By Enrique Martínez Celaya
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Additional info for Enrique Martínez Celaya : collected writings and interviews, 1990-2010
Especially that part of Hegel’s where the move toward absolute Studio, Venice Beach, California, 1997 Originally published as “Why Hegel? A Conversation between M. A. Greenstein and Enrique Martínez Celaya, Enrique Martínez Celaya: Berlin, The Fragility of Nearness (Venice ca: William Griffin Editions). M. A. Greenstein is an internationally recognized author, blogger, and lecturer as well as a Los Angeles–based art theorist and critic. 28 knowledge is grounded in a possible communion with a higher entity.
In particular they say the edges only crop, not that the edges are a direct force on the image. Of course, I am speaking very loosely. Examples can be found that dismiss this. 2. Is this desire for object a hang-up or a strength? From the beginning, even doing figurative work, I have valued the iconic. Scene based paintings with a strong narrative (as opposed to poetic) presence have never appealed to me. It is maybe difficult to explain this. I suppose it seems From EMC’s sketchbook notes. 18 (and seemed) a bit ridiculous to put a little story in a work because that can be done better elsewhere.
However, let me clarify something. I do not like the word “spiritual” because it conveys too many meanings that do not interest me. By spiritual I mean of the spirit, of that which is beyond appearances and which completes the feeling of the appearances. I’m not saying that my painting can mediate these profound levels, but in a great work of art one can be in a realm where rational knowledge and spirit can coexist. mag: Are you saying the viewer can? emc: Yes, the viewer can. mag: And in the midst of painting, can the painter?