After making millions off her paintings, abstract expressionist Agnes Martin became a secret and substantial benefactor to a range of causes in New Mexico. Here, photographs of the late artist’s philanthropic projects are made public for the first time.
This uninterrupted stroll through nearly six decades of work reminds one of how few other artists from her generation sustained such long, capable, trajectories in art-making.
A retrospective of the artist’s work at the Guggenheim Museum is worth seeing on more than one occasion, and it will probably appear differently each time.
When a cloud passes overhead, the paintings all but disappear.
How does one begin to tell — or unravel — the story of Agnes Martin (1912–2004), one of modern art’s most original and self-effacing artists, especially when so many aspects of her personal history are shrouded in mystery, misinformation, myth and misunderstanding?
In the artist’s exhibition Endless Journey, each tiny, delicate mark reads as a meditative act, imbued with rigorous attention, care, and focus.
The rules that structure Jane’s paintings take her to some place strange and fascinating, beautiful and perplexing, mind-boggling and riveting.
Dwan helped pave the way when women-owned galleries were not so easy to find, or run.
Featuring more than 180 works by iconic artists, the exhibition is the last project conceived and curated by the late art historian, curator, and critic Germano Celant.
The site-specific, high-tech, experiential festival is coming back to the streets of Taos.
Alyssa Alikpala, Erika DeFreitas, Rihab Essayh, Eve Tagny, and Alize Zorlutuna consider entanglements of bereavement, spirit, and love in this Toronto exhibition.
Armstrong, a controversial figure at the institution, held the position for over 14 years.