Clean lines: Tate Modern hosts Agnes Martin's skillful art of essentiality

Tiny flecks of dust, nibs of paint or protruding knots in the weave of a canvas catch your eye as you follow the smooth, unerring lines of Agnes Martin across her painterly plains of colour. Something of an outsider, Martin grew up in Saskatchewan, Canada and only graduated from art school aged 40. She then retreated to Taos, New Mexico to paint and teach art, although Georgia O'Keefe, Mark Rothko and others had already found spiritual homes in the area.
The temptation is still to see aerial landscapes, parched fields and horizons in her early works, titled 'Beach' (1958) or 'Harbor' (1957). Yet anything resembling a tree or a sunset was very quickly replaced by simple grids of hand-ruled pencil lines and bands of pastel-pale reds, blues and yellows. There are still traces of never-ending fields and powerlines, earthy tans, taupes, khakis and ochres, but Martin went on to claim that her contemplative works were actually 'anti-nature'. Indeed, later pictures in Tate Modern's superb retrospective resemble nothing more than grey concrete slabs or grids of skyscraping windowpanes.
Martin was 'discovered' by a gallery owner in 1957 and encouraged to move to New York, where she straddled the still dominant school of Abstract Expressionism (she was the same age as Jackson Pollock) and the early seedlings of Minimalism, another boys-only club that she felt even less kinship with. In 1967 she quit the art world for an extended road-trip, ending up back in the desert in an adobe mud hut she built for herself. But making claims of unadulterated artistic naivety or isolated genius on her behalf just don't wash, if you will excuse the pun. Neither are these tasteful, abstract wall-fillers (although her prices are through the roof).
Martin was skilled, calculating - destroying many works she deemed below par - and often bold in her painterly constructions, as can be seen in the magnificent, crowning room of The Islands I-XII (1979), an immense series of blindingly brilliant, off-white harmonies stretching off into infinity. Elegant and tough, sure, but never effortless or easy on the eye, Martin's soft-edge abstractions and too-watery paintings still seem fresh 50 years on.
'On a Clear Day' (1973)'s title resonates with the light beige background given to the abstract work. The geometrical cubic repetition further emphasises this clarity, as the thin dark lines defining them creates negative space.
'Untitled 1977' highlights the use of both pencil and paint in Martin's work, as the pastel-coloured planes are firmly delineated by thin pencil-lines.
Friendship (1963) represents rigorous geometrical repetition on a yellowish background. Perhaps this abstract image echoes precisely the meaning Martin attributes to friendship: an elongated form of continuity.
This Untitled painting from 1974 unites six rectangular shapes, seemingly divided into three planes – the light red one in the centre being surrounded by two peripheral blue ones.
'Untitled' (1977) demonstrates both pencilwork and painting, highlighting the experimental nature of Martin's work. The concern to achieve perfect geometry is also present here.
Martin's 1959 Untitled painting clearly plays with the notion of texture, as the thick black and light grey lines separating the larger planes of the painting seem to simultaneously demarcate a technical change in the action of painting. Indeed, the former violet part seems rough, raw and fragmented whereas the latter grey portion appears to apply a fluid brushstroke.
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
The Heavenly Race (Running) c.1959, is composed of two distinctive halves: the upper half portrays elongated circular drawings while the second half is empty. This abstract representation of 'running,' as expressed by Martin's title, pokes our imagination and forces us to go beyond mere representative and pictorial reality.
Untitled #10, created in 1975, once again demonstrates Martin's technique and dual use of materials. The light pink and orange planes, in unison, possess relaxing qualities and are subtle to the eye.
Martin's 1990 Untitled work resembles an empty music sheet, with similar black lines and separation marks.
Untitled #5 1998, Kunstsammlung Nordrhein-Westfalen, Düsseldorf.
This special work, created in 2003, breaks Martin's traditional approach of ubiquitous horizontality. Here, two triangles are placed in the centre of the canvas, affirming their presence through the imposing colour black. The artwork now belongs to the Fondation Louis Vuitton in Paris.
'Happy Holiday,' completed in 1999, alternates two rectilinear planes of light blue and peach, with seemingly identical dimensions and properties.
Gratitude 2001, Private collection.
Head and shoulders portrait of Martin at her house near Cuba, New Mexico, 1974. This phograph was taken after a seven-year period of nomadism Martin undertook, escaping the rambunctious city life by wandering numerous regions of the country in a pickup truck and camper.
ADDRESS
Tate Modern
Bankside
London SE1 9TG
-
Inside Kazakhstan’s brutalist Tselinny cinema – now a hub for contemporary culture
Tselinny Center of Contemporary Culture, a modernist landmark redesigned for its new purpose by Asif Khan, gears up for its grand opening in Kazakhstan
-
Oliver Spencer’s orbiting installation offers a meditative shopping experience during London Design Festival
At Oliver Spencer’s Shoreditch store, a sensory light installation by Studio Rhythmics offers a calming moment during LDF
-
These benches are made from £2.5m worth of shredded banknotes
You could be sitting on a fortune this London Design Festival, as the Bank of England Museum explores the creative repurposing of waste with furniture made from decommissioned banknotes
-
Meet Malak Mattar, the Palestinian artist behind the 'Together for Palestine' concert at London's Wembley Arena
The London-based artist curates a landmark concert of music and art in support of Gaza, alongside Brian Eno, James Blake, Jamie xx, Neneh Cherry and more
-
Beloved British screenwriter Dennis Potter inspires an exhibition with a difference at Studio Voltaire
Hilary Lloyd's multi-faceted exhibition at Studio Voltaire considers Dennis Potter's life and work, from much-loved TV classics to power inequalities
-
Ralph Steadman has worked with everyone from Hunter S. Thompson to Travis Scott and Quavo – now, the Gonzo illustrator is celebrated in London
A new exhibition provides a rare opportunity to experience the inimitable work and creativity of Gonzo illustrator Ralph Steadman up close. Just don’t call it a ‘style’.
-
Five of the biggest art exhibitions to see in London in 2026
From Marilyn Monroe, to David Hockney and Tracey Emin – get these art exhibitions in your diary now
-
Out of office: the Wallpaper* editors’ picks of the week
With the return of back-to-school, it's back to business for the Wallpaper* team, who’ve been making the rounds at fashion pop-ups and pavilion launches. Elsewhere, we’ve been indulging in new literature and old restaurants, and taking in a farewell exhibition at a landmark gallery...
-
From art to fashion, and back again: Jonathan Schofield’s figurative work is back in style
After graduating from London’s Royal College of Art, Jonathan Schofield began a career as a creative director at Stella McCartney. Now, he has returned to his first love, painting
-
Watch: artist Shezad Dawood lights up The Gaumont, King’s Road’s creatively focused new hub
In our short film, meet the artist, see his new work in the making, and discover more about The Gaumont
-
Out of office: the Wallpaper* editors’ picks of the week
Here in the UK, summer seems to be fading fast. Moody skies and showers called for early-autumn rituals for the Wallpaper* team: retreating into the depths of the Tate Modern, slipping into shadowy cocktail bars, and curling up with a good book