By Nancy Princenthal
The 1st biography of visionary artist Agnes Martin, the most unique and influential painters of the postwar interval. Over the process a profession that spanned fifty years, Agnes Martin's austere, serene paintings expected and helped to outline Minimalism, while she battled mental crises and carved out a solitary lifestyles within the American Southwest. Martin pointed out with the summary Expressionists yet her dedication to linear geometry prompted her to be linked in flip with Minimalist, feminist, or even outsider artists. She moved via a number of the liveliest paintings groups of her time whereas keeping a mythical reserve. "I paint with my again to the world," she says either first and foremost and on the end of a documentary filmed whilst she used to be in her overdue eighties. while she died at ninety-two, in Taos, New Mexico, it really is acknowledged she had now not learn a newspaper in part a century.
No titanic severe monograph exists in this acclaimed artist—the recipient of 2 occupation retrospectives in addition to the nationwide Medal of the Arts—who was once championed via critics as diversified of their techniques as Lucy Lippard, Lawrence Alloway, and Rosalind Krauss. additionally, no test has been made to explain her amazing lifestyles. the total engrossing tale, advised the following for the 1st time, Agnes Martin is key interpreting for a person attracted to summary paintings or the background of girls artists in the USA.
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Additional info for Agnes Martin: Her Life And Art
The hierarchy of pleasures goes together with that metaphysics of work and activity (practical and theoretical, thus occasionally contemplative) which is mixed up in the history of Western reason. Here again, Adorno and Horkheimer correctly point out that drug culture has always been associated with the other of the Occident, with oriental ethics and religion (Dialectic 63). So it cannot be said that the pleasure of drug use (la jouissance toxicomanique) is in itself forbidden. Rather we forbid a pleasure that is at once solitary, desocializing, and yet contagious for the socius.
This prohibition and this law are thus not simply products of artifice, not artifacts like any other—they are the very condition for the possibility of a respect for the law in our society. A prohibition is not necessarily bad, nor must it necessarily assume brutal forms—its methods may be complex and symbolically overdetermined; however, no one can deny that the survival of our culture presupposes this prohibition. It belongs fundamentally to the very concept of our culture, etc. From the moment we recognize the institutional character of a certain concept of drugs, drug addiction, narcotics, and poisons, two ethicopolitical axiomatics appear in conflict.
The drug addict, in our common conception, the drug addict as such produces nothing, nothing true or real. He is legitimate only in certain cases, secretly and inadmissibly, for certain portions of society, and only inasmuch as he participates, at least indirectly, in the production and consumption of goods. . A: With certain writers, those of the “Grand Jeu,”3 Burroughs currently, Artaud when he was with the surrealists, in his “Letter to the Legislator,” drugs are advanced as the object of a political battle, indeed the definitive political battle.
Agnes Martin: Her Life And Art by Nancy Princenthal