Agnes Martin Writings by Agnes Martin, Dieter Schwarz

By Agnes Martin, Dieter Schwarz

Agnes Martin's summary works adhere to no catalogue of principles yet look in its place as contemplative, intuitive symptoms. Her "floating abstractions," within which strains and loose bands of colour emerge nearly imperceptibly, should be reproduced merely with hassle. Her writings, at the different hand--although by no means meant as programmatic statements--offer beneficial readability concerning her personal works and poetic perception approximately paintings normally. considering that its unique e-book in 1991, this quantity of Martin's writings has been a primary record for libraries of artists, creditors, and critics. instead of making a choice on herself along with her Minimalist friends, Martin has aligned herself with the traditional Greeks, Egyptians, and chinese language, saying that "the functionality of artwork is . . . the renewal of thoughts of moments of perfection." together with illustrations of her works, those texts--including lectures, tales recorded through critic Ann Wilson, passages ostensibly prepared in associative sequences, and "fragmentary ideas"--form an eloquent artist's assertion by means of the author of "silent paintings."

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Sometimes we perceive, sometimes we receive and sometimes we respond but it is all the same. It is all awareness of realiry. In a Chinese vase we can see all that the artist rejected in order to have as close an approximation as possible to his response to realiry . We can feel as he felt looking at his work. The same response is made continually over a thousand years. Proving it is realiry. That is what art is about. There is no such thing as "contemporary" art. Any material may be used but the theme is the same and the response is the same for all art work.

When we wake we can recall that which we perceived while sleeping. Perception is a function. A function is part of a process. It does not identify. We are not identified by perception. We also think. Perception is the primary experience. Thinking; we consider that which we have perceived. It is a secondary experience. Thinking compares everything that we have perceived with everything that we are perceiving at the moment. r There is no difference between thinking and relative living. Thinking leads to pride, identification, confusion and fear.

Criticism and discontent expressed concretely are complaint and destructiveness. All negative expression is anti-life and anti-art. Besides recognition of the sublime there are two other elements in life that must be recognized and lived. They are self knowledge and potential. " If the answer is "I am a man" then the question becomes: "What IS a man. When you come to the end of all ideas you will still have no definitive knowledge on the subject. Then you will have to wait for inspiration. II3 Until you can clear up your true identity you will be tied to a repetition of this life.

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