The mesmerizing Agnes Martin survey, organized by the Tate Modern and now gracing the Guggenheim Museum’s rotunda (to Jan. 11), enraptured me from the start: In the pocket gallery just off the first ramp is a perfectly lit, glowing array of “The Islands,” 1979, a series of 12 panels owned by the Whitney Museum that can make you feel mesmerized and even a little woozy, if you stare long enough to allow them to overcome you.
The problem with these rhapsodies in modulated whites, lightly delineated with pencil, is that they defy photographic reproduction. You gotta be there.
Here, for what it’s (not) worth, is one of them:
I came away with the same feeling that I had after experiencing the Museum of Modern Art’s riveting display of Jacob Lawrence‘s “Migration Series”: These powerful tours de force demand to be seen in full at all times (conservation exigencies permitting), whether at their home institutions or on loan. Anything less is a dereliction of curatorial duty.
For now, though, join me as I tweet my way through what, to me, was not so much an exhibition as an enchantment:
Few shows have looked as good @Guggenheim as Agnes Martin. Ramps’ horizontal lines complement those of her paintings pic.twitter.com/cNY2N2sWHR
— Lee Rosenbaum (@CultureGrrl) October 7, 2016
Soft lighting on the bays caresses the paintings’ soft, subtle surfaces. This one, 1975, is from @DiaArtFndn. pic.twitter.com/mAt53NxmyB
— Lee Rosenbaum (@CultureGrrl) October 7, 2016
You need to stand as close to the #AgnesMartin works as @Guggenheim‘s platforms permit in order to perceive textures. pic.twitter.com/TUVmwrvm0f
— Lee Rosenbaum (@CultureGrrl) October 7, 2016
White Flower, 1960, gift to @Guggenheim from artist Lenore Tawney, was 1st #AgnesMartin to enter a museum collection pic.twitter.com/tvxQ6kBmkK
— Lee Rosenbaum (@CultureGrrl) October 7, 2016
This glitzy 1963 gold leaf #AgnesMartin painting from @MuseumModernArt is perversely complemented by Cattelan’s gold toilet, now @Guggenheim pic.twitter.com/YebGgfp9iJ
— Lee Rosenbaum (@CultureGrrl) October 7, 2016
Pro tip: Don’t spoil your reverie (as I did) at ethereal, trance-inducing @Guggenheim #AgnesMartin show by flushing Cattelan’s golden toilet pic.twitter.com/MoZ7xXy3al
— Lee Rosenbaum (@CultureGrrl) October 6, 2016
Wall text @Guggenheim #AgnesMartin show alludes to early portraits & landscapes, displays none. Here’s “Nude,” 1947, from @NPG‘s “Hide/Seek” pic.twitter.com/Tfaxs11XgG
— Lee Rosenbaum (@CultureGrrl) October 7, 2016
Some @Guggenheim exhibition design pro decided that boxy, uncomfortable seats better suited #AgnesMartin‘s aesthetic than usual cushy ones. pic.twitter.com/B2dOsm1a48
— Lee Rosenbaum (@CultureGrrl) October 7, 2016
Don’t miss the 2 short films @Guggenheim reading room, showing #AgnesMartin painting & being interviewed: “I do not think when I paint.” pic.twitter.com/GNzEgYGZH5
— Lee Rosenbaum (@CultureGrrl) October 7, 2016
Of all the ethereal paintings in @Guggenheim #AgnesMartin show, her last, from 2004, most transports us to a mysterious other-worldly realm pic.twitter.com/Vn9eOUaxV8
— Lee Rosenbaum (@CultureGrrl) October 7, 2016
12 mesmerizing #AgnesMartin panels, “The Islands” from @WhitneyMuseum should remain on permanent display somewhere. pic.twitter.com/jeVgpxIP5u
— Lee Rosenbaum (@CultureGrrl) October 7, 2016
The @whitneymuseum, “liked” my tweet saying that its #AgnesMartin “The Islands,” now @Guggenheim, should be on permanent display. So do it!
— Lee Rosenbaum (@CultureGrrl) October 7, 2016