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Agnes Martin, by Lynne Cooke Et Al. Dia Art Foundation: New York and Yale University Press: New Haven, 2011 (Book Review) Vittorio Colaizzi Old Dominion University

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Agnes Martin, by Lynne Cooke Et Al. Dia Art Foundation: New York and Yale University Press: New Haven, 2011 (Book Review) Vittorio Colaizzi Old Dominion University Old Dominion University ODU Digital Commons Art Faculty Publications Art 2012 Agnes Martin, by Lynne Cooke et al. Dia Art Foundation: New York and Yale University Press: New Haven, 2011 (Book Review) Vittorio Colaizzi Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/art_pubs Part of the Painting Commons Repository Citation Colaizzi, Vittorio, "Agnes Martin, by Lynne Cooke et al. Dia Art Foundation: New York and Yale University Press: New Haven, 2011 (Book Review)" (2012). Art Faculty Publications. 7. https://digitalcommons.odu.edu/art_pubs/7 Original Publication Citation Colaizzi, V. (2012). Agnes Martin, by Lynne Cooke et al. Dia Art Foundation: New York and Yale University Press: New Haven, 2011 (Book Review). Woman's Art Journal, 33(2), 50-53. This Book Review is brought to you for free and open access by the Art at ODU Digital Commons. It has been accepted for inclusion in Art Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. unconsciously linking her fear of the public here" (9). Her Excellency sees forming an X. The hands are a symbol or abandonment with her fear of death, and Bourgeois's spiders as linked to her sign of human interconnections. creating, as in the towers, a mother who memories of her mother; she adds that Other works in the exhibition range is both good and bad (the spider eats her the spider in the Holy Qur'an wove a from red gouache "flowers," created in young). Finally, for Larratt-Smith, web that protected the Prophet from his 2009, to a womblike, bronze hanging Bourgeois herself becomes the master enemies. This information further piece Fee Couturiere (1963), to fabric spider, creator, and tale-spinner. His universalizes the spider and gives webs and a fabric head, and metal and concise yet powerful essay contains Westerners and non-Muslims added marble sculpture pieces, including Cell fresh psychoanalytical insights into the insights into another culture. XV (for JMW Turner) (2000), a work in artist's work: The exhibition title, "Conscious and which water spirals together from two Unconscious," is related to a slender sources. Entrenched psychic conflicts sculpture with two sorts of towers. A This exhibition catalog seems condemned the artist to a life of stack of sponge-like white fabric shapes important both for the intimacy of its repetition .... Thus art was at once recall the spinal column and stand for theme and for its range of work focusing an indication of her underlying order and the conscious mind. Nearby, on on layered psychoanalytical readings psychic disorder and a means of a pole, a blue rubber pear shape is pierced about relationships between children making herself whole. It was both with five needles, each holding a small and their mothers. This universal subject symptom and cure. In the place of spool of thread. "The thread represents deserves more attention worldwide; it's Freud's talking cure, which she the unspooling of time, the sewing of the refreshing to think that the exhibition has rejected as inadequate, Bourgeois mother-weaver, the spider's web, the opened some minds to women's (and found another "royal road to the fragility of human relationships, and the human rights) issues as well as to art that unconscious" in the making of art, tenuous linkage to memory," according requires some thought. • which she called her "form of to Larratt-Smith (15). psychoanalysis" (12-13). The dual language QMA catalog, in Jan Garden Castro is Contributing The catalog introduction by QMA English and Arabic, is richly illustrated, Editor for Sculpture and for Ceramics: Art Chairperson Her Excellency Sheikha Al and the cover image (Fig. 1 ), two life­ & Perception. Mayassa bint Hamad bin Khalifa Al­ sized pairs of pink marble hands Thani states that Maman's new home clasped together, suggests closeness, Notes (since 2011) at the National Convention warmth, and friendship between people 1. See my article on the towers, "Louise Center Qatar Foundation "has already and cultures. In the full untitled work, Bourgeois: Turning Myths Inside Out," inspired writers, artists and members of the four limbs stop below the elbow, Sculpture, 20:1 (Jan/Feb 2001): 16-23. Agnes Martin reinforce Martin's claim that "The cause to her credit that she will never be edited by Lynne Cooke, Karen Kelly, of the response is not traceable in the "canonical" in this sense, because her and Barbara Schroder work" (232). The question with which work is singular in its treatment of ges­ Dia Art Foundation and these essays grapple in light of these ture, scale, seriality, and image, as well Yale University Press, 2011 effects is: what could such phenomena as the complexities of meaning that are mean? How are the artist's ambitions never fully independent from her per­ Reviewed by Vittorio Colaizzi and conditions, as well as the conditions sona and career. This singularity makes of the viewer, inscribed upon them? her an especially appropriate artist to be he impression emerges, through Issuing from a colloquium sponsored housed in Dia:Beacon; her work needs Treading this anthology and by the Dia Art Foundation, in conjunc­ the luxurious attention that is less avail­ remembering the work, that Agnes tion with a series of focused exhibitions, able when placed in a room full of Martin's paintings are somehow not this anthology is, of course, a claim for obligatory heavy-hitters of either there. Their qualities and effects are of a Martin's importance, but at the same Abstract Expressionist or Minimalist second order, not directly tied to their time, particularly in the essays by Rhea generations. Because the opportunity to material facts, because as perceptions, Anastas and Jonathan D. Katz, a critique spend time with a sizable body of one they evade and exceed these facts. of the very notion of "importance" as it artist's work is all too rare, this book can Although it is entirely clear of what they is understood in the survey mode of tra­ stand as a literary accompaniment to consist and how they were made, ditional museums. That is to say, Dia' s holdings. viewers report constant dissolution and Martin's work cannot be placed, firmly "Literary," because in addition to its condensation of screens, veils, or mists and without reservation, in a causal scholarly rigor, it reads almost like a from the tiny elements on the surface. chain of generation-to-generation influ­ novel due to the recurrence of certain Emblems of the less than absolute ence. Although she is prized by many themes. One leitmotif is the constant sufficiency of empirical knowledge, they and her stature is likely to increase, it is tension or conflict as to pictorial effects, WOMAN'S ART JOURNAL motivations, and principles. As several celebration of natural beauty is, for of the authors note, a consideration of Krauss, a diversion from what she sees as Martin's work often leads to multiple Martin's primary project, that of dualities, such as rigorous measurement objectivizing subjectivity, of using the versus handmade imperfections, frank grid and its dissolution as a signifier that materiality versus numinous haze, or highlights and destabilizes the apparent depth versus actual flatness, to sovereignty of individual perception. For say nothing of Martin's own personal this she draws on a description by Kasha mythos of artistic commitment coupled Linville that organizes perception of a with her abrupt abandonment of New painting by Martin into three states: the York, as well as her avowed classicism close-up view of individual pencil lines, against viewers' intimations of the a middle view of unstable mist, and (romantic) sublime. Martin's classicism finally a far view of solid opacity. 1 also contrasts with what she calls In the present volume, however, Fig. 1 Agnes Martin, Play (1966), acrylic on "turmoil" or "torment," an emotional nature will not just go away. While canvas, 72" x 72". Hirshhorn Museum and intensity and worldly chaos to which Martin insisted that her paintings are Sculpture Garden, Smithsonian Institution, she insisted she had "turned" her "Not about the world, or nature or things Washington, D.C. "back" (174, 68). like that" (75), she continued to make Douglas Crimp's refreshingly candid reference to mountains, trees, waterfalls, reminiscences of his contact with Martin etc., in her poetic statements as well as in she follows the overused word "nature" introduces three interrelated themes; her her titles, only some of which, in the through a history of its own, from anomalous 1976 film Gabriel (which 1960s, were devised by her then-partner, transcendentalism to ecological ruin. patiently chronicles a boy's walk Lenore Tawney (181). While certain shots After establishing Martin's shrewd alongside water, woods, and flowers), of Gabriel might look like "Agnes management of her own "gnomic" (120) the problematic place of nature in her Martins," no one who has seriously image, Hudson notes it would be oeuvre, and the above-mentioned studied her paintings can think that they "implausible" (124) for her to identify turmoil. Gabriel receives a more are, at bottom, clandestine landscapes. It her ambitions too closely with such a sustained consideration in Zoe Leonard's is, of course, important to temper the fraught term at the precise moment of generously illustrated essay. Leonard interpretation of abstraction as tacit its politicization. Martin's famous and Crimp's contributions are the most picture-making, which renders moot the account in which "the innocence of personal and inquisitive, and are perhaps very pictorial strategies to which Martin trees" incited a grid in her imagination the most true to Martin's somewhat committed. This issue demonstrates represents to Hudson the "cleav[ing]" of optimistic tone, which is not to say that what Crimp sees as the fundamental the referent from the sign, so that the they are frivolous; their searching (and compelling) irresolution of Martin's grid appears "unmoored" (127).
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