Urgent Museum Notice

Agnes Martin

A black-and-white photograph of a light-skinned, older woman gazing head-on at the viewer. She has short, light colored hair; wears a dark, buttoned-up cardigan with the wings of a white collar peeking out, and the high-backed chair she sits in is decorated with leaf patterns.

Photo by Timothy Greenfield-Sanders; Courtesy of the photographer, greenfieldsanders.com

1912–2004

Martin was born in Macklin, Saskatchewan, Canada, and grew up in Vancouver. In the United States in the 1930s and 1940s,  she studied art and taught on both coasts. She became an American citizen in 1950.

Splitting her time between New Mexico and New York, where her neighbors included the pop artists Robert Indiana and James Rosenquist, Martin exhibited at Betty Parsons Gallery beginning with her first solo show in 1958. Martin’s early style was realistic and then shifted to Surrealism.  She eventually developed her signature abstract compositions dominated by measured grids.

The rational grid system and led critics to group her with Minimalist painters Sol LeWitt and Frank Stella. She preferred the label Abstract Expressionist because she imbued her paintings with personal spiritual content. This insistence on content was contrary to the hard-edged, pure formalism of the Minimalists.

In 1967, the artist settled in New Mexico, where she lived in reclusion for the next three decades and stopped painting for seven years. In 1974, she began to paint again, but with a renewed use of color and switched her palette from pale, pastel shades to bright hues.

Artist Details

  • Name

    Agnes Martin
  • Birth

    Macklin, Canada, 1912
  • Death

    Taos, New Mexico, 2004
  • Phonetic Spelling

    AG-nehs MAHR-tehn

Works by Agnes Martin

The Wall #2

Agnes Martin is renowned for her paintings and prints of grids drawn with faint lines and sometimes filled in with pale, airy colors.

Martin’s aesthetic is spare, but she differed from her Minimalist contemporaries who typically left little trace of their touch in their artworks. Strokes or drips of pigment are often visible, and, characteristically, the drawn lines in The Wall...

Painting with nine by twenty-six grids formed by pencil on a textured, gray background. Tiny silver nail heads hug the top and bottom of each section. Exact in design, the effect is one of imperfection as the lines are not perfectly straight and the nails do not totally line up.