Agnes Martin was one of the lesser-known abstract painters of the second New York School. This is largely because she was a woman working in a male-dominated field. It’s also because her paintings didn’t really look like other AbEx paintings so people didn’t know what to make of them. It wasn’t until after the minimalist craze of the sixties that people started really taking her seriously and calling her a pioneer and a feminist icon and such.
Martin’s compositions are invariably rectilinear and orthogonal. She started off with pencilled grids but towards the end of her career (the period I am most interested in) she settled on horizontal and vertical pinstripes. Her colours are muted pales and pastels. The scale—middling. Not large. Not small.
Agnes Martin uses paint in thin, transparent washes with traces of the underdrawing still visible. No bravura or technical virtuosity. Just cool, quiet regularity without being too evidently adroit. The reiteration is mechanical but not mechanically reiterative. There are exquisitely subtle modulations but whether they are unconscious or staged is impossible to say. […]