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"Perfection You Cannot Have": On Agnes Martin and Grief, Cody Delistraty

theparisreview.org · 1,080 words · saved by 1 readers

AGNES MARTIN, NIGHT SEA, 1963. THE DORIS AND DONALD FISHER COLLECTION AT THE SAN FRANCISCO MUSEUM OF MODERN ART. COPYRIGHT THE ESTATE OF AGNES MARTIN / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK. PHOTOGRAPH BY KATHERINE DU TIEL. Sitting in the octangular room at the San Francisco Museum of Modern Art, surrounded by seven of Agnes Martin’s grid and row works, I settled first on Night Sea (1963), a turquoise blue painting laced with shimmering lines—a near-faultless impression of an ocean, as if illuminated for an instant by the moon or a lighthouse. Drift of Summer (1965), with its off-white grid, appears like a notebook crying out for ideas. Even the bright and broadly lined work Untitled #9 (1995), which Martin completed in her eighties, looked to me from afar impeccable, its colorful sections seeming to have been generated by a machine or a god. Here the spiritual resurfaced. In Martin’s grids and rows, the possibility not only of excellence—the apparent perfection of her lines—but of a

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