Agnes Martin/ Agnes Bernice Martin

United States 1912 - 2004

Minimal Art, Abstract Expressionism

Agnes Martin
Agnes Bernice Martin
Female
United States
1912

Most recognized for her evocative paintings marked out with pale color washes and subtle pencil lines, Agnes Martin was a Canadian-born American artist, whose conviction of the emotive and expressive power of art shaped her career. She sought inspiration in the spiritual realm rather than the intellect and strongly believed that the works of art can’t be made without awareness of beauty, happiness, and innocence. Diagnosed with schizophrenia, Martin led a life of solitude, having limited human interactions for the good part of her life, only abandoning the asociality in her later years. Even with a condition as severe as that, she managed not just to befriend some of the great artists of her time, but also to become one herself.

Agnes Martin - Friendship, 1963 (Left) - Untitled, 1977 (Right)
Agnes Martin – Friendship, 1963 (Left) / Untitled, 1977 (Right), photo credits Agnes Martin/Artist Rights Society

Early Life and Artistic Influences

Martin was born in Macklin, Saskatchewan, Canada. Her parents, Scottish Presbyterians, settled there and had three other children beside Agnes. After several moves that followed her father’s death and her mother sale of the real estate, she finally settled in Vancouver in 1919. The relationship with her mother was more than complicated, and Martin immigrated to the United States in 1931, eventually taking the US citizenship in 1950. From 1935 to 1938, she studied at the Western Washington State College in Bellingham and received her BS in 1942 from the Columbia University’s Teachers College in New York. She went on and earned her MA at the same institution in 1952. While she was studying, she developed an interest in Zen Buddhism as a result of her attendance to the lectures by D.T. Suzuki. Her personal scare of chaos matched the ideas of Buddhism, not as a religion, but rather as a code of ethics and a practical guide how to get through life.

Barnett Newman, Ellsworth Kelly, Robert Rauschenberg, Ad Reinhardt, who even became a close friend of Martin’s, as well as the fields of abstract expressionism and color field painting, had some influence on her. Betty Parsons played a great role in the artist’s life, first convincing her to move to New York and then helping launch her career, in a similar manner she’d already done with Jackson Pollock. In 1967, an exhibition titled 10, held at Virginia Dwan’s gallery, included Martin’s artworks, and this very exhibition is attributed with establishing the unofficial canon of Minimalist artists. Her later works were executed in a Minimalist tradition. Undeniably famous at the time, she doesn’t seem to have reached a level of renown as her male contemporaries working in abstraction. There were substantial difficulties in reproducing the subtleties of her paintings in prints, as they were simply inadequate to fully present the scope of her ideas and abilities to a broader audience. Nevertheless, her works were sold for millions of dollars.

The exhibition “10” featured paintings of her fellow artists like Sol LeWitt and Donald Judd

Agnes Martin - Untitled Drawing, 1979 (Left) - Untitled, 1994 (Right)
Agnes Martin – Untitled Drawing, 1979 (Left) / Untitled, 1994 (Right), images courtesy of Peter Blum Gallery

Biomorphic Style

The fact that Martin destroyed a large portion of her early works makes it a lot harder to discuss the style. Many curators insist on calling those early canvases biomorphic. They were very derivative, and could be perceived as mash-ups of surrealism, cubism, and expressionism, highly reminiscent of Mark Rothko and Joan Miró. Since the artist started painting relatively late in her life, these early biomorphic pieces were serious efforts in finding the appropriate visual language and vocabulary, a process that would last until the late 1950’s. Having seen the biomorphic pieces in 1957, New York art dealer Betty Parsons made an offer to represent Martin, but also to fund her move to New York, the art capital of the world. Around this time, the artist’s style began to further develop, adopting the linear and grid-like approach. This change in preferences caused the artist to grow to hate her previous artworks, destroying as many of them as she could. During the earlier period, Martin’s style was relatable to the work of the Taos Moderns and some other artists who lived and worked in the deserts of New Mexico. Even though her style changed dramatically over years, her work has always been about emotions, and they were followed by the choice of the palette. Her dedication to blue and its many variations was apparent in the late 40’s, especially present in the greenish teal blues of the New Mexico mountain landscapes. Among the few preserved pieces from this era, the Untitled (executed in 1949) is probably the most noticeable one. Martin’s connection to surrealists and abstract expressionist is evident, and this artwork brings together the expressive qualities of those movements and the famous biomorphic elements, portraying the landscape of South-west. The triangle forms represent the hills of Taos while the color palette recalls the rusty, arid backdrop she had encountered on a daily basis. Nature also found its place in this piece, as well as the influences from the other artists that worked in Taos during the 40’s and 50’s.

The art of Agnes Martin was always about emotions, and they were closely followed by the choice of color palette

Agnes Martin - Untitled (detail), 1949
Agnes Martin – Untitled (detail), 1949, photo credits Agnes Martin/Artist Rights Society

The Illness

Martin was one the most distinctive artists of her time. Extremely unobtrusive, she even asked the people who knew her better than most not to speak of her after she passes away. And many stayed true to their promises. But few talked, as there were a lot of misconceptions regarding the artist’s personal life and they just wanted to make some things clear. Martin had to contend with mental illness (she was diagnosed with schizophrenia) and retrograde attitudes toward her sexuality as she was a lesbian, a fact that her fellow artists were aware of. Her mental illness, manifesting itself through the voices in her head, aural hallucinations, and culminating in several psychotic breakdowns certainly affected her work, not necessarily in a bad way. The medications and talk therapy were the constraints, but she claimed, at least to the people close enough to her to know about those kinds of things, that the illness had absolutely nothing to do with her work. However, it is possible that the nature of her art reflected an attempt to establish a sense of order in her visual world, but also in her perceptual and particularly her emotional world. The paintings she made, one after another, were out of necessity to reach transcendent calm. Some of the decisions she’d made in her life were attributed to the illness. For example, there is a tendency to describe her decision to go to New Mexico as taking the path towards becoming some ascetic saint of the desert. It wouldn’t be fair to state similar things that are very simplified and possibly narrow-minded, as she was more complicated and more sophisticated than that. It is a mistake to blame her disease simply because it was a part of her life. It was a big part indeed, but it’s not who she was and it certainly didn’t define her.

She had to cope with mental illness and retrograde sexual attitudes

Agnes Martin - Untitled #10, 1990 (Left) - Untitled 5, 1998 (Right)
Agnes Martin – Untitled #10, 1990 (Left) / Untitled 5, 1998 (Right), photo credits The Estate of Agnes Martin

The Big Return in 1973 and the Portfolio of Serigraphs “ On a Clear Day ”

A short time after the immensely popular 10, Martin’s friend and confidant Ad Reinhardt passed away and that left a significant psychological impact on her. In addition to that, the building in which she had located her studio was demolished, so she used the money she had at the time, gave away all of her artistic materials, paints and canvases, and went on a trip with the idea of traveling through the West. She would eventually settle in New Mexico where the possibilities for human contact and interaction were reduced to the bare minimum, and she focused on her poetry. Martin didn’t paint at all for about six full years before announcing her big return with a portfolio of serigraphs titled On a Clear Day. It was like she returned to the exact same place and simply started once again. She managed to open up her easily recognizable grids, but also make them look more compressed, with lines crossing the canvases like highways or musical staves. The paintings could be observed as contained waves of light, with the thinned paint going down a single layer, looking more like a subtle variation, a tone in the air, than a color on a canvas. The pieces demand to be examined in more detail, and you’ll most certainly find yourself moving closer and stepping away, constantly looking for the artist’s mistakes before coming to a realization that paintings breathe due to those exact imperfections in the hand-drawn lines and the slippage of paint over the borders of the canvas. Also, the dry desert air posed another kind of challenge, creating conditions in which the acrylic dries more quickly by evaporation. In order to get an even surface, the artist couldn’t drag the priming brush, having only one attempt to lay down color evenly.

Agnes Martin: regaining pace after six years of no painting at all

Agnes Martin - Untitled, On a Clear Day Series, 1973 (Left) - Untitled #25, On a Clear Day Series, 1973 (Right)
Agnes Martin – Untitled, On a Clear Day Series, 1973 (Left) / Untitled #25, On a Clear Day Series, 1973 (Right), images courtesy of Aaron Payne Fine Art

The Artistic Maturity

After spending a number of years in Cuba, New Mexico, Martin relocated to Galisteo in 1977, before eventually settling in Taos in 1994. The retirement community she joined was a perfect opportunity for her to abandon some of her asociality and be more engaged in human interactions as she grew old. Around 1995, the artist was forced to downscale her six-foot-square canvases she’s been using since the 60’, and started working on sixty-inch squares. Faraway Love is a typical painting from this period, with a recognizable blue-oriented color palette. The pictorial field is divided into five thin horizontal bands of white background paint and four thick rectangular blocks with light blue acrylic painted over, varying in size and divided by wavering graphite pencil lines. As with all the works from this period, the canvas was primed with an opaque coating of white acrylic gesso, never being covered completely by the layers of blue that followed. Due to this kind of technique, the piece becomes vibrantly luminous and visually sparse, while the gesso sealed and emphasized the slightly toothy texture of the linen canvas support. The pencil-made rectangular bands were drawn on top of this base and filled out with large blue segments. There are visible rough brushstrokes and some fingertips even, with Martin choosing to use different types of acrylic, giving the piece a light-reflecting and translucent finish. She completed the painting by reinforcing the pencil lines demarcating the surface of the canvas, drawn on top of the Liquitex, allowing some of the blue paint to escape underneath the lines. There was no intention for these lines to reach the edges of the canvas and they were actually drawn with small gaps which gave the impression that the lines are floating across the pale field. Martin drew her lines as perfectly as she could, even used a ruler, but it is simply impossible to make a perfect line in nature. So her lines were hand-drawn and possessed the quality of imperfection. This can be singled out as her fundamental approach to painting – always reaching for that flawlessness with the full understanding that is unachievable.

Knowing that it’s unachievable was no obstacle in Martin’s pursuit of perfection

Agnes Martin - Happy Holiday, 1999 (Left) - Faraway Love, 1999 (Right)
Agnes Martin – Happy Holiday, 1999 (Left) / Faraway Love, 1999 (Right), images via tate.org.uk

Agnes Martin – an Artist Until the End

Martin painted almost until the end of her life. Due to her grand age, which reached 92, she realized she was in the need for some help in order to handle her canvases physically. Even with the down-scaling, they were still quite big stretches and she was very old. So, the tough decision had to be made. Either she was going to get some help or she would keep her studio uncompromised by stranger’s hand and leave painting for good. Sadly, she chose the latter. While she still painted, Martin began re-including the old and familiar shapes of trapezoids and triangles, reminiscent of the mountains. As an artist, she was single-minded, tough, and ambitious, forgetting about the fragility of her personal life. Even on her deathbed, she asked her friend to go into her studio and destroy the two of the last three paintings she worked on. Untitled, executed in 2004, was her final piece. A tiny drawing of a succulent in a pot, performing the role of a full stop in a room crowded with other works on paper. The piece consisted of five horizontal bands of dominant gray color. The darker gray spread unevenly, similar to the rain running off a windscreen, and the three light gray bands slip over the drawn lines dividing them from the near-white ground. The painting possesses a sense of directness and emphatic urgency. It’s a summarization of her entire life and artistic experiences, a retrospective within a retrospective.

As an artist, she was tough, ambitious, and single-minded

Agnes Martin - Untitled #1, 2003 (Left) - Untitled, 2004 (Right)
Agnes Martin – Untitled #1, 2003 (Left) / Untitled, 2004 (Right), photo credits Agnes Martin/Artist Rights Society

Between Happiness and Untitled

‘In my best moments I think “Life has passed me by” and I am content.’ It was a difficult life, full of struggles. Most of them came from within, making them extremely hard to tackle and overcome. Martin has frequently equated beauty and love with happiness, as abstract concepts not influenced by or reflective of her own personal life. Not completely true, as many of her paintings have a name that invokes happy feelings and thoughts. But many were simply left Untitled as if she was insecure of what she felt at the time of their creation. Whatever the case may be, whatever drove her to work and inspired her, no matter how much her illness could affect her work (if it did at all) – it is irrefutable that Agnes Martin was one of the best painters of the 20th century.

She is represented by Pace Gallery and Woodward Gallery.

Featured image: Agnes Martin – portrait, photo credits Mildred Tolbert/The Harwood Museum of Art

YearExhibition TitleGallery/MuseumSolo/Group 
2015White on White – Color, Scene, and SpaceHiroshima City Museum of Contemporary Art, HiroshimaGroup
2015Standing in the Shadows of Love: The Aldrich Collection 1964–1974, Part 2The Aldrich Contemporary Art Museum, Ridgefield, CTGroup
2015Reductive Minimalism: Women Artists in Dialogue, 1960–2014UMMA - The University of Michigan Museum of Art, Ann Arbor, MIGroup
2015Art and Truth: Gandhi and Images of NonviolenceThe Menil Collection, Houston, TXGroup
2014Macrocosm Microcosm: Abstract Expressionism in the American SouthwestFred Jones Jr. Museum of Art, Norman, OKGroup
2014Yokohama TriennaleYokohama Triennale, YokohamaGroup
2014Summer Group ShowPace Hong Kong, Hong KongGroup
2014In the RoundThe Pace Gallery - 32 East 57th Street, New York City, NYGroup
2014Love StoryThe Anne & Wolfgang Titze Collection - Belvedere, ViennaGroup
2014Love StorySammlung Anne & Wolfgang Titze - 21er Haus, ViennaGroup
20144 X 4Stephen Friedman Gallery, LondonGroup
2014Modernism from the National Gallery of Art: The Robert & Jane Meyerhoff CollectionThe de Young Museum, San Francisco, CAGroup
2014A InusitadaMuseu de Arte de São Paulo Assis Chateaubriand - MASP, São PauloGroup
2014Legacy: The Emily Fisher Landau CollectionSan Jose Museum of Art, San Jose, CAGroup
2014Haupt und NebenwegeKunstraum Alexander Bürkle, FreiburgGroup
2014Double Negative: From Painting To ObjectMuseo Tamayo, Mexico CityGroup
2014Zu Gast (4) Conceptual SpaceArbeiten aus der Sammlung Markus Michalke - Kunstsaele, BerlinGroup
2014Abstractly SpeakingParrish Art Museum, Southampton, NYGroup
2014Everybody is NobodyFundación Banco Santander, Boadilla del MonteGroup
2013Agnes Martin: The Early Years 1947-1957UNM Art Museum - University of New Mexico, Albuquerque, NMSolo
2013Agnes Martin: The New York–Taos Connection (1947–1957)Albright-Knox Art Gallery, Buffalo, NYSolo
2013Winter GardenDevin Borden Gallery, Houston, TXGroup
2013Kunst & Textil – Stoff als Material und Idee in der Moderne von Klimt bis heuteKunstmuseum Wolfsburg, WolfsburgGroup
2013Line & FormMarc Straus, New York City, NYGroup
2013Legacy: The Emily Fisher Landau CollectionJoslyn Art Museum, Omaha, NEGroup
2013Prints And PhotographsHiram Butler Gallery, Houston, TXGroup
2013Tomorrow it's time for the futureTalente und Vorbilder, Berlin, New YorkGroup
2013Tomorrow it's time for the futureKunstraum Kreuzberg, Bethanien, BerlinGroup
2013Word + WorkGalerie nächst St. Stephan - Rosemarie Schwarzwälder, ViennaGroup
2013Beyond Belief: 100 Years of the Spiritual in Modern ArtThe Contemporary Jewish Museum San Francisco, San Francisco, CAGroup
2013In-betweenSkarstedt Fine Art, New York City, NYGroup
2013Textiles: Open LetterStädtisches Museum Abteiberg, MönchengladbachGroup
2013The Nature of WomenThe Mayor Gallery, LondonGroup
2013Form, Line, ContourDominique Lévy Gallery, New York City, NYGroup
2013AgainLannan Foundation, Santa Fe, NMGroup
2013Legacy: The Emily Fisher Landau CollectionNorton Museum of Art, West Palm Beach, FLGroup
2013Something Turned Into A ThingMagasin 3 Stockholm Konsthall, StockholmGroup
2013Now Here is also Nowhere: Part IIHenry Art Gallery, Seattle, WAGroup
2012Before The GridHarwood Museum of Art, Taos, NMSolo
2012Into The MysticMichael Kohn Gallery, Los Angeles, CAGroup
2012Behold, America!Timken Museum of Art , San Diego, CAGroup
2012PerfectChina Art Objects Galleries, Los Angeles, CAGroup
2012Weights and MeasuresEleven Rivington, New York City, NYGroup
2012The Artist's Hand: American Works on Paper 1945-1975Museum of Art - Washington State University, Pullman, WAGroup
2012Something Turned Into A ThingMagasin 3 Stockholm Konsthall, StockholmGroup
2012A WINDOW ON THE WORLD, from Dürer to Mondrian and beyondMuseo Cantonale d´Arte Lugano, LuganoGroup
2012Notations: Contemporary Drawing as Idea and ProcessKemper Art Museum, Saint Louis, MOGroup
2012On the GridWilliams College Museum of Art, Williamstown, MAGroup
2012Paper BandJason McCoy Gallery, New York City, NYGroup
2012Minimalism - Not Stricly FormalMichael Kohn Gallery, Los Angeles, CAGroup
2012My Private PassionSammlung Hubert Looser - Bank Austria Kunstforum, ViennaGroup
2012Surface InfinityCraig F. Starr Gallery, New York City, NYGroup
2012Iconic: Gifts From The Kondon-giesberger CollectionMuseum of Contemporary Art San Diego - MCASD Downtown, San Diego, CAGroup
2011Agnes Martin: The ‘80s: Grey PaintingsThe Pace Gallery - 534 West 25th Street, New York City, NYSolo
2011Beijing Voice 2011: Leaving Realism BehindPace Beijing, BeijingGroup
2011GrisailleLuxembourg & Dayan, New York City, NYGroup
2011Kindred Spirits - Native American Influences on 20th Century ArtPeter Blum Gallery, New York City, NYGroup
2011Contemporary Drawings from the Irving Stenn Jr. CollectionThe Art Institute of Chicago, Chicago, ILGroup
2011Structure  &  AbsenceWhite Cube, LondonGroup
2011Threat and DegradationRichard Gray Gallery - New York, New York City, NYGroup
2011The Literal Line: Minimalism Then and NowSun Valley Center for the Arts, Ketchum, IDGroup
2011The Minimal GestureTimothy Taylor Gallery, LondonGroup
2011Just MinimalistVivian Horan Fine Art, New York City, NYGroup
2011Compass - Drawings from the Museum of Modern Art New YorkMartin-Gropius-Bau, BerlinGroup
2011The Parallax ViewLehmann Maupin, New York City, NYGroup
2011Legacy: The Emily Fisher Landau CollectionWhitney Museum of American Art, New York City, NYGroup
2010Agnes Martin: Multiple DrawingsSanagi Fine Arts, TokyoSolo
2010Agnes Martin - Works on PaperThe Douglas Hyde Gallery, DublinSolo
2010I Believe in Miracles - 10th anniversary of the Lambert CollectionCollection Lambert, AvignonGroup
2010Case Study from the Bureau of Contemporary ArtNew Mexico Museum Arts, Santa Fe, NMGroup
2010Compass in hand. Selección de la Colección de dibujo contemporáneo de la Fundación Judith RothschildIVAM - Institut Valencià d'Art Modern, ValenciaGroup
2010Regarding PaintingThe Rose Art Museum, Waltham, MAGroup
2010At Work: Hesse, Goodwin, MartinArt Gallery of Ontario, Toronto, ONGroup
2010They Knew What They WantedAltman Siegel Gallery, San Francisco, CAGroup
2010Calder to Warhol: Introducing the Fisher CollectionSan Francisco Museum of Modern Art - SFMOMA, San Francisco, CAGroup
201040Texas Gallery, Houston, TXGroup
2010Beyond GeometryCueto Project, New York City, NYGroup
2010A Collections Legacy: Women Donors at the HaggertyHaggerty Museum of Art, Milwaukee, WIGroup
2010Minimalism: Logic Structure in the Graphic ArtsWorcester Art Museum, Worcester, MAGroup
2010Modern TimesDe La Warr Pavilion, Bexhill on SeaGroup
2010Collecting BiennialsWhitney Museum of American Art, New York City, NYGroup
2010Modern Times: responding to chaosKettle's Yard, Cambridge, CambridgeshireGroup
2010On the SquareThe Pace Gallery - 32 East 57th Street, New York City, NYGroup
2009Just what is it…ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe, KarlsruheGroup
2009Beyond Black White and GrayL&M Arts, New York, New York City, NYGroup
2009In Their Own Right: Contemporary Women PrintmakersThe McNay Art Museum, San Antonio, TXGroup
2009Traces and SpacesHenie Onstad Art Centre, HøvikoddenGroup
2009Illumination: The Paintings of Georgia O’Keeffe, Agnes Pelton, Agnes Martin, and Florence PierceOrange County Museum of Art, Newport BeachGroup
2009Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings CollectionMoMA - Museum of Modern Art, New York City, NYGroup
2009The Actuality of the IdeaStuart Shave, Modern Art, LondonGroup
2009New York CoolBowdoin College Museum of Art, Brunswick, MEGroup
2009Shaping Reality: Geometric Abstraction after 1960The Minneapolis Institute of Arts, Minneapolis, MNGroup
2009Enacting AbstractionVancouver Art Gallery, Vancouver, BCGroup
2009Drawings and WatercolorsSenior & Shopmaker Gallery, New York City, NYGroup
2009The Third Mind: American Artists Contemplate Asia: 1860-1989Solomon R. Guggenheim Museum, New York City, NYGroup
2009Geometry as ImageRussell Bowman Art Advisory, Chicago, ILGroup
2008Collect With USArmand Bartos Fine Art, New York City, NYGroup
2008LINES, GRIDS, STAINS, WORDSMuseum Wiesbaden, WiesbadenGroup
2008Paper Trail - How the West Is OneNew Mexico Museum Arts, Santa Fe, NMGroup
2008Taking a LineAntoinette | Godkin Gallery, AucklandGroup
2008Blanco RotoGalería Elvira González, MadridGroup
2008DelineationHolly Johnson Gallery, Dallas, TXGroup
2008Abstract VisionThomas Ammann Fine Art AG, ZurichGroup
2008Tipping PointPurdy Hicks Gallery, LondonGroup
2007Agnes Martin - Homage to a LifeDia: Beacon, Beacon, NYSolo
2007The Complexity of the SimpleL&M Arts, New York, New York City, NYGroup
2007What Is Painting? - Contemporary Art from the CollectionMoMA - Museum of Modern Art, New York City, NYGroup
2007Block Party IIDaniel Weinberg Gallery, Los Angeles, CAGroup
2006Agnes Martin: A Field of Vision. Paintings from the 1980'sDia Art Foundation: Chelsea, New York City, NYSolo
2006Agnes Martin: unknown territory (Paintings from the 1960s)Dia: Beacon, Beacon, NYSolo
2006Agnes Martin: Closing the Circle: Early and LateThe Pace Gallery - 32 East 57th Street, New York City, NYSolo
2005To the Islands - Agnes Martin's Paintings 1974-9Dia Art Foundation: Chelsea, New York City, NYSolo
2005To The Islands - Agnes Martin's PaintingsDia: Beacon, Beacon, NYSolo
2005Agnes Martin: On A Clear DayCraig F. Starr Gallery, New York City, NYSolo
2005Agnes Martin: unknown territoryDia: Beacon, Beacon, NYSolo
2004Agnes Martin - The IslandsUMMA - The University of Michigan Museum of Art, Ann Arbor, MISolo
2004Agnes Martin: Homage to LifeThe Pace Gallery - 32 East 57th Street, New York City, NYSolo
2004Agnes Martin - The IslandsQuadrat Bottrop - Josef Albers Museum, BottropSolo
2001Agnes Martin - the nineties and beyondThe Menil Collection, Houston, TXSolo
2000Lovely Life - The Recent Work of Agnes MartinWhitney Museum of American Art, New York City, NYSolo