The critically acclaimed, indispensible illustrated monograph on Agnes
Martin, published to accompany the major retrospective exhibition
organized by the Tate and on view in 2016 at the Los Angeles County
Museum of Art and the Guggenheim
This groundbreaking survey provides an in-depth account of Martin's
artistic career, from lesser-known early experimental works through her
striped and gridded grey paintings and use of color in various formats,
to a group of her final pieces that reintroduce bold forms. A selection
of drawings and watercolors and Martin's own writing are also included.
Edited by the exhibitions's co-curators Frances Morris and Tiffany Bell,
and with essays by leading scholars that give a context for Martin's
work--her life, relationship with other artists, the influence of
South-Asian philosophy--alongside focused shorter pieces on particular
paintings, this beautifully designed volume is the definitive
publication on her oeuvre. Frances Morris places Martin's work in the
art historical context of the time; art historian Richard Tobin analyzes
Martin's painting "The Islands"; conservator Rachel Barker offers the
reader a close viewing of "Morning"; curator Lena Fritsch provides a
visual biography by comparing photographic portraits of Martin from
different periods; and art historian Jacquelynn Baas delves into the
spiritual and philosophical beliefs so present in Martin's art,
including Platonism, Christian mysticism, Zen Buddhism and Taoism.
Agnes Martin was born in Maklin, Saskatchewan, Canada, in 1912, and
moved to the US in 1932, studying at universities in Oregon, California,
New Mexico and New York. She painted still lifes and portraits until the
early 1950s, when she developed an abstract biomorphic style influenced
by Abstract Expressionism. Her first one-woman exhibition was held at
the Betty Parsons Gallery, New York, in 1958. Partly through close
friendships with artists such as Ellsworth Kelly and Ad Reinhardt,
Martin began to experiment with symmetrical compositions of rectangles
or circles within a square, then from around 1960-61 to work with grids
of delicate horizontal and vertical lines. She left New York in 1967,
shortly after the death of Reinhardt, and moved to New Mexico, where she
lived until her death in 2004.
