- Agnes Martin: Between the Lines is a 2016 documentary film about the abstract painter Agnes Martin. It is based on footage which director Leon d'Avigdor took when they met in 2002 in Taos, New Mexico, Martin's final place of residence.
- The Depth In Agnes Martin Simple, subdued, serene – will be the adventurous description of the various insights on the totality of what Agnes Martin shared with the world of art. Simple, subdued, serene – will also be the summarized description of what Agnes Martin’s many critics say of her work.
- BETWEEN THE LINES is a film about the Canadian-American painter Agnes Martin. The core of the material was produced in fall 2002 in Taos (New Mexico), Agnes Martin’s final place of residence.
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Agnes Martin was a pioneering American minimalist painter who self-identified with the movement of abstract expressionism in the 1950s and 1960s, although her work differed from orthodox abstract expressionists in subtle but important ways, such as her more organic and humanist approach to repetition and form, while still questing for a perfectionist ideal.
Documentary Agnes Martin: Between the Lines (Trailer). Top 10 Movie Endings That Don't Mean What You Think - Duration. Agnes Martin at Tate Modern on The Art Channel - Duration.
Martin readily acknowledged this, affirming that “[My] work is about perfection as we are aware of it in our minds, but [my] paintings are very far from being perfect — completely removed, in fact — even as we ourselves are.”
Martin used the same creative tools as many other abstract expressionists, such as string, rulers and masking tape, but close-up viewing of her pieces reveals many more imperfections and painstaking work done by hand, rather than an all-consuming pursuit of order, cleanliness and symmetry. These important details are often lost when viewing her work at small sizes in books or online.
In a university lecture in the 1980s, Martin once stated, “Although we’re all different, we all respond to each other’s suggestions of perfection. And we enjoy the same response as the artist. It’s the inner contemplation — the wanting to respond to life — that opens our eyes to what’s already in the mind.”
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Though she passed away in 2004, Martin’s importance and renown have only grown since her death, and there have been a number of international retrospectives of her work in the intervening years. Martin aspired to make the message of her pieces positive and optimistic in nature, despite her often lonely and isolated life, and this is reflected in many of her pieces’ exuberant titles, such as Happy Holiday, Friendship, Lovely Life and I Love the Whole World. As Martin mused, “Beethoven’s music is joyous. If you like his music, you know that you like to be joyful. People who look at my painting say that it makes them happy, like the feeling when you wake up in the morning. And happiness is the goal, isn’t it?”
Canadian By Birth, Educated in America
Agnes Martin was born in Macklin, Saskatchewan in Canada in 1912 in the same birth year as painter Jackson Pollack. She was one of four children of Scottish Presbyterian farmers. Her father left her mother when Martin was two, dying shortly thereafter. Martin’s mother (who was often emotionally abusive and cold toward Martin) eventually moved the family to Vancouver, British Columbia when Martin was seven. There, Martin began swimming, and just after graduating high school, she tried out (unsuccessfully) for the Canadian Olympic swim team.
Martin lived in Vancouver until the age of 19 when she moved to help her pregnant sister Mirabell in Bellingham, Washington, south of the Canadian border in the United States. In Bellingham, Martin studied at Western Washington University’s College of Education from 1935 to 1938 before transferring to Teachers College at New York’s Columbia University where she received a B.S. degree in education in 1942. It was in New York City where Martin began to seriously consider art as a career.
Taos and Albuquerque, New Mexico
By 1947, after she had traveled back to the Northwest and worked as a secondary school teacher for some years, Martin decided she wanted to study to be an artist full-time. She journeyed to Taos, New Mexico to attend an educational program at the University of New Mexico’s Field Summer School in Taos, which was affiliated with the school’s Harwood Museum, the second-oldest art museum in New Mexico.
Taos at that time was becoming a center and retreat for artists from New York and San Francisco, many of whom, like Martin, sought to escape chaotic urban life and paint in the warmer, drier climate of the desert. Mortal kombat 9 pc download. Informally, these creatives ultimately became known as the “Taos Moderns.”
Unbeknownst to many of these transplants, Taos had previously been a locus for another school of artists in an earlier generation. In 1915, a number of European-trained painters formed the Taos Society of Artists, a formal organization that coordinated shows of its members’ works around the U.S. The Society lasted until 1927 when it was disbanded. By the time the newer, second generation of artists settled in Taos, the first one had been all but forgotten, although the two groups both made use of local landscapes and indigenous cultural influences for subject matter in their works.
Notable figures who spent time in Taos during this second artistic convergence included Andrew Dasbug, Ernest Blumenschein, Marsden Hartley, Edward Corbett, Clay Spohn and Thomas Benrimo. Famous painters who visited Taos during this period included Mark Rothko, Clyfford Still, Richard Diebenkorn, Morris Graves and Ad Reinhardt. Martin eventually became acquainted with Reinhardt, and the two would remain friends until Reinhardt’s death in New York in the late 1960s. Later, movie actor and director Dennis Hopper also drew artists from an array of disciplines to Taos after he bought property there and finished editing his 1969 film Easy Rider. Some of this third generation of Taos artists included Larry Bell, Kenneth Price, Ron Cooper, Ronald Davis, Larry Calcagno and Lee Mullican.
Like many of these Taos artists, Martin was inspired by the structures and the artworks (including pottery) of local Native Americans and the desert surroundings. The local climate was quite the opposite of the rainy, humid conditions of the Pacific Northwest where Martin grew up. This intrinsic connection to the land and the colors of the panoramic vistas of the region would make a lasting impression on Martin and reappear in her work in both overt and subtle ways throughout her career as a painter.
During this period, Martin’s paintings slowly matured from a few unexceptional landscapes, portraits and still lifes to abstract forms that were intentionally rough, spontaneous and unabashedly modern. Many of these early works featured sharply defined foreground shapes and objects, which contrasted markedly with broad background washes of pastel colors that shimmered in Taos’ characteristic changing light. Martin began to paint very large canvases, as big as 72 inches square (a good number of her best-known works are this size). Although most of these pieces showed Martin’s initial promise as an abstract painter, she would later destroy dozens of them (often by burning) in favor of her later work, which more closely identified with that of established New York abstract expressionists. She would later say of many of these early works, “I painted for 20 years without liking [the paintings] very much, you know. I burnt them at the end of every year. For 20 years, I burnt the whole bunch because I didn’t want them to get in the market. And well, sometimes when I was starving, I used to sell one cheap, you know. But I always regretted it because you hate to think of a painting in somebody’s house that you don’t like well enough, you know.”
Some critics have said this purposeful destruction was an expression of Martin’s lifelong quest for artistic “perfection” — a concept shared by other modern abstract painters of her era. “I paint about emotions, not about lines,” Martin conceded later in her life. “The truth is that it’s not the lines that express the emotion. It’s the scale of the composition. You know, if you go into a room that has perfect scale, you feel it… If the painting has perfect scale, it moves you. And you have different scale to show different emotions. It’s the space between the lines that counts.”
Martin also managed to put her pedagogical education to work while living in New Mexico, teaching art classes at the University of New Mexico’s Albuquerque campus and elsewhere. In 1951, Martin returned to Columbia University to get her master’s degree in art education at Teachers College, which she received in 1952.
Around this time, Martin was diagnosed with paranoid schizophrenia, a condition that in her case included in its symptoms catatonic trances and auditory hallucinations. These made it difficult for Martin to have normal and intimate relationships with people. Martin was treated for her condition at several points in her life — once in New York’s Bellevue psychiatric hospital where she was prescribed electroshock therapy. Her condition may have encouraged Martin to use nature, rather than individuals, as inspiration for her subject matter and the titles of her works. As Martin summarized, “Nature is like parting a curtain; you go into it. I want to draw a certain response like this… that quality of response from people when they leave themselves behind, often experienced in nature — an experience of simple joy. My paintings are about merging, about formlessness… a world without objects, without interruption. My paintings are not about what’s seen. They’re about what’s known forever in the mind.”
While at Columbia working on her master’s degree, one of Martin’s most influential teachers was Zen Buddhist scholar D.T. Suzuki, who was then world-renowned for being one of the first translators of Buddhist texts into Western language. But rather than seeing Suzuki’s teachings as religion, Martin instead saw them as a philosophy for simple, innocent and introspective living, which she attempted to adopt personally for much of the rest of her life. In her later years, Martin would write, “I would rather think of humility than anything else.” Two Taoists in particular, Chuang-tzu and Lao-tzu, appealed to Martin because they taught that one should seek answers within one’s own mind rather than those of others. “One thing I like about Zen,” Martin declared, “[is that] it doesn’t believe in achievement. I don’t think the way to succeed is by doing something aggressive. Aggression is weak-minded.”
After earning her master’s degree, Martin returned to New Mexico to teach and to paint. In the mid-1950s, New York gallerist (and artist in her own right) Betty Parsons, while visiting the southwestern state, took notice of Martin’s work and convinced the younger painter to show her work in Parson’s Midtown Manhattan gallery (offering her a coveted solo exhibition) and to move back to New York City to live once again.
Return to New York
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At that time, Betty Parsons’ gallery was the only established outlet in New York City showing work by major abstract expressionist painters after modern art collector Peggy Guggenheim closed her Art of This Century gallery following the conclusion of World War II. Parsons had made Rothko, Reinhardt, Jackson Pollock and other abstract expressionists famous in the New York art world and beyond, but as other galleries began to lure them away from her venue, Parsons sought out a new generation of modern painters to represent; Martin was one of these individuals. In December 1958, Parsons put on Martin’s first solo art show.
At the age of 45, Martin made the decision to move to far downtown Manhattan to an artists’ loft building within the city’s financial district. The small street she lived and worked on, called Coenties Slip (from its function in the 1700s and early 1800s as a docking inlet from the East River) was then home to a number of New York artists who were becoming prominent at this time, including multi-media constructionist Jasper Johns, Pop-art pioneer Robert Rauschenberg, color-field painter Ellsworth Kelly, graphic artist Robert Indiana, ragged-edge painter Jack Youngerman, fiber worker Lenore Tawney, sculptor Chryssa and abstract-expressionist painter Fred Mitchell. Many of their workspaces were once old sail-making factories for ships (in some instances, nautical artifacts had been left behind for decades in the various studios), and maritime and waterfront themes can be found in a number of these artists’ works created during the time when they lived in these buildings.
The artists were attracted by the large spaces, cheap rents and in many cases, handsome views of the East River. Martin recalled of these years on Coenties Slip “humor, endless possibilities and rampant freedom” amidst the downtown New York skyscrapers. But along with these upsides, there were few luxuries, a lack of kitchens in the artists’ lofts, minimal or no hot water and, in many cases, no central heating. The Slip’s nearby Seamen’s Institute provided the only available showers, as well as a no-frills cafeteria.
Along with living in close proximity to and associating with this group of talented artisans, Martin became identified with their avant-garde output, especially the movement that had been christened abstract expressionism. Works from this period of Martin’s life have an abstract, spare and biomorphic quality, with a number of her pieces exhibiting a free-floating series of objects and shapes. Their forms appear to be strongly influenced by those appearing in works of her expressionist and surrealist artistic peers and predecessors such as Pollack, Rothko, William Baziotes, Arshile Gorky and Joan Miró.
Like many of the other abstract expressionists, Martin began (as of 1960) to use grids as an overt visual and organizational element — first, by physically cutting them into her applied paint, and later, by penciling them onto her dried canvases. Martin would then apply fields of color in a manner similar to other artists known for this technique, including the aforementioned painters Rothko, Still, Kelly, Reinhardt and Robert Motherwell. Unlike many of those painters, however, Martin’s works of this period employed a very muted, limited palette; her colors were almost exclusively limited to black, white, gray and brown. One prominent color-field artist who Martin got to know very well and befriended in the 1950s was abstract expressionist Barnett Newman, who lived near Martin’s studio in the financial district. Newman helped Martin to install some of her shows at galleries like Betty Parsons’.
Of her use of visual grids, Martin later noted, “When I first made a grid, I happened to be thinking of the innocence of trees… And then, a grid came into my mind, and I thought it represented innocence. And I still do. And so, I painted it. And then, I was satisfied. I thought, ‘This is my vision.'” Martin’s grids were typically comprised of rectangles rather than squares. “The rectangle is pleasant, whereas the square is not,” she would later explain. “When I cover the square [painting] surface with rectangles, it lightens the weight of the square — [it] destroys its power.”
These works of Martin’s featuring grids generally seek to produce an emotional, rather than an intellectual, response from the viewer. Curators such as Tiffany Bell of London’s Tate Museum have commented that Martin’s grids infuse the works in which they appear with an impressive and insistent beauty, while deliberately preserving ambiguous meaning. “It’s as though the energy of a [Jackson] Pollack drip painting has been stretched out and carefully sustained over time,” observes Bell. In an interview, Martin asserted, “There’s no indication or hint about the material world in my painting. No, I don’t paint about the world. Everybody else is painting about the world. That’s enough.”
In 1966, New York’s Guggenheim Museum included Martin’s pieces in its landmark Systemic Paintings exhibition. In 1967, she was included in the groundbreaking minimalist group show entitled 10 at the Virginia Dwan gallery, along with celebrated painters and sculptors Donald Judd, Dan Flavin, Sol Lewitt, Carl Andre, Jo Baer, Robert Smithson, Michael Steiner, Robert Morris and Ad Reinhardt.
Return to New Mexico
Sadly, 1967 was a bad year for Martin. In August, painter Ad Reinhardt, her friend of many years, died unexpectedly of a heart attack at the age of 53. Separately, the landlord of Martin’s artist studio building announced that the property was to be demolished. Deciding that she couldn’t imagine working in any other creative space in New York City, Martin abruptly quit painting, gave away all her art supplies and decided to drive across America and Canada in a pickup truck with an Airstream camper trailer hooked to the back. Of her plans, she wrote to a friend, Connecticut art curator Sam Wagstaff, “I am staying unsettled and trying not to talk for three years. I want to do it very much.” She later tried to rationalize these actions to an interviewer, claiming, “I could no longer stay, so I had to leave, you see. I suppose you could say I wasn’t up to the demands [of New York] and everything… But there was something else: that I came to a place of recognition of confusion that had to be solved.”
Eventually, at the age of 56, after 18 months on the road, Martin settled herself in Cuba, New Mexico — 20 miles from the nearest highway — where she built a structure out of adobe bricks she made herself, with few, if any, modern amenities. “I decided I’d experiment with a solitary, simple life, to see if I’d become wise,” she said, looking back at this period.
In Cuba, she experimented with writing poetry for the next several years until 1973 when she hesitantly began making art again, creating a portfolio of serigraphs from her earlier drawings, which she titled On a Clear Day. “My interest is in experience that is wordless and silent and in the fact that this experience can be expressed for me in artwork which is also wordless and silent,” she wrote. “Artwork that is completely abstract — free from any expression of the environment is like music and can be responded to in the same way. Our response to line and tone and color is the same as our response to sounds… It holds meaning for us that’s beyond expression in words. These prints express innocence of mind. If you can go with them and hold your mind as empty and tranquil as they are and recognize your feelings at the same time, you will realize your full response to this work.”
The prior year, without effort on her part, Martin’s work was included in Kassel, Germany’s 1972 documenta exhibition. In 1973, Philadelphia’s Institute of Contemporary Art held a retrospective of Martin’s works from the years 1957 to 1967. In 1974, Martin actively returned to painting, and she collaborated with a friend, designer/architect Bill Katz, on a log cabin that she could use as a painting studio. Martin had reached the conclusion that “the function of artwork is… the renewal of memories of moments of perfection.” Starting in 1975, Martin’s new works began to be exhibited nationally in the United States.
In 1976, the artist tried her hand at making a 78-minute dialogue-free film, called Gabriel. It concerns a young boy who goes out for a walk in the New Mexico landscape. In 1993, art critic Rosalind Krauss commented on this experiment: “Gabriel constructs a reading of Martin’s own work as crypto-landscape — a reading that, since it’s produced by the artist herself, tends to carry the weight of interpretative proof.” Martin’s gallerist in her later years, Arne Glimcher, summarized the film as follows: “[Gabriel] is not unlike a Warhol movie. It is incredibly boring. It’s, like, two hours long, and after about twenty or thirty minutes, you start to get into it. At the beginning, the movie can be excruciating, and then you realize what she’s doing. It’s almost like a sensory deprivation experiment, then everything you start to see becomes heightened because you’re so hungry for some activity… I think Warhol was doing that, and I think frankly some of Agnes’ paintings do that.”
Gabriel was to be Martin’s sole completed exploration of the celluloid medium, although she made an attempt (including initial shooting with Native American extras) to realize a more ambitious second film project about a kidnapped Mongolian princess in 13th-century China. She ultimately gave up on this effort due to her dissatisfaction with one of the actors she had cast.
“To be an artist, you look — you perceive, you recognize what is going through your mind. And it is not ideas. Everything you feel and everything you see and everything that your whole life goes through your mind, you know. But you have to recognize it and go with it and really feel it,” Martin told an interviewer around this time. “To neglect your own mind — that’s like to neglect your consciousness. That’s like to give up all hope of joy and happiness, really. You’re the only one that can discover for you the meaning of anything — what it means to you. By that, I don’t mean intellectual meaning. I mean, what it means — how it makes you feel. You have to see whether you really are happy or not — whether you really are sad or not. And you have to investigate what goes through your mind… Inspiration comes from a clear mind. Right straight through. We have nothing to do with it.”
In 1976, Martin was included in the American pavilion of the Venice Biennale, going on to appear in the internationally acclaimed cultural event twice more in 1980 and 1997 (the latter occurrence saw her honored with one of the Biennale’s select Golden Lion awards).
In 1977, Martin moved to the tiny New Mexican village of Galisteo, which over the years has been the home of a number other eclectic artists, including sculptor and performer (and fellow Venice Biennale participant) Bruce Nauman, singer and actor Burl Ives and fashion designer Tom Ford. In Galisteo, Martin lived in relative seclusion for the next 16 years, again building her own home out of adobe bricks on a property owned by a man who would soon assist her with her art, photographer Donald Woodman. Ironically, although she sought to be out of the public eye, at this time, her fame as an artist of historic importance started to increase.
In a letter to the Whitney Museum, she determinedly wrote, “To live truly and effectively, the idea of achievement must be given up. Put unsentimental piety first, turn your back on the world, and get on with it.”
Martin’s painting in this period began to evolve from the type of work she had been producing in New York. She stopped utilizing grids, instead favoring simple broad or narrow stripes, and introduced new colors into her works, such as extremely pale yellows, pinks and blues. Pencil marks that she previously used as guides for her colors were overtly left in many of the paintings rather than being erased or painted over. Over time, Martin stopped using a ruler for her lines, working intuitively and unevenly by hand instead; because of this, her pieces became less symmetrical.
“You can’t be in an unconscious state and paint,” argued Martin. “Because whatever is in your mind, and not the subject matter, but the feelings that you have related to that subject matter, is what you’re going to paint. So, the beginning is not actually painting, you know. The beginning of painting is not — you put down green, and then you like pink, and you put down pink. Painting’s not about that any more than music is about this sound and that sound… And it’s something that drives you to expression. And it’s irresistible.”
In late 1977, Martin’s work was included in that year’s Whitney Biennial show, the first of two such occasions (the second time occurred in 1995) in which she was so honored. In 1989, Martin was inducted into the American Academy and Institute of Arts and Letters.
In 1991, the Netherlands’ Stedelijk Museum held a survey show of her art entitled Agnes Martin: Paintings and Drawings 1974-1990; it later traveled to France and Germany. In 1992, New York’s Whitney Museum of Art held a solo show of Martin’s works that was subsequently exhibited in Jamaica. In late 1992, Martin was inducted into the American Academy of Arts and Sciences.
Later Years
In 1993, Martin moved into a private retirement residence in Taos, though she continued to work at her art studio. Quizzed by a journalist at the age of 83, Martin reflected that, “[Beauty] is a very mysterious thing, isn’t it? I think it’s a response in our minds to perfection… My paintings are certainly nonobjective; they’re just horizontal lines. There’s not any hint of nature. And still, everybody responds, I think… The Minimalists were nonobjective; they just recorded beauty, I guess, without the emotions — or at least without personal emotions. My work is a little more emotional than that.”
In 1997, Taos’ Harwood Museum of Art renovated and dedicated one of its wings to Martin (now known as the Agnes Martin Gallery), which featured an octagonal shape and four yellow benches created by sculptor Donald Judd set in a symmetrical position underneath a circular ceiling oculus. Assisted by her close friend, Harwood Museum director Robert Ellis, Martin helped with the design of the Gallery’s interior, and she donated seven new, large untitled paintings to the museum specifically for display in the space.
In 1998, the Santa Fe Museum of Fine Arts held a show entitled Agnes Martin: Works on Paper. The same year, U.S. President Bill Clinton awarded Martin the National Medal of Arts in conjunction with the National Endowment for the Arts. In 2002, the private Menil Collection in Houston held a show entitled Agnes Martin: The Nineties and Beyond. Almost simultaneously, the Harwood Museum held an exhibition entitled Agnes Martin: Paintings from 2001, honoring Martin on her 90th birthday with a formal symposium. It was the 85th and last exhibition of her work in her lifetime; she passed away two years later in 2004.
Martin actively painted until the last year of her life. Of her work, Martin once said, “My [artworks] have neither object nor space nor line nor anything — no forms. They are light, lightness, about merging, about formlessness — breaking down form. You wouldn’t think of form by the ocean; you can go in if you don’t encounter anything. A world without objects, without interruption, making a work without interruption or obstacle. It is to accept the necessity of the simple direct going into a field of vision as you would cross an empty beach to look at the ocean.”
Epilogue
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Following her passing, exhibitions continued to be held of Martin’s work all over the world, including in the United States, England, Switzerland, Japan, Germany, Greece, Ireland and Canada. In 2018, the Philadelphia Museum of Art held an exhibition of Martin’s works entitled Agnes Martin: The Untroubled Mind. London’s Tate Museum held a major retrospective show of her work in 2015, which traveled to Germany and later, to New York’s Guggenheim Museum and the Los Angeles County Museum of Art. Other museums holding solo shows of her work between 2015 and 2017 included the Aspen Art Museum in Aspen, Colorado. In 2017, she was included in the exhibition Making Space: Women Artists and Postwar Abstraction at New York’s Museum of Modern Art, along with artists Louise Bourgeois, Eva Hesse, Joan Mitchell, Helen Frankenthaler and Lee Krasner.
Today, Martin’s works can be seen in the collections of many of the biggest art institutions worldwide, including the National Gallery of Art and the Smithsonian Institution in Washington, D.C.; the Metropolitan Museum of Art, the Guggenheim Museum, the Whitney Museum and the Museum of Modern Art in New York; the Menil Collection in Houston, Texas; the Chinati Foundation in Marfa, Texas; the Albright-Knox Gallery in Buffalo, New York; the Nelson-Atkins Museum of Art in Kansas City, Missouri; the Wadsworth Atheneum Museum of Art in Hartford, Connecticut; the Walker Art Center in Minneapolis, Minnesota; the Los Angeles Museum of Contemporary Art; the San Francisco Museum of Modern Art; and the Dia Art Foundation in Beacon, New York. Outside of the U.S., her work can be seen at the Tate Museum in London and at Magasin 3 and Bonniers Konsthall in Stockholm, Sweden, among other institutions.
In Taos, New Mexico, the Harwood Museum’s Agnes Martin Gallery, featuring a showcase of Martin’s later works, is open to the public. Elsewhere in New Mexico, Martin’s work can also be seen at the New Mexico Museum of Art in Santa Fe.
Many younger artists, particularly women, continue to cite Agnes Martin as an influence. During her lifetime, three documentary films were made about this reclusive painter. Excerpts of these can be seen on YouTube. The first documentary is Thomas Luechinger’s On a Clear Day — Agnes Martin, made in 2000. The other two films were produced in 2002 — Mary Lance’s Agnes Martin: With My Back to the World and Leon d’Avigdor’s Agnes Martin: Between the Lines (re-edited in 2016). A fourth documentary about Martin’s early years, directed by artist Kathleen Brennan and completed in 2016, is entitled Agnes Martin Before the Grid.
A new book, Agnes Martin: Pioneer, Painter, Icon, by a researcher and narrator of the latter documentary, Henry Martin (no relation), was published in early 2018 by Shaffner Press. A study by Suzanne Hudson of Martin’s 1963 work Night Sea, painted during the artist’s time spent on Manhattan’s Coenties Slip was released by Afterall Books/One Work in 2017. Drawing the Line: The Early Work of Agnes Martin by art historian Christina Bryan Rosenberger, published by University of California Press in 2016, explores Martin’s early art created prior to her move to New York in the late 1950s. The works of Martin’s later years are covered superbly in Phaidon Press’ opulent volume Agnes Martin: Paintings, Writings, Remembrances by Arne Glimcher, Martin’s gallerist for the last several decades of her life. A definitive biography of Martin by Art in America senior editor Nancy Princenthal, entitled Agnes Martin: Her Life and Art, was published in 2015 (a new edition is scheduled to be published in 2018).
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A monograph accompaniment to Martin’s Tate Museum exhibition (see above) edited by Tiffany Bell and Francis Morris was published by the Tate Museum in 2015. A collection of scholarly critiques of Martin’s works entitled Agnes Martin, edited by Lynne Cooke and Karen Kelly, was published in 2012 by Yale University Press. A collection of Martin’s own writings, stories and lectures entitled Agnes Martin: Writings, was published in 2005 by Hatje Cantz.
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Another book that Martin wrote herself is Religion of Love, a reflection on her work in the 1990s, illustrated by Martin’s friend, post-minimalist artist Richard Tuttle and published in 2016 by Walther König. In 1998, Martin and Tuttle had a two-person show at the Modern Art Museum of Fort Worth in Texas (their work was shown together several times during Martin’s lifetime). An accompanying book to the Fort Worth show, Agnes Martin/Richard Tuttle, features interviews with both artists in which they discuss each other’s pieces.
Finally, a recent memoir entitled Agnes Martin and Me by Martin’s friend and assistant for seven years starting in 1977, photographer Donald Woodman, was published by Lyon Artbooks in 2016.
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Agnes Martin’s estate is represented by New York’s Pace Gallery. In recent years, her paintings have sold for millions of dollars, landing her a place in the top-earning echelon of female painters from a historical perspective. In 2007, Martin’s 2000 painting Loving Love was sold for $2.95 million by Christie’s auction house. In 2015, her 1984 painting Untitled #7 sold for $4.2 million at auction house Phillips.