Pace Galleries

艾格尼丝 马丁

Agnes Martin / Navajo Blankets

Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York. Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York..

Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York. Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York..

Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York. Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York..

Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York. Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York..

Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York. Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York..

Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York. Installation view, "Agnes Martin / Navajo Blankets," Pace Gallery, New York..
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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 / Navajo Blankets

    New York—Pace Gallery is pleased to present an exhibition featuring paintings by Agnes Martin alongside wearing blankets by masterful Navajo (Diné) weavers. The first exhibition of its kind, Agnes Martin / Navajo Blankets premiered at Pace’s gallery in Palo Alto in September, and will be on view at its gallery at 537 West 24 Street in New York from November 14 – December 22, 2018. Featuring a selection of paintings created by Martin throughout her career, together with exceptional Navajo handwoven textiles from the 19th century, the exhibition will illuminate parallels between these exquisitely-crafted and transcendent bodies of work.

    Most of the woven works in the exhibition were created in the form of the “chief-style” blankets by Navajo women working on indigenous vertical looms in their homes. Developed beginning in the 1750s, this bold-banded style worn around the shoulders by both men and women became a popular object of trade to high-level members of other tribes, military officers, and travelers throughout the American West, Southwest, and Northern Plains. By the mid-19th century, the Navajo chief blanket was one of the most valued garments in the world. The design spectrum of chief blankets includes four inter-figured phases, defined by their increasingly elaborate banding, coloration, and placement of foreground motifs. The chief blankets in this exhibition span the full range from first through fourth phases plus unusual variants. They and several classic serapes, dresses, and mantas (shawls) represent exceptionally rare examples of each type, rivaling museum and private collections worldwide.

    Beyond their value as trade items, classic Navajo textiles are celebrated for their ideal manifestations of harmony and balance as expressed in Navajo culture and philosophy. While the Navajo language has no singular term for “art,” the powerfully descriptive word “hózhó” refers to harmony and balance in both aesthetic and intrinsic forms, a state of being where the natural and the supernatural can coexist. This concept infuses Navajo blanket-weaving as well as Navajo religious origin stories. These narratives relate that Na’ashjeii Asdzaa, Spider Woman, taught spinning and weaving to the earliest Navajo people to contribute to their well-being. A Holy Person and key figure in the Navajo pantheon, Spider Woman is revered as the first Navajo weaver and a source of hózhó. The luminous Navajo blankets on exhibit embody a stately yet playful sense of harmony and balance, through the light and depth expressed within each broad band derived from natural sheep’s colors and through the rich red and indigo-dyed blue foreground elements that seem to float atop the atmospheric backgrounds.

    While Martin took no direct inspiration from the aesthetics of Navajo weaving in her approach to painting, she spent much of her life in New Mexico, and the region’s cultural history and artistic production suffused her experience. Using a limited color palette and a geometric vocabulary, her works are inscribed with lines, grids, or simple shapes that hover over subtle grounds of color. Maximizing the strength of pure abstraction, she explored space, metaphysics, and internal emotional states throughout her practice. As exemplified by Martin’s paintings on view in the exhibition, a profound reverence for the transcendent power of balance thrives within her work. By placing these two bodies of work in dialogue with one another for the first time, the exhibition encourages the discovery of their compelling resonances and invites new appreciation for their respective emotional impact and contributions to our shared visual culture.

    “We are honored to present such exquisite and powerful works of art together for the first time, and thrilled that we can share the dialogue that this exhibition will evoke with our audiences on both coasts,” said Marc Glimcher, Pace Gallery President and CEO. “Agnes Martin has been such a fundamental artist to Pace for over 40 years, and it has been incredibly rewarding and enlightening to examine her work through a new lens. What this exhibition asserts so clearly is the idea that the meditative practice of art making has been integral to women artists throughout history, even if they weren’t always recognized as such. Here are two prime examples of how meditations on perfection and balance can inspire society at large and be impactful forces for introspection and transcendence.”

    On the occasion of the bicoastal exhibition, Pace will publish the first catalogue exploring the resonances between classic textiles of the Navajos and the work of Agnes Martin. The forthcoming catalogue will feature contributions from art historian and writer Nancy Princenthal, author of Agnes Martin: Her Life and Art (2015), and Ann Lane Hedlund, cultural anthropologist and an expert in Navajo weaving.

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News

To coincide with the exhibition "Agnes Martin / Navajo Blankets" at Pace Gallery in New York, we invite you to join us on Tuesday, December 11, from 6:30–8 PM for a conversation with Tiffany Bell, Editor of Agnes Martin Catalogue Raisonné, and David Grosz, President of Artifex Press, at 537 West 24th Street. Tiffany Bell is Editor at Large of Artifex Press and Editor of the Agnes Martin Catalogue Raisonné. Bell was a co-curator of the 2015-2017 traveling Martin retrospective that visited the T

On the occasion of Agnes Martin / Navajo Blankets, Pace has organized a panel discussion between Melissa Cody, a fourth generation Navajo weaver and textile artist, Ann Lane Hedlund, cultural anthropologist and an expert in Navajo weaving, and Nancy Princenthal, author of Agnes Martin: Her Life and Art (2015). The panel will be moderated by independent curator and writer Candice Hopkins. The event is free and open to the public, but space is limited.   Thursday, November 15 6:30 PM – 8 PM