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After working odd jobs to support herself, Martin moved to the Southwest in 1946, taking art classes at the University of New Mexico. While she was in Albuquerque she met Georgia O’Keeffe, whom she found fun but a bit exhausting. (“When she left the room for a few minutes, I just had to lie down, right then and there,” Martin said.) Few of the portraits and landscape paintings Martin made in the 1950s have survived; she destroyed most of them after she swung to abstraction. But it was the work she was making then that attracted New York dealer Betty Parsons, who told Martin she’d give her a show—as long as she moved to the city. So back to New York she went, arriving via bus in 1957. She had a loft on the storied waterfront of Coenties Slip, where artists like Robert Indiana, Lenore Tawney, and Ellsworth Kelly were her neighbors. It became the hotbed of the art world, full of experimentation and collaboration. Martin considered herself one of the Abstract Expressionists, but she was also ushering in a new era for the nascent Minimalists. Yet as her acclaim grew her mental health suffered. “She had to go back to the place where she got the source code,” Glimcher explains. She left the cultural hub of New York for the deserts of New Mexico. It took nearly a decade for her to get back to making art—but once she did, she reached a new career high, with blue-chip gallery and museum shows and newfound financial stability.I Get Mean When Im Nervous Like A Bad Dog Shirt
She built herself an adobe home (twice). She had friends. She loved listening to Beethoven and speeding around in her white Mercedes. For all the mythos of Martin the solitary eccentric, she also loved to have a good time. “Agnes’s life was a work of art. She gave everything to this,” says Glimcher. It was deliberate to cap Pace’s 65th-anniversary celebrations with Martin’s work—not to mention work made at the twilight of her career. “When an artist lives to that age, the very last work is very, very important to look at. It is the most unpolluted work in their life.” What does it mean, then, that Martin’s last work was so full of exuberance? She knew suffering, and she could be tough. But she was able to clear the cobwebs, time and again, and let the light in. “Perfection is not necessary. Perfection you cannot have,” Martin said in an oft-quoted lecture from 1973. “If you do what you want to do and what you can do and if you can then recognize it you will be contented. You cannot possibly know what it will be but looking back you will not be surprised at what you have done.”
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