Agnes Martin Knihy

Meditativní texty a básně americké malířky spojené s uměním minimalartu.

Agnes Martin's abstract works adhere to no catalogue of rules but appear instead as contemplative, intuitive signs. Her "floating abstractions," in which lines and free bands of color emerge almost imperceptibly, can be reproduced only with difficulty. Her writings, on the other hand--although certainly not intended as programmatic statements--offer valuable clarity regarding her own works and poetic insight about art in general. Since its original publication in 1991, this volume of Martin's writings has been a fundamental document for libraries of artists, collectors, and critics. Rather than identifying herself with her Minimalist peers, Martin has aligned herself with the ancient Greeks, Egyptians, and Chinese, asserting that "the function of art work is . . . the renewal of memories of moments of perfection." In combination with illustrations of her works, these texts--including lectures, stories recorded by critic Ann Wilson, passages ostensibly arranged in associative sequences, and "fragmentary ideas"--form an eloquent artist's statement by the creator of "silent paintings."

The Islands --a 1979 group of 12 identically large square paintings--is a body of work especially suitable for gaining insight into the modalities of the visual in Agnes Martin's work. An element that is common to all the canvases is the matte white color that absorbs the surrounding light but only partially radiates it back, as well as the structure of fine horizontal lines drawn in pencil. The reproductions of Martin's work in this book are of the highest quality, especially in light of the fact that her pictures are generally not ideal for reproduction, as, according to the artist, they are light and luminous and deal with fusion and formlessness, i.e., the dissolution of form. In creating this work, Martin, in a certain sense, arrives almost to the point of borderline visibility.

A l'école de la forêt, Frisson est tout seul. Il voudrait être le copain de quelqu'un ! Mais de qui ? Personne ne veut d'un copain qui pique...

Exploring themes of renewal and self-discovery, the narrative follows a protagonist who decides to leave the past behind. As they navigate the complexities of starting anew, the journey delves into personal growth, the weight of memories, and the courage required to embrace change. Through evocative storytelling, the book captures the emotional landscape of letting go and the possibilities that lie ahead.

Künstlerbücher sind eine zentrale Werkgruppe im Oeuvre Richard Tuttles. Seine Zusammenarbeit mit Agnes Martin begann mit ihrem ersten autonomen Buch 1969, gefolgt von vielen weiteren. „Religion of Love“ stellt für Tuttle eine bedeutende Herausforderung dar, mit der er sich über Jahre auseinandersetzte. Der Text, in den 1990er Jahren verfasst, bietet Einblicke in Martins reife Gedankenwelt und bestätigt ihre Überzeugung, dass Schönheit das Geheimnis des Lebens ist. Er bringt neue Ideen mit einer Dringlichkeit hervor, die nur jemand in ihrem Alter und mit ihrer Geisteshaltung formulieren kann. Unklar bleibt, was die Perfektionistin dazu bewog, Tuttle um Illustrationen zu bitten, da sie eine klare Vorstellung von Illustration hatte. Dennoch nahm er die Herausforderung an, um die Größe einer verlorenen Freundin zu würdigen und ihr einen Abschied in Buchform zu senden, der ihm im Leben verwehrt blieb. Es bleibt zu hoffen, dass die Leser diesen vielschichtigen Austausch als Kunst genießen werden. Richard Tuttle, London, September 2014.

Agnes Martin has spent every morning for the past 40 years working in her New Mexico studio, producing square abstract paintings that consist of graphite horizontal lines across fields of white, gray, or pale colors. Though her work superficially belongs to the history of Minimalism, Martin considers her paintings the abstract expression of positive inner states of existence. Published on the occasion of her 90th birthday, this catalogue presents the iconic serenity and elegant geometry of her canvasses from the past decade, in a format complimentary to Martin's own immutable aesthetic.