![]() The oil, acrylic, and spray paint composition is from Martinez’s “Table Paintings” series, and depicts a crowded tabletop still life. Up In Arms #2 (2009), which was originally sold by New York gallery ZieherSmith, was just the fifth work by Martinez ever to come to auction when Phillips offered it during a May 2013 day sale in New York. The incredible growth of Martinez’s secondary market is still more evident in the journey of a painting that held his auction record for five months in 2013. With strong gallery support and several international solo museum exhibitions…it is no surprise to see that Martinez has a continuous growing global appeal.” “It wasn’t until two years ago when his works started gaining attention from Asian collectors. “Western collectors were among the first group to collect Martinez’s works,” said Ada Tsui, an associate specialist of modern and contemporary art at Christie’s Asia Pacific. Despite the historic disruptions to the cadence of auctions due to COVID-19, Martinez’s work has come to auction 46 times so far in 2020. ![]() If that uptick seems dramatic, consider that it has already been surpassed this year. ![]() Then last year, his work hit the auction block 33 times. Through 2018, only a relative trickle of Martinez’s works were coming to auction-no more than eight in a single year. According to Nash, his “work is collected globally, and equally by younger and more established collectors.” At last year’s FIAC fair in Paris, the gallery sold two paintings by Martinez to collectors from Europe and America, for prices ranging up to $150,000.Īll his institutional shows and primary market activity have helped fuel a newly turbocharged secondary market. Next month, Perrotin will open its third solo exhibition with Martinez, an online viewing room presentation of recent drawings, and publish an accompanying tome from Triangle Books.Īs Martinez has pushed his practice in new directions, that collector base has remained loyal, all the while getting much bigger and geographically more diverse. A two-artist show of his work alongside that of his wife, Sam Moyer, is on view at San Francisco gallery Ratio 3 through August 19th. The eight paintings in “Homework” sold out, but collectors may have other chances to acquire Martinez’s work in the immediate future. “Rather than thinking of these as studies for future, larger works, these small paintings on cardboard are stand-alone paintings, demonstrating Eddie’s ongoing interest in testing and repeating a single composition,” Nash said. Last month, the gallery hosted “Homework,” an online exhibition of small works on cardboard the artist made during lockdown. “Seriality has always been an important part of Eddie’s practice, whether he is returning to the same form multiple times within a single exhibition (such as his 2017 exhibition at the Davis Museum) or reworking the same motif year after year,” said Josephine Nash, a director at Mitchell-Innes & Nash, which represents Martinez.
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