It’s hard enough compiling best-of lists for single cities — try the world.
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?
PORTLAND, Oregon — Walking through the Pearl district of Portland, (what many Portlanders refer to as the ‘bougy Pearl,’ native slang for what they believe to be an elitist and distinctly un-Portland neighborhood) and you could easily miss the entrance to the Lumber Room.
Ten years ago, the Morgan Library & Museum decided it was time to bring its collection up to speed on the art of drawing in the 20th and 21st centuries — a daunting task in itself, and even more improbable in the face of a superheated, late-capitalist art market: at the feast of the trophy-eaters, would the museum be forced to content itself with scraps?
CHICAGO — Jordan Scott makes pictures by collaging thousands of vintage postage stamps onto panel and canvas and coating the surface in resin.
Lost in a Metro-North commuter train daze, I watched the Wassaic Project pass by the train window without recognizing it. But the giant slingshot and makeshift teepees that decorated the lush green grass next to a towering grain elevator hinted that artists and their ilk may be nearby. Inside, I would find works by Eric Fischl, Agnes Martin, Gary Hume, Richard Prince, Dieter Roth, Rebecca Horn, Gerhard Richter and Imi Knoebel … among others.