Agnes Martin, Kettle’s Yard, Cambridge, UK, Financial Times, By Robin Blake, Published: May 31 2010."Can a work of art be both empty of meaning and a pleasure to look at? It is a particularly tough question about abstract painting, because iconography, through which meaning and intention are found, is missing or concealed. Yet we always do find ourselves seeking out significance, and we look to the artist to help us."
[Agnes Martin's] "This work had all of minimalism’s patent characteristics: radically spare in appearance, made from immediately evident materials and with none of the traditional painting techniques that tend to make a holy mystery of artistic creation. After five years or so, most other leading minimalists grew bored and drifted in new directions but Martin remained on this track for the rest of her long life – no theory, no hiding of technique, no reference to actuality. “I paint,” she said, “with my back to the world.”
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