Published to accompany a 1992-93 exhibition held at the Whitney Museum of American Art, New York, this book deals with the full scope of Agnes Martin's art. It includes essays that place her work in the context of American and European 20th-century art and culture. Agnes Martin's paintings, constructions, and works on paper provide a link between the chromatic abstraction of artists such as Mark Rothko and Barnett Newman, her generational and ideological peers, and the Minimalist vocabulary of the 1960s. This book reproduces works made between 1957 and 1967, and better-known paintings and constructions created since 1974. A selection of Martin's writings reveals the spiritual philosophy that sustains her painting.
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Painter Agnes Martin's quietly radiant geometric abstractions reflect her quest to capture moments of beauty or transcendence of ego and petty distractions. Her personal philosophy, as reflected in her semimystical writings, seems an amalgam of the Bible, Zen Buddhism, Taoism, William Blake and positive thinking. Featuring 60 color and 40 black-and-white plates, the volume profiles the Saskatchewan-born artist, now 80, who participated in the heyday of New York abstract expressionism and later settled in New Mexico. Whitney curator Haskell charts Martin's shifts from landscape to biomorphic abstractions to minimalism. Chave, a Hunter College art historian, looks at Martin's calm, grid-like compositions. Krauss, a professor at the City University of New York, endorses Martin's claim to be a classicist in the objective tradition of Egyptians, Greeks and Copts. This catalogue accompanies a traveling exhibition that opened at New York City's Whitney Museum.
Copyright 1992 Reed Business Information, Inc.
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