By Agnes Martin, Dieter Schwarz
Agnes Martin's summary works adhere to no catalogue of ideas yet look as a substitute as contemplative, intuitive indicators. Her "floating abstractions," within which strains and unfastened bands of colour emerge virtually imperceptibly, should be reproduced purely with hassle. Her writings, at the different hand--although in no way meant as programmatic statements--offer important readability relating to her personal works and poetic perception approximately paintings as a rule. considering that its unique booklet in 1991, this quantity of Martin's writings has been a basic record for libraries of artists, creditors, and critics. instead of picking out herself along with her Minimalist friends, Martin has aligned herself with the traditional Greeks, Egyptians, and chinese language, announcing that "the functionality of paintings is . . . the renewal of stories of moments of perfection." together with illustrations of her works, those texts--including lectures, tales recorded via critic Ann Wilson, passages ostensibly prepared in associative sequences, and "fragmentary ideas"--form an eloquent artist's assertion via the writer of "silent paintings."
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Extra info for Agnes Martin Writings
It is a most important part of the work. There is the work in our minds, the work in our hands and the work as a result. In your work, in everyone's work, in the work of the world, the work that reminds of pride is gradually abandoned. Having in moments of perfection enjoyed freedom from pride we know that that is what we want. With this knowing we recognize and eliminate expressions of pride. I will now speak directly to the art students present as an illustration of the work, with particular references to art work.
There is successful work and work that fails but all of it is inspired. I will speak later about successful works of art but here I want to speak of failures. Failures that should be discarded and completely cut off. I have come especially to talk to those among you who recognize these failures. I want particularly to talk to those who recognize aU of their failures and feel inadequate and defeated, to those who feel insufficient - short of what is expected or needed. I would like somehow to explain that these feelings are the natural state of mind of the artist, that a sense of disappointment and defeat is the essential state of mind for creative work.
Most people have no realization whatever of the moments in which they are inspired. 61 Inspiration is pervasive but not a power. It's a peaceful thing. It is a consolation even to plants and animals. Do not think that it is unique. If it were unique no one would be able to respond to your work. Do not think it is reserved for a few or anything like that. It is an untroubled mind. Of course we know that an untroubled state of mind cannot last. So we say that inspiration comes and goes but really it is there all the time waiting for us to be untroubled again.