's work expresses a parallel project of reclaiming the body from personality. Saville worked with many models who underwent cosmetic surgery to reshape a portion of their body. In doing that, she captures "marks of personality for the flesh" and together embraces how we can be the writers of our own lives."

<span class="mw-page-title-main">Barry McGee</span> American painter

Barry McGee is an American artist. He is known for graffiti art, and a pioneer of the Mission School art movement. McGee is known by his monikers: Twist, Ray Fong, Bernon Vernon, and P.Kin.

<span class="mw-page-title-main">Alex Katz</span> American artist (born 1927)

Alex Katz is an American figurative artist known for his paintings, sculptures, and prints. Since 1951, Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions throughout the United States and internationally. He is well known for his large paintings, whose bold simplicity and heightened colors are considered as precursors to Pop Art.

Dana Schutz is an American artist who lives and works in Brooklyn, New York. Schutz is known for her gestural, figurative paintings that often take on specific subjects or narrative situations as a point of departure.

Albert Oehlen is a German painter, installation artist and musician. He lives and works in Bühler, Switzerland and Segovia, Spain.

<span class="mw-page-title-main">Cecily Brown</span> British painter

Cecily Brown is a British painter. Her style displays the influence of a variety of contemporary painters, from Willem de Kooning, Francis Bacon and Joan Mitchell, to Old Masters like Rubens, Poussin and Goya. Brown lives and works in New York.

<span class="mw-page-title-main">Mark Grotjahn</span> American painter (born 1968)

Mark Grotjahn is an American painter best known for abstract work and bold geometric paintings. Grotjahn lives and works in Los Angeles.

Rodney McMillian is an artist based in Los Angeles. McMillian is a Professor of Sculpture at the UCLA School of Arts and Architecture at the University of California, Los Angeles.

Mario Martinez is a Native American contemporary abstract painter. He is a member of the Pascua Yaqui Tribe from New Penjamo, the smallest of six Yaqui settlements, in Arizona. He currently lives in New York City.

<span class="mw-page-title-main">Stuckism International Gallery</span>

The Stuckism International Gallery was the gallery of the Stuckist art movement. It was open from 2002 to 2005 in Shoreditch, and was run by Charles Thomson, the co-founder of Stuckism. It was launched by a procession carrying a coffin marked "The death of conceptual art" to the neighbouring White Cube gallery.

Garth Weiser is an artist based in New York City.

Mr. is a Japanese contemporary artist, based in Saitama Prefecture, Japan. A former protégé of Takashi Murakami, Mr.'s work debuted in both solo and group exhibitions in 1996, and has since been seen in museum and gallery exhibitions in Tokyo, Osaka, Nagoya, Hong Kong, Seoul, Daegu, Paris, New York, Minneapolis, Chicago, Miami, Jerusalem, Los Angeles, and London.

<span class="mw-page-title-main">Arthur Sarkissian</span> Armenian artist and painter

Arthur Sarkissian is an Armenian artist and painter.

<span class="mw-page-title-main">Jerry Weiss (artist)</span> American painter

Jerry Weiss is an American figurative, landscape, and portrait painter and a writer. He studied classical drawing, and his career has centered on both the figure, and landscape. He says he is "intrigued by the portrait and figure as a most sacred subject."

<span class="mw-page-title-main">Nahem Shoa</span> English painter

Nahem Shoa is a contemporary London painter best known for his series of portraits, collectively called Giant Heads, which were painted at up to 15 times life size. He is also notable for having increased the number of portraits of Black and mixed-race British people on display in British museums. Shoa has won a number of awards and prizes for his work, and serves on The Royal Albert Memorial Museum and Art Gallery's Contemporary Arts Panel. His work has been exhibited in London's National Portrait Gallery and the Royal Academy as well as at galleries and museums in other parts of the UK.

Christian Rosa is a Brazilian-born artist known for sparse, abstract paintings which are built up from individual shapes and marks on large raw, untreated canvases, using charcoal, oil paint, resin and pencil as well as large abstract sculptures that work like improvised automatic writing.

Keltie Ferris is an American abstract painter who currently lives in Brooklyn, New York. He earned a BFA from the Nova Scotia College of Art and Design and an MFA from the Yale School of Art (2006).

Chung Chang-sup was a Korean abstract painter and first-generation member of the post-war art movement, Dansaekhwa. At the start of his career he worked with oil paint as his main medium, but later on he explored Korean materials such as hanji and ink paints. Since he held close relations to government elite, he was able to have success as an oil painter hired as a part of the state-sponsored National Painting Project. His lifelong explorations with hanji pulp, called tak, are more well-known and became his trademark. Chung's unique approach to Korean materials was inspired by Eastern philosophies regarding harmony and nature. As one of the leading innovators of Dansaekwa, Chung's works were, and continue to be exhibited internationally in group and solo shows.

References

  1. 1 2 3 4 5 6 7 Smith, Roberta. "Art in Review," The New York Times, February 12, 2010. Retrieved July 27, 2020.
  2. 1 2 3 4 Howard, Christopher. Eddie Martinez," Artforum, April 2013. Retrieved September 29, 2020.
  3. 1 2 3 4 5 6 7 8 Coggins, David. "Eddie Martinez at ZieherSmith," Art In America, October 2006.
  4. 1 2 3 The New Yorker. "Eddie Martinez," February 17, 2016. Retrieved September 29, 2020.
  5. 1 2 3 4 5 Small, Rachel and Barry McGee. "Barry McGee x Eddie Martinez," Interview, September 12, 2014. Retrieved July 27, 2020.
  6. 1 2 Blair, Courtney Willis. "Studio Visit: Eddie Martinez," Forbes, March 3, 2016. Retrieved September 29, 2020.
  7. 1 2 3 4 5 Powers, Bill. "'I Needed to Figure Out Something I Could Make Myself': A Talk With Eddie Martinez," ARTnews, January 25, 2016. Retrieved September 29, 2020.
  8. 1 2 3 Millar, Amy. Eddie Martinez, Ocula, 2017. Retrieved July 27, 2020.
  9. ↑ Miller, Ken (ed.). Revisionaries; A Decade of Artists in Tokion, New York: Abrams, 2007. Retrieved July 27, 2020.
  10. 1 2 3 4 5 Schwendener, Martha. "What To See In New York Art Galleries This Week," The New York Times, January 8, 2019. Retrieved July 27, 2020.
  11. 1 2 3 4 Scott, Andrea K. "Four Drawing Shows To See Now," The New Yorker, October 25, 2017. Retrieved July 27, 2020.
  12. 1 2 3 4 5 6 Pricco, Evan. "Eddie Martinez: Fast Serve," Juxtapoz, March 2020. Retrieved July 27, 2020.
  13. 1 2 3 Museum of Contemporary Art Detroit. "Eddie Martinez: Fast Eddie," Exhibitions. Retrieved September 29, 2020.
  14. ↑ Saatchi Gallery. Eddie Martinez, Artists. Retrieved July 27, 2020.
  15. 1 2 3 CASS Sculpture Foundation. Eddie Martinez, Artists. Retrieved September 29, 2020.
  16. 1 2 Phillips. "Energy & Dynamism: Eddie Martinez." Retrieved September 29, 2020.
  17. ↑ Herriman, Kat. "How Five New York Artist Couples Share Space," The New York Times, February 11, 2016. Retrieved July 27, 2020.
  18. 1 2 3 Robinson, Paul Carter. "Eddie Martinez Speaks To Artlyst About His Latest London Exhibition," Artlyst, March 30, 2017. Retrieved July 27, 2020.
  19. 1 2 3 4 5 6 7 Indrisek, Scott. "Eddie Martinez Edges Towards Abstraction," Artinfo, September 19, 2014.
  20. 1 2 Ravich, Nick. "Graffiti taught Eddie Martinez the values of painting fast," Art21, 2012. Retrieved July 27, 2020.
  21. 1 2 3 4 5 6 7 8 9 Sutton, Benjamin. "Why Painter Eddie Martinez Is Having His Biggest Year Yet," Artsy, August 6, 2020. Retrieved July 27, 2020.
  22. 1 2 3 Garza Evan J. "Go Big Or Go Home: New American Paintings Spotlight, Eddie Martinez," Huffpost, March 25, 2011. Retrieved September 29, 2020.
  23. ↑ Lenikus Collection. Artists. Retrieved July 27, 2020.
  24. 1 2 Valdés, Constanza Ontiveros. "Three rising stars that are reinventing painting: Figgis, Martinez, and Kaphar," Art Collection, September 25, 2020. Retrieved July 27, 2020.
  25. 1 2 3 4 Fowlkes, Stephan. "Chelsea Art Crawl," The New York Optimist, January 2010. Retrieved September 29, 2020.
  26. ↑ O’Brien, Glenn. Eddie Martinez: Studio Drawings, Paper Chase Press, 2012. Retrieved July 27, 2020.
  27. ↑ Coggins, David. "Eddie Martinez," Interview, November 29, 2008. Retrieved September 29, 2020.
  28. 1 2 3 4 Barliant, Claire. "Art Review: Eddie Martinez," Time Out (New York), February 4–10, 2010.
  29. 1 2 3 4 Downey, Anthony. "Debut: Eddie Martinez," ArtReview, June 2006.
  30. ↑ Goodrich, John. "Full-Tilt Figuration," The New York Sun, September 13, 2007. Retrieved September 29, 2020.
  31. ↑ McQuaid, Cate. "At The Rose and Davis Museums, In Between Representation and Abstraction," The Boston Globe, October 27, 2017. Retrieved July 27, 2020.
  32. ↑ Hurst, Howard. "Art Basel Miami Beach Day 3," ArtCards Review, December 5, 2010. Retrieved September 29, 2020.
  33. ↑ Laster, Paul. "The Best of Art Basel Miami Beach 2010," Flavorwire, December 2, 2010.
  34. ↑ Andrew Russeth, "Eddie Martinez: 'Matador' at the Journal Gallery," The Observer, April 16, 2013. Retrieved September 29, 2020.
  35. 1 2 3 Newall, George. "Eddie Martinez," Apollo Magazine, April 11, 2013,
  36. ↑ Miranda, Carolina A. "Datebook: Painting, performance and film as art season gets into gear," Los Angeles Times, September 12, 2014.
  37. ↑ Nazif, Perwana. "Gallery Hopping: Eddie Martinez Plays Cowboys and Politics at Timothy Taylor," Artnet, April 3, 2017. Retrieved September 29, 2020.
  38. 1 2 Turner, Jethro. "An Interview with Artist Eddie Martinez on his Latest Show 'Cowboy Town' at Timothy Taylor, London," Purple Diary, April 7, 2017. Retrieved July 27, 2020.
  39. 1 2 West, Nancy Shohet. "'Ants at a Picknic' on display at Davis Museum," The Boston Globe, September 22, 2017. Retrieved July 27, 2020.
  40. ↑ Binlot, Ann."Eddie Martinez Opens His First Museum Show At The Davis Museum," Forbes, October 27, 2017. Retrieved July 27, 2020.
  41. 1 2 Cascone, Sarah. "Editors' Picks: 18 Things To See In New York This Week," Artnet, October 10, 2017. Retrieved September 29, 2020.
  42. 1 2 Cascone, Sarah. and Caroline Goldstein. "35 Stunning Museum Shows To See in New York Over The Holidays, From Renaissance Jewel Boxes to Heart-Thumping Surveys,"] Artnet, December 11, 2018.
  43. 1 2 Stevenson, Jonathan. "Eddie Martinez: Hard-earned cool," Two Coats of Paint, February 2, 2018. Retrieved July 27, 2020.
  44. ↑ The Morgan Library & Museum. Eddie Martinez, Drawings. Retrieved September 29, 2020.
  45. ↑ Loos, Ted "In a Busy Month for Art Fairs, FIAC Counts Collectors Among Its Treasures," The New York Times, October 17, 2018. Retrieved September 29, 2020.
  46. ↑ Rayburn, Scott. "Hockney Painting Makes a Medium-Size Splash at Sotheby’s," The New York Times, February 12, 2020. Retrieved September 29, 2020.
  47. ↑ Slöör, Susanna. "Att markera sin plats: Eddie Martinez, Galleri Loyal," Omkonst, February 16, 2006.
  48. ↑ Waltemath, Joan. "Means of Approach: New York Painting," Brooklyn Rail, September 8, 2015. Retrieved July 27, 2020.
  49. ↑ Blum and Poe. Eddie Martinez Artists. Retrieved September 29, 2020.
  50. ↑ Perrotin. Eddie Martinez Artists. Retrieved September 29, 2020.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.