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EDDIE MARTINEZ  Untitled  2020

EDDIE MARTINEZ

Untitled

2020

Oil, acrylic and spray paint on canvas

72 by 108 in.  182.9 by 274.3 cm.

EDDIE MARTINEZ The Deal (Muted) 2020

EDDIE MARTINEZ
The Deal (Muted)
2020
Oil and acrylic on canvas in artist's frame 61 by 73 in. 154.9 by 185.4 cm.
MI&N 16659

EDDIE MARTINEZ  Before Soil  2020

EDDIE MARTINEZ

Before Soil

2020

Oil and spray paint on linen

72 by 60 in.  182.9 by 152.4 cm.

EDDIE MARTINEZ The Deal (Yves Klein Blue) 2020

EDDIE MARTINEZ
The Deal (Yves Klein Blue)
2020
Oil, acrylic and oil bar on canvas in artist's frame
61 by 73 in. 154.9 by 185.4 cm.

EDDIE MARTINEZ Trump Virus Whiteout 2020

EDDIE MARTINEZ
Trump Virus Whiteout
2020
Oil and acrylic on panel
30 by 40 in.  76.2 by 101.6 cm.

EDDIE MARTINEZ  Oceanic  2020

EDDIE MARTINEZ

Oceanic

2020

Oil, acrylic and spray paint on canvas

72 by 108 in.  182.9 by 274.3 cm.

EDDIE MARTINEZ  Tennis Whites  2020

EDDIE MARTINEZ

Tennis Whites

2020

Oil, acrylic, spray paint, collage and push pin on canvas

30 by 40 in.  76.2 by 101.6 cm.

EDDIE MARTINEZ  Sleeper in Reality Dream  2019

EDDIE MARTINEZ

Sleeper in Reality Dream

2019

Oil, silkscreen ink and spray paint on canvas

72 by 108 in.  182.9 by 274.3 cm.

Press Release

Mitchell-Innes & Nash is pleased to announce its third solo presentation of new paintings by artist Eddie Martinez.

In her essay for the exhibition catalogue, Phyllis Tuchman writes:

“Martinez’s latest group of paintings, many executed during the lockdown of 2020, are works in which he practically takes stock of all he has thus far achieved in his art. They reveal, too, a new mastery of his skills and ideas. The themes are still rooted in tradition and art historical precedents, yet are expressed with a contemporary sensibility. As for representational imagery and abstract principles, that dialogue continues.

Martinez has returned once again to an art dominated by people, places and things. Take the heads that he has rendered in black and white. They’re summarily depicted yet so familiar. Look again and you’ll notice that the artist is breaking the rules of composition.

In the context of so many colorful canvases, the White Outs stand out as exercises in looking as we peer to discern what has been portrayed. There are heads to decipher as well as things (flowers in a vase). Three people are seated at a table in their Sunday best. The woman has on a hat; the man is in shirtsleeves held together by cuff links. Check off two categories. They’re gathered with foodstuffs arranged like still lifes.

And then there are tables tilted as if they were being envisioned by Paul Cézanne. With their surfaces crowded with objects they are a cross between things and places. Looking at Martinez’s recent works calls to mind the opening lines of T. S. Eliot’s Burnt Norton. In the first of his ‘Four Quartets,’, the poet wrote: ‘Time present and time past / Are both perhaps present in time future, / And time future contained in time past.’

Think about it. Eddie Martinez is making visual poetry.”