Agnes Martin

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Product Details
$55.00  $51.15
Distributed Art Publishers (DAP)
Publish Date
8.8 X 10.7 X 1.2 inches | 3.25 pounds

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About the Author
Anna Lovatt is associate professor of art history at Southern Methodist University in Dallas. Her research focuses on the relationship between systems and subjectivity in art of the 1960s onward, particularly in the context of Minimal, post-Minimal, and conceptual art. She is the author of Drawing Degree Zero: The Line from Minimal to Conceptual Art (2019).
Lena Fritsch is Curator of Modern and Contemporary Art at the Ashmolean Museum, Oxford, where she works on exhibitions and displays of international art. Before joining the Ashmolean in 2017, she was Assistant Curator of International Art at Tate Modern. A specialist in 20th and 21st century Japanese art and photography, and an experienced translator of the language, she has contributed to a number of exhibitions featuring Japanese art.
Briony Fer is an art historian who has written extensively on modern and contemporary art. Her research interests have consistently moved between the history of the avant-gardes and the work of contemporary artists, including Gabriel Orozco, Roni Horn, Vija Celmins, and Tacita Dean. Her books include On Abstract Art (1997), The Infinite Line (2004), Eva Hesse: Studiowork (2009), and Gabriel Orozco: thinking in circles (2013). She cocurated the Anni Albers retrospective, with Maria Muller-Schareck and Ann Coxon, at Tate Modern and K20 Dusseldorf in 2018. She is a professor of the history of art at University College London and a fellow of the British Academy.
A deep, and deepening, sense of the artist's singular powers...a sort of secular pilgrimage, on which you may feel your perceptual ability to register minute differences in tone and texture steadily refined, and your heart ambushed by rushes of emotion.--The New Yorker
...a strong message emerges from Martin's magnificent works, whether paintings, drawings, prints, or even sculpture: to become a serious artist requires a choice, a willful rite of passage that precedes the course one will follow.--Robert C. Morgan "Hyperallergic "
[Martin's] art has a lift that makes other art, even closely related, feel earthbound.--Holland Cotter "The New York Times "
Some of the more significant creations about spirituality, beauty, and painting itself that modernism has ever known... She used the grid as a forum for belief- a space where the viewer as well as the artist could contemplate the hand making the thing being observed.--Hilton Als "New York Review Of Books "
Survey of Agnes Martin's powerful yet meditative work draws a straight, vibrant line to Zen.... Once you've nestled into her seemingly simple, initially inscrutable, finally profound vision of art, it's like enveloping your mind's eye in a soft, methodical, determined but exalted radiance.--Christopher Knight "Los Angeles Times "
...Linear abstract paintings that are balanced and personal, precise and hand-touched. Many are so subtle as to be barely photographable, yet they look gorgeous in the catalog (edited by Frances Morris and Tiffany Bell) for her recent Tate Modern show, "Agnes Martin," which travels to the Guggenheim Museum in October 2016.--Holland Cotter "The New York Times "
This exhaustive survey of painter Agnes Martin's career shows how she spent decades modulating the basic form of a gridded or banded square to achieve a vast range of aesthetic and emotional effects, from severe to sensual.--Roger Atwood "Artnews "
The paintings ask that we look, look and keep looking. They beckon us into an attitude of attention, a willingness to take time.--Nicholas Spiece "London Review of Books "
Not to be missed...indispensable.--Patricia Albers "The New York Times Book Review "
A near-perfect guide of breath-takingly beautiful work.--Ben Luke "Evening Standard "
Martin's cool geometric abstractions are butterfly nets for emotions.--Alastair Sooke "The Telegraph "