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COPYRIGHT & CREDITS

 

 

ACKNOWLEDGEMENTS

From the Author

Many thanks to the wonderful team at the Art Canada Institute, especially Sara Angel, Anna Hudson, Michael Rattray, Kendra Ward, Lara Hinchberger, and Stephanie Burdzy; it was a privilege to be invited to engage with the life and art of such a fascinating artist, and I couldn’t imagine sharing this journey with more enthusiastic collaborators. Thank you also to the anonymous peer reviewers who greatly contributed to this manuscript. I would like to acknowledge my colleagues at the National Gallery of Canada and single out Cyndie Campbell and Philip Dombowsky at the Library and Archives for their exceptional resources and research support. Thank you to Tiffany Bell and Christa Martin for being so willing to share their knowledge and time. I am also grateful to The Sabourin Family Foundation for their generous patronage. Finally, I would like to extend a profound thank you to my wife, Amy, for her support and encouragement.

 

From the Art Canada Institute

The Art Canada Institute gratefully acknowledges the generosity of The Sabourin Family Foundation, the Title Sponsor of this book.

 

The Art Canada Institute gratefully acknowledges the other sponsors of the 2019–2020 Canadian Online Art Book Project: Alexandra Bennett in memory of Jalynn Bennett, Anonymous, Cowley Abbott, Kiki and Ian Delaney, The Jay and Barbara Hennick Family Foundation, Scotiabank, and Bruce V. Walter.

 

We also sincerely thank the Founding Sponsor for the Art Canada Institute: BMO Financial Group; and the Art Canada Institute Patrons: Marilyn and Charles Baillie, Butterfield Family Foundation,* Christopher Bredt and Jamie Cameron, David and Vivian Campbell,* Connor, Clark & Lunn Foundation, Albert E. Cummings,* the Fleck family,* Roger and Kevin Garland,* Glorious and Free Foundation,* Charlotte Gray and George Anderson, The Scott Griffin Foundation,* Jane Huh,* Lawson Hunter, Gershon Iskowitz Foundation,* Alan and Patricia Koval Foundation, Phil Lind,* Nancy McCain and Bill Morneau,* Alistair Mitchell, John O’Brian, Gerald Sheff and Shanitha Kachan,* Stephen Smart,* Nalini and Tim Stewart,* Tina Tehranchian, and Robin and David Young.*
 
We thank our Lead Benefactors: Alexandra Baillie, Alexandra Bennett and the Jalynn Bennett Family Foundation,* Grant and Alice Burton, Kiki and Ian Delaney,* Jon S. and Lyne Dellandrea,* Michelle Koerner and Kevin Doyle,* Sarah and Tom Milroy,* Partners in Art,* Sandra L. Simpson,* Pam and Michael Stein,* and Sara and Michael Angel.*

 

*Indicates a Founding Patron of the Art Canada Institute

 

The ACI gratefully acknowledges the support and assistance of the Art Gallery of Ontario (Tracy Mallon-Jensen); Art Mûr (Rhéal Olivier Lanthier); Art Resource (John Benicewicz); Eli Attie; Tiffany Bell; Kathleen Brennan; Cindy Brown; Tammi Campbell; Centre for Creative Photography, The University of Arizona (Leigh Grissom); Cleveland Museum of Art (James Kohler); Columbia University Archives (Jocelyn Wilk); Contini Contemporary (Sandra Contini); Cranbrook Art Museum (Corey Gross); Guy Cross; Des Moines Art Center (Megan Cohen); Dia Art Foundation (Mollie Bernstein); Mitzi and Warren Eisenberg;  Ellsworth Kelly Foundation; Esker Foundation (Jill Henderson); Galerie Buchholz (Sabine Schiffer); Patricia Garcia-Gomez; Gerald Peters Gallery; Getty Research Library (Emily Park); Glenbow Museum (Daryl Betenia, Doug Cass, Kellie Moynihan); Michael Apolo Gomez; Fancesco Gorgoni; Hatje Cantz Verlag GmbH (Richard Viktor Hagemann); Stanley D. Heckman; Hirshhorn Museum and Sculpture Garden (Julia L. Murphy); Bill Jacobson; Mara-Gai Katz; Tina Larkin; Lenore G. Tawney Foundation (Kathleen N. Mangan); Patricia L Lewy; MacKenzie Art Gallery (Marie Olinik); Christa Martin; Mary Ellen Mark Library / Studio (Meredith Lue); Staci Matlock; Matthew Marks Gallery (Lexi Campbell); Modern West Fine Art (Shalee Cooper); Montreal Museum of Fine Arts (Linda-Anne D’Anjou and Marie-Claude Saia); National Gallery of Canada (Raven Amiro); Nelson-Atkins Museum of Art (Stacey Sherman); New York Times / REDUX Pictures (Crystal Henry, Dylan Martin); Rolla Olak; Pace Gallery (Davina Bhandari, Lindsay McGuire); Peyton Wright Gallery (Kevin Paul); Rosenberg & Co. (Emma Wipperman); Emily Royack; San Francisco Museum of Modern Art (David Rozelle); Susan Sharp; Lark Smothermon; Solomon R. Guggenheim Museum (Susan Wamsley); Thames & Hudson (Nancy Elder); Claude Tousignant; Isa Tousignant; University Libraries Center for Southwest Research and Special Collections, University of New Mexico (Nancy Brown); University of California Press (Karin Tucker); University of New Mexico Foundation (Suzanne A. Awen); Varley Art Gallery (Anique Glaude); Western Libraries Heritage Resources, Western Washington University (Tamara Belts, Rozlind Koester); Whitney Museum of American Art (Tara Hart and Micah Musheno); Donald Woodman (www.donaldwoodman.com); and Yale University Art Gallery (Kathleen Mylen-Coulombe).

 

ACI recognizes the private collectors who have given permission for their work to be published in this edition.

 

 


 

Image Sources

Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.

 


 

Credits for Banner Images

 

Biography: Agnes Martin with Level and Ladder, 1960, by Alexander Liberman. Photography Archive, Getty Research Institute, Los Angeles. © J. Paul Getty Trust.
Key Works: Agnes Martin, With My Back to the World, 1997. (See below for details.)
Significance & Critical Issues: Agnes Martin, contemporary still from Gabriel, 1976. (See below for details.)
Style & Technique: Agnes Martin, Falling Blue, 1963. (See below for details.)
Sources & Resources: Guy Cross, Agnes Martin’s studio table, Taos, New Mexico, c.2000s. Collection of the artist. © Guy Cross (www.guycross.com).
Where to See: Installation view of Agnes Martin at the Solomon R. Guggenheim Museum, New York, 2016–2017. © Solomon R. Guggenheim Foundation, New York. All Rights Reserved. Photo credit: David Heald.

 

 


 

Credits for works by Agnes Martin

 

The Bluebird, 1954. Collection of the Roswell Museum and Art Center, New Mexico. © Agnes Martin / SOCAN (2019).
Buds, c.1959. Collection of Anne and Wolfgang Titze, Switzerland. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). Photo credit: G.R. Christmas.
The City, 1966. The Cleveland Museum of Art, Ohio, Gift of Agnes Gund in memory of Wenda von Wiese, 1991 (1991.30). © Agnes Martin / SOCAN (2019).
Dancer No. I (L.T.), c.1956. Collection of Stanley D. Heckman, New York. © Agnes Martin / SOCAN (2019).
Desert Flower, 1985. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). Photo credit: G.R. Christmas.
Desert Rain, 1957. Private collection. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019).
Drift of Summer, 1957. Private collection, United Kingdom. © Agnes Martin / SOCAN (2019).
Earth, 1959. Collection of Dia Art Foundation, New York, Gift of Milly and Arne Glimcher in memory of Kirk Varnedoe (2004.002). Courtesy Dia Art Foundation. © Agnes Martin / SOCAN (2019). Photo credit: Bill Jacobson Studio, New York.
The Expulsion of Adam and Eve from the Garden of Eden, c.1953. Private collection, Denver, Colorado. © Agnes Martin / SOCAN (2019).
Falling Blue, 1963. Collection of the San Francisco Museum of Modern Art, Gift of Mr. and Mrs. Moses Lasky (74.96). © Agnes Martin / SOCAN (2019). Photo credit: Don Myer.
Friendship, 1963. Collection of the Museum of Modern Art, New York, Gift of Celeste and Armand P. Bartos (502.1984). © Agnes Martin / SOCAN (2019).
Gabriel, 1976, contemporary still photographed by Bill Jacobson from original film. Courtesy of Bill Jacobson and Pace Gallery, New York. © Agnes Martin / SOCAN (2019).
Gabriel, 1976, contemporary still photographed by Bill Jacobson from original film. Courtesy of Bill Jacobson and Pace Gallery, New York. © Agnes Martin / SOCAN (2019).
Gabriel, 1976, contemporary still photographed by Bill Jacobson from original film. Courtesy of Bill Jacobson and Pace Gallery, New York. © Agnes Martin / SOCAN (2019).
Gabriel, 1976, contemporary still photographed by Bill Jacobson from original film. Courtesy of Bill Jacobson and Pace Gallery, New York. © Agnes Martin / SOCAN (2019).
Gratitude, 2001. Glimcher Family Collection, New York. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). Photo credit: Kerry Ryan McFate.
Homage to Greece, 1959. Private collection. © Agnes Martin / SOCAN (2019). Photo credit: Christie’s.
Homage to Life, 2003. Collection of Leonard and Louise Riggio, New York. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). Photo credit: Ellen Labenski.
Little Children Playing with Love, 2001. Private collection. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). Photo credit: G.R. Christmas.
The Islands, 1961. Private collection, New York. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). 
The Islands I–XII, 1979. Collection of the Whitney Museum of American Art, New York, Purchase, with funds from The Sondra and Charles Gilman, Jr. Foundation, Inc. and Evelyn and Leonard A. Lauder (93.110a-l). © Agnes Martin / SOCAN (2019). Photo credit: Hiroko Masuike / The New York Times / Redux.
The Laws, 1958. Private collection, Switzerland. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). Photo credit: Ellen Page Wilson.
New Mexico Mountain Landscape, Taos, 1947. Collection of the University of New Mexico Art Museum, Albuquerque, New Mexico, Gift of Mercedes Gugisberg to the Raymond Jonson Collection (86.206). © Agnes Martin / SOCAN (2019).
Night Harbor, 1960. Private collection. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). Photo credit: Ellen Page Wilson.
Night Sea, 1963. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art (FC.459). © Agnes Martin / SOCAN (2019). Photo credit: Katherine Du Tiel.
On a Clear Day, 1973. Collection of the National Gallery of Canada, Ottawa, Purchased 1994 (37476.1-30). © Agnes Martin / SOCAN (2019).
Orange Grove, 1965. Private collection. © Agnes Martin / SOCAN (2019). Photo credit: Christie’s.
Portrait of Daphne Vaughn, c.1947. Peters Family Art Foundation. Courtesy of Gerald Peters Gallery, Santa Fe, New Mexico. © Agnes Martin / SOCAN (2019).
Reflection, 1959. Private collection. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019).
“Reflections,” transcribed by Lizzie Borden, Artforum 11, no. 8 (April 1973), page 38.
The Rose, 1964. Collection of the Art Gallery of Ontario, Toronto, Purchase with assistance from Wintario, 1979 (78/751). © Art Gallery of Ontario.
Self-Portrait, c.1947. Private collection. Courtesy of Ales Ortuzar. © Agnes Martin / SOCAN (2019).
Seven artworks installed with Donald Judd’s yellow benches (© 2019 Judd Foundation / Artists Rights Society (ARS), New York / SOCAN) in a purpose-built gallery designed by Martin, 1993–94, Agnes Martin Gallery, The Harwood Museum of Art, Taos, New Mexico. © Agnes Martin / SOCAN (2019). Photo credit: Tina Larkin.
Summer, 1965. Collection of Patricia L Lewy, New York. © Agnes Martin / SOCAN (2019).
The Tree, 1964. Collection of the Museum of Modern Art, New York, Larry Aldrich Foundation Fund (5.1965). © Agnes Martin / SOCAN (2019).
Trumpet, 1967. Collection of Mitzi and Warren Eisenberg. © Agnes Martin / SOCAN (2019).
Tundra, 1967. Collection of the Harwood Museum of Art of the University of New Mexico, Taos (2017.8). © Agnes Martin / SOCAN (2019). Photo credit: Rose Daniels.
Untitled, c.1946. Private collection, California. © Agnes Martin / SOCAN (2019).
Untitled, c.1949. Private collection. © Agnes Martin / SOCAN (2019).
Untitled, 1952. Collection of the Museum of Modern Art, New York, Gift of Paul F. Walter (549.1990). © Agnes Martin / SOCAN (2019).
Untitled, 1953. Collection of the Harwood Museum of Art of the University of New Mexico, Taos, Mildred Tolbert Collection, M.A. Healy Family Foundation Purchase Fund (1993.17). © Agnes Martin / SOCAN (2019). Photo credit: James Kent.
Untitled, 1955. Private collection, Houston. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). Photo credit: Kerry Ryan McFate.
Untitled, c.1957. Collection of Dia Art Foundation, New York, Gift of Milly and Arne Glimcher (2002.001). Courtesy of Dia Art Foundation. © Agnes Martin / SOCAN (2019). Photo credit: Bill Jacobson Studio, New York.

 

Untitled, 1960. Collection of Dia Art Foundation, Gift of Milly and Arne Glimcher (2003.178). Courtesy Dia Art Foundation. © Agnes Martin / SOCAN (2019). Photo credit: Bill Jacobson Studio, New York.
Untitled, 1960. Collection of the Museum of Modern Art, New York, Acquired with matching funds from The Lauder Foundation and the National Endowment for the Arts (107.1979). © Agnes Martin / SOCAN (2019).
Untitled, 1974. Collection of the Cranbrook Art Museum, Bloomfield Hills, Michigan, Gift of Rose M. Shuey, from the Collection of Dr. John and Rose M. Shuey (CAM 2002.22). © Agnes Martin / SOCAN (2019). Photo credit: R.H. Hensleigh.
Untitled, 2004. Private collection. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). Photo credit: Joerg Lohse.
Untitled #1, 2003. Private collection. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). Photo credit: Ellen Labenski.
Untitled #3, 1974. Collection of the Des Moines Art Center, Iowa, Nathan Emory Coffin Collection of the Des Moines Art Center, Iowa, Purchased with funds from the Coffin Fine Arts Trust, and partial gift of Arnold and Mildred Glimcher, (1992.12). © Agnes Martin / SOCAN (2019). Photo credit: Rich Sanders.
Untitled #3, 1989. Private collection, New York. Courtesy of Pace Gallery, New York. © Agnes Martin / SOCAN (2019). Photo credit: Kerry Ryan McFate.
Untitled #12, 1975. Collection of Dia Art Foundation, New York, Gift of Louise and Leonard Riggio (2005.12). Courtesy of Dia Art Foundation. © Agnes Martin / SOCAN (2019). Photo credit: Bill Jacobson Studio, New York.
Untitled #13, 1975. Private collection. © Agnes Martin / SOCAN (2019). Photo credit: Christie’s.
Untitled (Landscape South of Santa Fe, N.M.), 1947. Private collection. Courtesy of Gerald Peters Gallery, Santa Fe, New Mexico. © Agnes Martin / SOCAN (2019).
Water, 1958. Private collection, Chicago. © Agnes Martin / SOCAN (2019). Photo credit: Joan Harris.
White Flower II, 1985. Collection of the Nelson-Atkins Museum of Art, Kansas City, Missouri, Purchase: Nelson Gallery Foundation (F88-23). © Agnes Martin / SOCAN (2019). Photo credit: Nelson-Atkins Media Services / Tiffany Matson.
White Flower, 1960. Collection of the Solomon R. Guggenheim Museum, New York, Gift of Lenore Tawney, 1963 (63.1563). © Agnes Martin / SOCAN (2019).
With My Back to the World, 1997. Ovitz Family Collection, Los Angeles; fractional and promised gift to the Museum of Modern Art, New York (514.1998.a-f). Courtesy of Pace Gallery. © Agnes Martin / SOCAN (2019).
Words, 1961. Private collection. © Agnes Martin / SOCAN (2019). Photo credit: Christie’s.

 


 

Credits for Photographs and Works by Other Artists

 

 

Abraham, 1949, by Barnett Newman. Collection of the Museum of Modern Art, New York, Philip Johnson Fund, 1959 (651.1959). © 2019 Barnett Newman Foundation.
Abstract Painting, 1957, by Ad Reinhardt. Collection of the Museum of Modern Art, New York, Purchase, 1969 (246.1969). © Estate of Ad Reinhardt.
Agnes Martin, 1978, photograph by Dorothy Alexander. © Dorothy Alexander Photographer. www.dorothyalexander.com
Agnes Martin, Cuba, New Mexico, 1974, photograph by Gianfranco Gorgoni. © Gianfranco Gorgoni.
Agnes Martin, holding cat, with her siblings Maribel, Malcolm Jr., and Ronald, 1920s, photographer unknown. Collection of the Martin Family Archive. Courtesy of Christa Martin.
Agnes Martin in the Agnes Martin Gallery of the Harwood Museum of Art, Taos, New Mexico, 2002, photograph by Patricia Garcia-Gomez. ©patriciagarciagomez
Agnes Martin in her studio, c.1955, photograph by Mildred Tolbert. Collection of the Mildred Tolbert Archive, The Harwood Museum of Art, Taos, New Mexico. © Estate of Mildred Tolbert.
Agnes Martin in her studio, Taos. © Lark Smotherman.
Agnes Martin in New Mexico, 1940s, photographer unknown. Courtesy of Peyton Wright Galleries, Santa Fe, New Mexico.
Agnes Martin in New Mexico, c.1947, photographer unknown. Courtesy of Peyton Wright Galleries, Santa Fe, New Mexico.
Agnes Martin near her property in Cuba, New Mexico, 1974, photograph by Gianfranco Gorgoni. Courtesy of the artist. © Gianfranco Gorgoni.
Agnes Martin’s senior class photo on page 33 of Klipsun, the annual publication of the senior class of the Washington State Normal School, 1936 (detail). Special Collections, Heritage Resources, Western Libraries, Western Washington University, Bellingham, Washington. Photo credit: Western Libraries Heritage Resources, Western Washington University.
Agnes Martin with Arne Glimcher in front of her studio in Cuba, New Mexico, 1974, photograph by Fred Bueller. 
Agnes Martin with Ellsworth Kelly in his studio at 3-5 Coenties Slip, New York, 1957, photograph by Hans Namuth. Collection of the Center for Creative Photography, University of Arizona, Tucson, Arizona. © 1991 Hans Namuth Estate.
Agnes Martin with Ellsworth Kelly on Wall Street, 1958, photograph by Hans Namuth. Collection of the Center for Creative Photography, University of Arizona, Tucson, Arizona. © 1991 Hans Namuth Estate.
Agony, 1947, by Arshile Gorky. Collection of the Museum of Modern Art, New York, A. Conger Goodyear Fund (88.195). © 2019 Estate of Arshile Gorky.
Blue, Green, Yellow, Orange, Red, by Ellsworth Kelly. Collection of the Solomon R. Guggenheim Museum, New York (67.1833). Courtesy of Matthew Marks Gallery, New York. © Ellsworth Kelly Foundation.
Charred Beloved II, 1946, by Arshile Gorky. Collection of the National Gallery of Canada, Ottawa, Purchased 1971 (16690). © 2019 Estate of Arshile Gorky. Photo credit: Wikicommons.
Cover of Christina Bryan Rosenberger, Drawing the Line: The Early Work of Agnes Martin (2016). Courtesy of the University of California Press. © 2016 by the Regents of the University of California. 
Cover of Dieter Schwarz, ed., Agnes Martin: Writings/Schriften (1991). © Hatje Cantz Verlag GmbH, Berlin. Photo credit: Stephanie Burdzy.
Cover of Donald Woodman, Agnes Martin and Me (2015). © Donald Woodman /Artists Rights Society (ARS), New York. Photo credit: Donald Woodman.
Cover of exhibition publication for Agnes Martin Section 11 Exhibition, Betty Parsons Gallery, New York, December 29–January 16, 1959. Betty Parsons Gallery records and personal papers, circa 1920–1991, bulk 1946–1983, Archives of American Art, Smithsonian Institution, Washington, D.C.
Cover of Frances Morris and Tiffany Bell, eds., Agnes Martin (2015). © 2015 Tate, London; D.A.P. / Distributed Art Publishers, New York.
Cover of Nancy Princenthal, Agnes Martin: Her Life and Art (2015). © 2015 Thames & Hudson. Photo credit: Thames & Hudson, London.
Dear Agnes, October 1–December 31, 2017, by Tammi Campbell. Courtesy of the artist and the Esker Foundation. © Tammi Campbell. Photo credit: John Dean.
Left to right: Delphine Seyrig, Duncan Youngerman, Robert Clark, Ellsworth Kelly, Jack Youngerman, and Agnes Martin on the roof of 3-5 Coenties Slip, New York, 1958, photograph by Hans Namuth. Collection of the Center for Creative Photography, University of Arizona, Tucson, Arizona. © 1991 Hans Namuth Estate.
Emily Carr with her pets in the garden of her home at 646 Simcoe Street in Victoria, 1918, photographer unknown, Flora Alfreda Hamilton Burns fonds, BC Archives Collection, Royal BC Museum and Archives, Victoria, British Columbia (HP51747).
Lempêcheur de Tourner en Rond, by Claude Tousignant. Collection of the Yale University Art Gallery, New Haven, Connecticut, Richard Brown Baker, B.A. 1935, Collection (2008.19.304). © Claude Tousignant.
Entrance to Agnes Martin’s former studio and home in Galisteo, New Mexico, 1992, photograph by Mary Ellen Mark. Courtesy of Falkland Road Inc. © Mary Ellen Mark Library / Studio.
Ephemera collection installed in the exhibition Agnes Martin: The mind knows what the eye has not seen, MacKenzie Art Gallery, Regina, Saskatchewan, January 26, 2019–April 28, 2019, photograph by Don Hall. Courtesy of the MacKenzie Art Gallery.
Installation view of 10 exhibition at Dwan Gallery, Los Angeles, May 2–27, 1967. Dwan Gallery records, 1959–circa 1982, bulk 1959–1971, Archives of American Art, Smithsonian Institution, Washington, D.C.
Installation view of Agnes Martin, Whitney Museum of American Art, New York, November 6, 1992–January 31, 1993, photograph by Geoffrey Clements. © Whitney Museum of American Art.
Installation view of Agnes Martin: The mind knows what the eye has not seen, MacKenzie Art Gallery, Regina, Saskatchewan, January 26, 2019–April 28, 2019, photograph by Don Hall. Courtesy of the MacKenzie Art Gallery.
Installation view of Agnes Martin: Recent Paintings, The Pace Gallery, 142 Greene Street, New York, December 7, 1990–January 12, 1991. Courtesy of Pace Gallery, New York.
Installation view of Agnes Martin, Richard Tuttle: Crossing Lines, Pace Gallery, New York, November 2, 2017–January 27, 2018, photograph by Kerry Ryan McFate. Courtesy of Pace Gallery.
Installation view of Dear Agnes, October 1–December 31, 2017, by Tammi Campbell, in the exhibition Dear Agnes: Tammi Campbell, Agnes Martin, and Sarah Stevenson at the Esker Foundation, Calgary, September 22–December 21, 2018, photograph by John Dean. Courtesy of the artist and the Esker Foundation. © Tammi Campbell.
Installation view of documenta 5, Kassel, Germany, June 30–October 8, 1972, photographer unknown. Harald Szeeman papers, Getty Research Institute Special Collections, Getty Research Institute, Los Angeles. © J. Paul Getty Trust.
Khorkom, c.1938, by Arshile Gorky. Private collection. © 2019 Estate of Arshile Gorky. Photo credit: Sotheby’s.
Lenore Tawney in her Coenties Slip studio, New York, 1958, photograph by David Attie. Courtesy of the Lenore G. Tawney Foundation, New York.
Mandelman and Ribak, 1949, photograph by Justin Locke. Beatrice Mandelman and Louis Ribak Pictorial Collection (PICT 000-1002). Courtesy of the Center for Southwest Research and Special Collections, University of New Mexico Libraries, Albuquerque, New Mexico.
Mexico, undated c.1950s, by Beatrice Mandelman. Rosenberg & Co., New York. Reprinted with permission from the University of New Mexico Foundation, Albuquerque, New Mexico. Photo credit: Rosenberg & Co.
Mildred Kane and Agnes Martin playing cribbage in Kane’s cottage, Elk Lake, Oregon, 1940s, photographer unknown. Courtesy of Susan Sharp. Photo credit: Kathleen Brennan.
Mixed media map of Vancouver showing The School of Decorative and Applied Arts installed in the exhibition Agnes Martin: The mind knows what the eye has not seen, MacKenzie Art Gallery, Regina, Saskatchewan, January 26, 2019–April 28, 2019, photograph by Don Hall. Courtesy of the MacKenzie Art Gallery.
Orange Grove featured on the cover of Artforum 11, no. 8 (April 1973). Photo credit: Stephanie Burdzy.
Photograph of fifteen of the so-called Irascibles, November 24, 1950, published in Life magazine January 15, 1951, photograph by Nina Leen. Left to right, front row: Theodoros Stamos, Jimmy Ernst, Barnett Newman, James Brooks, and Mark Rothko; middle row: Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyfford Still, Robert Motherwell, and Bradley Walker Tomlin; back row: Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, and Hedda Sterne. Photo credit: Wikicommons.
Portrait of Mistress Mills in 1750, 1929, by Joan Miró. Collection of the Museum of Modern Art, New York, James Thrall Soby Bequest (1236.1979). © 2019 Successió Miró.
Residents of Coenties Slip, New York, 1958, photograph by Jack Youngerman. Left to right: Delphine Seyrig, Duncan Youngerman, Lenore Tawney, Jerry Matthews, Ellsworth Kelly (foreground), Robert Indiana (background), Dolores Matthews, and Agnes Martin. Courtesy of Washburn Gallery, New York. © Jack Youngerman.
Self-portrait, 1919, by Frederick Horsman Varley. Collection of the National Gallery of Canada, Purchased 1936 (4272). © Varley Art Gallery / Town of Markham.
The Slide Trail outside Taos, New Mexico, with Taos Mountain in the distance, 2018, photograph by Cindy Brown for the Taos News.
View of Main Street, Macklin, Saskatchewan, 1912, photographer unknown.
Wagons built as props for Agnes Martin’s second film, Captivity, Albuquerque, New Mexico, 1977, photograph by Donald Woodman. © Donald Woodman /Artists Rights Society (ARS), New York. 

 

BOOK CREDITS

Publisher

Sara Angel

 

Executive Editor and Associate Publisher

Michael Rattray

 

Web and Layout Director

Simone Wharton

 

French Editorial Director

Annie Champagne

 

Senior Editor

Rosemary Shipton

 

Senior Proofreader

Beverley Mitchell

 

Editor

Lara Hinchberger

 

Copy Editor

Cathy Gulli

 

Translator

Corinne Durin

 

French Copy Editor

Annie Champagne

 

French Proofreader

Christine Poulin

 

Senior Image Research Associate

Stephanie Burdzy

 

Layout Designer and Associate

Sam Mogelonsky

 

Digital Image Specialist

Maegan Hill-Carroll

 

French Layout Associate

Ophélie Henrard

 

Design Template

Studio Blackwell 

 


 

COPYRIGHT

© 2019 Art Canada Institute. All rights reserved.
 
Art Canada Institute
Massey College, University of Toronto
4 Devonshire Place
Toronto, ON M5S 2E1

 

Library and Archives Canada Cataloguing in Publication

 

Title: Agnes Martin : life & work / Christopher Régimbal.
Names: Régimbal, Christopher, 1982- author. | Container of (work): Martin, Agnes, 1912-2004.
Paintings. Selections. | Art Canada Institute, publisher.
Identifiers: Canadiana 20190197528 | ISBN 9781487102128 (HTML) | ISBN 9781487102135 (PDF)
Subjects: LCSH: Martin, Agnes, 1912-2004. | LCSH: Martin, Agnes, 1912-2004—Criticism and
interpretation. | LCSH: Painters—Canada—Biography. | LCGFT: Biographies.
Classification: LCC ND249.M369 R44 2019 | DDC 759.11—dc23

 

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