Not on view
Date
2019, fabricated 2021
Classification
Sculpture
Medium
Neon, plexiglass
Dimensions
Overall: 25 3/4 × 36 × 4 3/8 in. (65.4 × 91.4 × 11.1 cm)
Accession number
2021.126
Edition
AP 2 | Edition unknown
Credit line
Purchase, with funds from the Painting and Sculpture Committee
Rights and reproductions
© 2019 Patrick Martinez
Audio
-
0:00
Patrick Martinez, artworks from 2021
0:00
Patrick Martinez: Me llamo Patrick Martinez. Soy artista y vivo en Los Ángeles.
Lo que estamos viendo es un collage de neón que he instalado en el vestíbulo del Whitney. Estas piezas se inspiran en los letreros de neón que hay en mi ciudad, Los Ángeles, en las tiendas familiares, en los escaparates de esas tiendas y en los anuncios de negocios específicos como los de asesoría en impuestos, de cobro de cheques, de casas de empeño o de joyerías de oro de 24 quilates.
Algunos de estos mensajes los creo por mi cuenta. Algunos otros provienen de discursos, de lecturas de poesía, de cosas que estoy leyendo, cosas del pasado, cosas del presente, cosas que hay que volver a plantear, que hay que volver a revisar y que hay que volver a escuchar.
Como el letrero de “No struggle, no progress” [“Sin lucha no hay progreso”], una cita de Frederick Douglass que era necesario escuchar en 2020. Muchas de estas cosas surgieron a raíz de las injusticias que estábamos viendo en Estados Unidos, la administración anterior y la Casa Blanca dando pasos en falso, pisoteando a mucha gente en el país o sintiendo que lo hacían. Y estamos viendo cómo esto se refleja en las calles con todas las protestas entre 2016 y 2020.
Empecé a trabajar con neón en 2008. Conducía desde mi estudio hasta mi apartamento en el este de Los Ángeles. Y empecé a verlo por las noches. Los negocios que estaban cerrados tenían encendidos sus letreros de neón para anunciar sus servicios. La gente pasaba en coche y caminando por estos lugares, y las luces de neón seguían publicitando los negocios. Eso me dio la sensación de que la ciudad me estaba hablando, y quería utilizarlo como recurso.
Patrick Martinez, artworks from 2021
In Patrick Martinez (Spanish)
-
0:00
Patrick Martinez, artworks from 2021
0:00
Patrick Martinez: My name is Patrick Martinez. I'm a Los Angeles based artist.
What we're looking at is a neon collage that I have installed in the Whitney lobby. The pieces that kind of are inspired by neon signage found in my city of Los Angeles in neon, mom and pop type businesses, the storefronts of those businesses and advertising specific businesses like income tax, checks cash, pawn shop, 24 karat gold jewelry shops.
Some of these messages I create on my own. Some of them are from oratorical sources, poetry readings, things that I'm reading, things from the past, things from the present, kind of that need to be re-presented and kind of revisited and kind of heard again.
Like, "No struggle, no progress" coming from Frederick Douglass that needed to be heard in 2020. So a lot of this stuff was coming out of injustices that we were seeing in America, the administration from the past and the White House stepping down, just stepping on a lot of the people in America or just them feeling it. And we’re seeing it spill out onto the streets with the many protests between 2016 and 2020.
I started working with neon in 2008. And I was driving from my studio to my apartment through East Los Angeles. And I started seeing it at night. Businesses that would be closed had their neon signs on advertising their business. People driving by these places and walking by them, and the neons would still promote their business. So that kind of gave me the idea it felt like the city was speaking back to me. So I wanted to use that.
Patrick Martinez, artworks from 2021
Exhibitions
Installation photography
-
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Patrick Martinez, Migration Is Natural, 2019, fabricated 2021; Leslie Martinez, A Sublime Concealment of Time, 2023; Amalia Mesa-Bains, Cihuateotl with Hand Mirror from Venus Envy Chapter III: Cihuatlampa, the Place of the Giant Women, 1997-2022; Maya Lin, Ghost Forest Baseline Y, 2022; Carlos Villa, My Roots, 1970-71; Suzanne Jackson, It is our woods, 1973; Luis Jimenez, Sidewinder, 1988; Guadalupe Maravilla, Requiem for my border crossing and my undocumented father's #6, 2016-18; Teresita Fernández, Fire (America) 3, 2016. Photograph by Ron Amstutz
From the exhibition Shifting Landscapes