PRESS AND PUBLICATIONS

State of the Art: Monica Aissa Martinez - YouTube

male torso

 

Art Review:
"State of the Art" Sampler at Telfair, Savannah
Jed Butler
April 28 ,2016


 

flashcards/cella

 

The Arts Beacon
Cella at phICA Shipping Containers
Tara Gonzalez
March 25, 2016


 

male torso

 

Connect Savannah, Art Beat of Savannah
State of the Art: Telfair brings the artists to you
Kayla Goggin
February 17,2016


 

monica in studio

 

North Valley Magazine
Monica Aissa Martinez: Body Awareness in a New Light
Nicole Royse
August 26,2015


 

martinez in studio

 

El Paso Times
Former El Pasoan's work selected for prestigious exhibition
Ramón Rentería
Sept 6, 2014

male torso _ martinez

Phoenix New Times
4 Phoenix Artists Selected for "State of the Art" at
Crystal Bridges Museum of American Art

Katrina Montogomery
Aug 26, 2014

 

artist in studio

The New York Times
Seeking U.S. Art All Over Map. Just Check GPS
Randy Kennedy
Feb 8, 2014

 

artist in studio

State Of The Art: Monica Aissa Martinez
Crystal Bridges Museum of American Art
You Tube

 

art studio

 

Huffpost Arts & Culture
Notes From the Road : Phoenix
Don Bacigalupi

Feb 2014

Artist in Studio

Phoenix New Times
Monica Aissa Martinez and 7 Other Arizona Artists Considered for "State of the Art" at Crystal Bridges Museum of American Art
Becky Bartikowski
Feb. 2014

Java Art Magazine

 

Java Art Magazine No 210
A Review
Feb 2013

PDF

artist

Superstition Review, The Online Literary Magazine at Arizona State University

An Interview
4/08/2012

 


Superstition Review, The Online LIterary Magazine at Arizona State University

Issue 9, Spring 2012

 

arizona illustrated

Arizona Illustrated: 100 Artists in !00 Years

2/13/2012

 

A Map

You Are Here

 

 

what goes on and what takes place

What Goes On and What Takes Place, The Blog

 

 

art


Phoenix New Times article.

 

 

100 Creatives


Phoenix New Times 100 Creatives

 

 

vital commotion

A Constant Vital Commotion


Special for the Republic

 

 

temp center for the arts

Artist Statement
Sounds of Cultura
Special for the Republic

outsiders within exhibit

 

artwork

Latino Perspective Magazine

Mind matters
Artist combines intellect, image in her works of art

Ruben Hernandez for Latno Perspective Magazine

 

phoenix downtown, mental concoctions

Another Mental Concoction

3rd Annual Human Rights Art Exhibition, South Texas College

catalogue
click on image

 

conductivity

Relationships:
the ebb and flow

phoenix downtown, relationships, the ebb and flow

New Mexico State Univeristy, Art Five

Roberta Burnett, Special for the AZ Republic, 2005

One show is the riotously antic, articulate show of paintings by Monica Aissa Martinez. This colorful, well-designed art seems to cavort through paper and canvas, with two humanoid abstractions (of assorted and combined cocktail glasses, beakers, squiggly lines) showing the convolutions of humans' pairing-game. While whimsical, Martinez's show is beautifully designed and painted, with a message built in - partnering may look hilarious, but it has serious, even threatening dimensions.

the world stage, a play in finite acts

The World Stage,
a play in finite acts

 

AZ Republic article

El Paso Times article

David Sokolec, GlassTire, texas visual arts on line, 2004

Monica Aisa Martinez gives us her take on Virtue and Vice. Individual portrayals of various sins and virtues are bookended by the opening and closing acts of a theater set introducing her characters. First is The World Stage — a Play in Finite Acts, in which the characters, distorted cartoonish creatures, greet us from the footlights. Gluttony, for instance, is forever feeding herself and we see within her stomach slices of pizza, sandwiches, etc. Then each vice and virtue has its own portrait with thoughts on what might give rise to that vice or virtue, written on and around the canvas. Finally, there is The Final Curtain Call — The All That I Am. All of the characters again take their final bows: there is a woman balancing on a globe, someone levitating on a magic carpet, and a repeated figure throughout the piece who holds up books entitled justice, temperance and fortitude. The distorted characters makes one think of Hieronymus Bosch with dialogue and cartoons for our times, an interesting new exploration of a very old subject.

 

triumph of our communities book

Triumph of our Communities

triumph of our communities dvd

DVD

 

chicano art for our millennium book

Chicano Art for Our Millenium

chicano/a art volume 1

Contemporary Chicana and Chicano Art,

Volume l and ll

latino art community

latino art community

source

'99 Cups

Joshua Rose, Cups Runneth Over, Tribune, 1999

Martinez, who recently had her first solo show at the Scottsdale Museum of Contemporary Art, also is fascinated by the idea of the cup because she sees the human form as being a type of vessel. Her work in the show-My Cup Runneth Over and Source- are painted with egg tempera and casein, on paper, and deal with these same issues.

"I am always thinking about people as containers and how the anatomy works that way,"Martinez says. "And I'm also influenced by this idea of electricity and physics and how it relates to the energy found in human beings."

queen of cups

élan vital

click image below

scottsdale art gallery guide

gallery guide

bride and groom

The Bride and Groom

Linda A. McAllister, Senior Curator, Here and Now: Arizona Contemporary Artists, Part 1 ASU, Nelson Fine Arts Center, 1996

The human body is also the primary subject of Monica Aissa Martinez' small painting. She portrays our bodies as fantastic little factories, maybe tiny sex breweries, in a series of works about brides and grooms. Her blend of dream and science harks back to the early work of Mark Rothko (Slow Swirl on the Edge of the Sea, 1944) or Arshile Gorky's surrealistic series of paintings about human desire and fate (The Betrothal, l and The Betrothal, ll, both from 1947). The humor and small scale of her art make it more about celebration and less about the pain we see in Rothko and Gorky. Martinez says the experience of her recent marriage prompted her to explore the topic of who and what we are in a male/female union. Fascinated by the look of scientific detail in botanical and biological drawings, Martinez treats the figure to a revamping that includes ribbons and champagne glasses. The bodies take on the form of laboratory glasswork. The details in her work hold our attention long enough for us to realize the sly humor of lifting the lid off the marital sacrament to reveal the delightfully intricate plumbing that makes the whole process pump.

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