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Pace Galleries

艾格尼丝 马丁

The ‘80s: Grey Paintings

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About 艾格尼丝 马丁

艾格尼丝·馬丁 1912 年出生于加拿大薩斯喀徹溫省,2004 年逝于美國新墨西哥州。她曾在華盛頓貝林漢姆的西華盛頓教育學院學習,之後于1942 年在哥倫比亞大學師範學院獲得理學學士學位。後來,馬丁被阿爾伯克基市的新墨西哥大學錄取,在那裏學習期間她還教授藝術課程。1952 年,她回到哥倫比亞大學,攻讀文學碩士學位。 盡管馬丁從1937 年就開始創作,但直到1958 年,她才在紐約知名的貝蒂·帕森斯畫廊(Betty Parsons)舉辦了首次個展。60 年代早期,她以在空靈的單色畫布上繪畫簡潔的石墨鉛筆網格而聞名。藝術家六英尺見方的極少主義繪畫超越了抽象表現主義豪放的追求,贏得了批評界的認可。1967 年,馬丁突然離開了紐約,也停止了作畫,搬到新墨西哥州的荒漠裏隱居。在阿爾伯克基山附近的壹處僻地安頓下來後,她直至1974 都未曾拾起畫筆。在後來的年月裏, 馬丁發展出了交替彩色橫條的標志性風格。 馬丁曾被授予衆多榮譽,包括:美國高等學院藝術協會頒發的藝術女性聯盟終生成就獎 (2005)、美國新墨西哥州聖達菲加裏·約翰遜總督特別授予的藝術卓越成就總督獎(1998)、克林頓總統頒發的國家藝術勳章及津貼(1998)、美國高等學院藝術協會頒發的傑出藝術家終生成就獎(1998)、意大利威尼斯雙年展頒布的當代藝術特殊貢獻金獅獎(1997)、奧地利政府授予的奧斯卡·可可希卡獎(1992)、德國威斯巴登市頒發的阿列克謝·馮·亞夫倫斯基獎(1991),並入選位于紐約的美國藝術暨文學學會(1989)。 這位加拿大裔美國畫家在國內外舉辦過多次個展及回顧展,如在美國紐約現代藝術館舉辦的《艾格尼·馬丁:晴朗的壹天》(1973),以及在美國聖達菲美術館舉辦的《艾格·尼馬丁: 島嶼》(1979)。1980 年,紐約佩斯畫廊爲其舉辦了壹場展覽,展出了壹組在1979 年完成 的十二張作品,後來在多處巡展,包括美國堪薩斯州的威奇塔州立大學(1980)、美國科羅拉多州的丹佛藝術館(1980)、美國加利福尼亞州的 La Jolla 當代藝術館(1980)、美國華盛頓的西雅圖藝術館(1980)、美國俄勒岡州的波特蘭藝術館(1981)、美國俄亥俄州的阿克隆藝術學院(1981)、美國密蘇裏州的聖路易斯藝術館(1981)、加拿大亞伯達州卡爾加裏的Glenbow 博物館(1981),以及加拿大薩斯喀徹溫州的孟德爾美術館(1981)。紐約惠特尼美國藝術館舉辦了壹場大型的馬丁作品回顧展(1992 — 1993),後巡展至美國威斯康星州密爾沃基藝術中心(1993)、美國邁阿密州美術中心(1993)、美國休斯頓當代藝術中心(1993)、西班牙馬德裏索菲娅王後藝術中心(1993— 1994),以及美國聖達菲美術館(1994)。2004 至2008 年間,紐約迪亞·畢肯藝術中心(Dia:Beacon)展出了壹場由六個系列組成的展覽,深度呈現了馬丁藝術生涯中的不同階段。馬丁最新的個展《艾格尼·馬丁:網格之前》將會于2012 年二月至六月在美國新墨西哥州陶斯市的哈伍德藝術館展出。馬丁還參與了很多國際群展,如:威尼斯雙年展(1997,1980,1976)、惠特尼美國藝術館雙年展(1995,1977),以及德國卡塞爾文獻展(1972)。
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Press Release

  • Agnes Martin: The '80s: Grey Paintings
    The Pace Gallery is pleased to present an exhibition of work by Agnes Martin from the 1980s. The ‘80s: Grey Paintings includes a group of six canvases that were part of an important exhibition at Pace’s Soho gallery in 1990 that represented a radical departure from Martin’s previous work. Pace’s exhibition will usher in an important year for Martin: 2012 marks the centennial anniversary of her birth; Yale University Press, in conjunction with the Dia Art Foundation, and Phaidon will release new publications about the artist; and The Harwood Museum in Taos, New Mexico will present an exhibition of her work. The ‘80s: Grey Paintings will be on view at 534 West 25th Street from September 16 through October 29, 2011. A public reception will be held on September 15 from 6 to 8 p.m. It is the twenty-sixth solo exhibition of Martin’s work at Pace, which has represented the artist since 1975. The ‘80s was an exceptionally productive decade for Martin as she experimented with the boundaries of geometric abstraction and the possibilities of surface and color. Concentrating on horizontal divisions of six-foot square canvases, she found endless permutations by dividing the area with pencil lines and varying the tonal range between black and white. Instead of the translucent washes of faint color seen during earlier periods, Martin experimented with a palette of muted greys, layering paint to create robust, opaque surfaces that serve as a bridge between her early and later works. In a significant departure from her earlier technique of gradually layering sheer washes to develop a delicate skin of color, in the works from 1988 and 1989 Martin employed a palette knife to spread and build a more physically tactile surface of undiluted pigment. The ‘80s: Grey Paintings will feature rare loans, including Fiesta (1985), from the collection of the Solomon R. Guggenheim Museum. The works in The ‘80s: Grey Paintings continue Martin’s line of aesthetic inquiry into the language of geometry, light, and color as the ideal vehicle for introspection. For Martin, the austere visual language of horizontal stripes of alternating value was not an end in itself but was the most direct way for the artist to convey her emotional and spiritual response to life. According to Martin, her paintings exist as “memories of perfection . . . representing a perception of the ideal.” In a 1989 lecture at The Carnegie Museum of Art in Pittsburgh, titled “Beauty is the Mystery of Life,” Martin said, “The goal of life is happiness and to respond to life as though it were perfect is the way to happiness. It is also the way to positive art work . . . It is quite commonly thought that the intellect is responsible for everything that is made and done. It is commonly thought that everything that is can be put into words. But there is a wide range of emotional response that we make that cannot be put into words. We are so used to making these emotional responses that we are not consciously aware of them till they are represented as art work.” Two major books and a catalogue raisonné of Martin’s work are forthcoming. In January 2012 Yale University Press, in conjunction with the Dia Art Foundation, will release Agnes Martin, an anthology of scholarly essays including contributions by Rhea Anastas, Lynne Cooke, Douglas Crimp, Suzanne Hudson, Jonathan Katz, Zoe Leonard, Jaleh Mansoor, Michael Newman, Christina Rosenberger, and Anne Wagner. In the spring Phaidon will publish a book by Arne Glimcher, who will reflect on his five-decade friendship along with rare primary documents and recounts of studio visits. In addition, Artifex Press will publish a digital catalogue raisonné of Martin’s paintings and works on paper as well as full exhibition and bibliographic information, which will be updated continually online. Agnes Martin (1912–2004) was born in Saskatchewan and studied at Western Washington College of Education, Bellingham, WA, prior to receiving her B.S. (1942) from Teachers College, Columbia University. Martin matriculated at the University of New Mexico, Albuquerque, where she also taught art courses before returning to Columbia University to earn her M.A. (1952). Though she began to paint at the age of 25, Martin did not have a solo exhibition until 1958. Her reputation was made in the early 1960s by her atmospheric, monochrome canvases on which she would lay down simple graphite grids. For the next seven years, Martin steadily gained critical renown as her deeply meditative six-foot-square paintings extended the heroic pursuits of Abstract Expressionism in new direction. Then, in 1967, without warning, Martin left New York, abandoned painting, and settled into solitude in New Mexico. Ensconced on a remote mesa near Albuquerque, she would not paint again until 1974. During the years that followed, Martin developed her signature style of alternating horizontal bands of color. Martin’s work has been the subject of nearly 100 solo shows and two retrospectives including the survey Agnes Martin organized by the Whitney Museum of American Art, New York, which later traveled to Milwaukee, Miami, Houston, and Madrid (1992–94), and Agnes Martin: Paintings and Drawings 1974–1990 organized by the Stedelijk Museum, Amsterdam, with subsequent venues in France and Germany (1991–92). Between 2004 and 2008, Dia:Beacon presented a six-part series of exhibitions exploring different phases of Martin’s career in-depth. A focused presentation of her work was the subject of the exhibition Artist Rooms: Agnes Martin (2009–2011), which travelled to the Scottish National Gallery of Modern Art, Edinburgh; Kettle’s Yard, Cambridge; May 15–July 10, 2010; and the Tate Modern, London. In addition to participating in an international array of group exhibitions including the Venice Biennale (1997, 1980, 1976), the Whitney Museum of American Art Biennial (1995, 1977), and Documenta, Kassel, Germany (1972), Martin has been the recipient of multiple honors including the Lifetime Achievement Award on behalf of the Women’s Caucus for Art of the College Art Association (2005); the Governor’s Award for Excellence and Achievement in the Arts given by Governor Gary Johnson, Santa Fe, New Mexico (1998); the National Medal of Arts awarded by President Clinton and the National Endowment for the Arts (1998); the Distinguished Artist Award for Lifetime Achievement by the College Art Association (1998); the Golden Lion for Contribution to Contemporary Art at the Venice Biennale (1997); the Oskar Kokoschka Prize awarded by the Austrian government (1992); the Alexej von Jawlensky Prize awarded by the city of Wiesbaden, Germany (1991); and election to the American Academy and Institute of Arts and Letters, New York (1989). Martin’s work can be found in virtually every major public collection in the United States, including the Albright-Knox Art Gallery, Buffalo, NY; The Chinati Foundation/La Fundación Chinati, Marfa, TX; Dia Center for the Arts, NY; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Los Angeles Museum of Contemporary Art; The Menil Collection, Houston, TX; The Metropolitan Museum of Art, New York, NY; The Museum of Modern Art New York, NY; National Gallery of Art, Washington, D.C.; The Nelson-Atkins Museum of Art, Kansas City, MO; San Francisco Museum of Modern Art, CA; Solomon R. Guggenheim Museum New York, NY; The Wadsworth Atheneum Museum of Art, Hartford, CT; Walker Art Center, Minneapolis, MN; and Whitney Museum of American Art, New York, among others. For more information about Agnes Martin: The ‘80s: Grey Paintings, please contact the Public Relations department of The Pace Gallery at 212.421.8987. For general inquiries, please email info2@thepacegallery.com; for reproduction requests, email reprorequest@thepacegallery.com.
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News

The first time I saw Agnes Martin’s work in a gallery space was at Dia:Beacon. As so many others have no doubt done too, I went there alone, to escape the city. It was a crisp Fall day and on the train ride up, the Hudson river flickered through the window in flashes of green and silver. I saw a lot of work that day that sent me home on a new trail of thought – but Martin’s work in particular stayed with me. This week – years after that first sighting – I went to Agnes Martin’s most recent retros

You could hear David Byrne’s installation Tight Spot—which opened yesterday beneath the High Line next door to The Pace Gallery’s 25th Street branch—long before you saw it. The piece is a large inflatable globe, crammed beneath the old re-appropriated train track in a small enclave off the street. The artist and former Talking Head recorded his voice and processed it so that, played through speakers, it rumbled and echoed, sounding like bombs hitting or distant battle drumming. The sound filled t