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The Art Assignment
Art I Can't Show You
Art I Can't Show You
The Art Assignment
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7:00 · Dec 20, 2018
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the
famous
art
dealer
Arne
glim
sure
tells
this
story
about
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0:02
the famous art dealer Arne glim sure tells this story about
0:05
the American artist Agnes Martin he
0:08
says that once his 11 year old granddaughter Isabelle
0:10
was visiting Martin and the little girl was holding on to a rose clipped
0:14
from a bush outside Martin's
0:16
house Agnes Martin took the rose and said to the girl is
0:19
this rose really beautiful
0:21
and Isabel said yes and then
0:23
Agnes Martin hid the rose behind her back and said
0:26
is the rose still beautiful yes
0:29
said Isabelle and then
0:31
Agnes Martin said you
0:32
see Isabelle beauty is in your mind not
0:36
in the rose today
0:38
I want to tell you about this group of six Agnes Martin paintings
0:41
called with my back to the world that Martin painted in 1997
0:45
near the end of her life Martin
0:47
often spoke about painting
0:49
with her back to the world she said she was not trying to paint
0:52
anything of or from
0:53
the world but was instead trying to paint inspiration
0:57
itself emotion itself when
1:00
I first saw these paintings
1:01
at the Museum of Modern Art in New York City I
1:04
was so moved by them that I started crying which
1:07
is weird because the paintings themselves are just horizontal
1:10
bands of faint color pastel
1:13
pinks and yellows and blues in some cases the colors are barely visible the
1:18
paintings 60 inches square look
1:21
like almost nothing okay
1:23
so some art is as moving in replicas
1:25
as it is in person like seeing the Mona Lisa under
1:28
glass while being jostled by hundreds of other people trying
1:31
to see the Mona Lisa is not at least in my experience more
1:35
profound than looking carefully at a good reproduction
1:38
of the Mona Lisa but with my back to the world loses
1:41
everything in the replication
1:43
of it you would see nothing
1:45
but bands of pastel
1:46
paint they're incredibly quiet paintings
1:50
and this is a deeply
1:51
unquiet visual space so
1:54
I'm not even gonna try you can google them if you want instead
1:58
I want to try to share these paintings with you by sharing
2:01
how they made me feel Agnes
2:03
Martin once said that from music
2:04
people accept pure emotion
2:06
but from art they demand explanation
2:09
but of course even offering that quote to you is a kind of explanation
2:13
it's a kind of explanation
2:15
to say that Martin famously
2:16
abandoned the New York art world in
2:18
1967 eventually settling in New Mexico
2:21
where she lived in a series of adobe
2:23
homes that she built herself its
2:25
explanation to say that she was gay to say that she was diagnosed
2:28
with schizophrenia that she was friends with artists
2:31
like ad Reinhardt and Bruce Nauman
2:33
that she lived alone for most
2:35
of her life its
2:36
explanation to say that at the time of her death in 2004
2:39
Agnes Martin had not read a newspaper
2:41
in over 50 years she
2:44
painted with her back to all of that and so
2:47
much more this is explanation to
2:49
after 20 years of becoming a progressively
2:52
more abstract painter struggling
2:54
everyday with her work she
2:57
was thinking one day in 1964
2:59
about the innocence of trees an
3:02
image appeared in her mind she
3:04
described it as lines
3:05
going this way and lines going that way and they
3:09
were innocent they looked like
3:11
innocence she called the resulting artwork the tree and it was a revelation for
3:15
Martin this gets at an old problem in art whether music or literature or
3:20
visual art or whatever it's
3:22
easy enough to paint a symbol
3:24
of innocence an unclothed
3:26
newborn baby say or the unlined
3:28
softly lit face of a maiden or a lamb or whatever but these are
3:33
not pictures of innocence
3:34
itself innocence has no shape or face it's an abstract
3:39
idea and of course metaphor can be a way into
3:42
those abstractions but when
3:44
over relied upon metaphor
3:46
becomes not just a crutch but
3:48
a falsehood if we start to conceive of innocence
3:51
as having the form of a lamb then
3:54
we've wrongly defined both lamb
3:56
and innocence what Martin tried to do was to paint emotion
4:01
itself to paint the deeply abstract
4:03
feelings that are so resistant
4:06
to direct expression or form and when
4:09
we can't label or name our
4:10
abstract feelings in some ways we
4:13
don't know them we
4:15
need language to describe
4:16
the way down wonders
4:18
and terrors otherwise they're
4:20
impossible to reckon with Martin
4:22
once said if you wake up in the morning
4:24
and you feel very happy
4:25
about nothing no cause that's
4:28
what I paint about the
4:30
subtle emotions that we feel without
4:32
cause in this world now
4:35
that thought to say that Martin was unfamiliar
4:37
with suffering or misery in her work or outside of it when her paintings
4:41
became popular with collectors Martin
4:43
became wealthy but she never moved out of her self-made
4:46
adobe homes instead she donated
4:49
millions of dollars to
4:50
charity especially organizations that supported
4:53
marginalized kids and victims of domestic abuse I would argue that her paintings don't
4:57
ignore suffering they transcend
5:00
it she once said I believe
5:02
in living above the line above
5:04
the line is happiness
5:06
and love you know below
5:07
the line is all sadness and
5:10
destruction and unhappiness and I
5:12
don't go below the line for anything we
5:15
often talk about how difficult it can be to render suffering
5:18
in art and it is difficult
5:19
Picasso's Guernica for instance is rightly celebrated
5:22
as a masterpiece because it found a way to communicate the
5:26
jumbled horrors of mechanized warfare and
5:28
in an essay about Picasso's
5:30
work the French writer Michele lares wrote everything
5:32
we love is about to die and that is why everything must be summed
5:36
up with all the high emotion
5:38
of farewell and something
5:40
so beautiful we shall never forget it
5:42
that kind of grandiosity is
5:44
indeed what we've traditionally heralded
5:46
as genius and art but it seems to me that finding
5:49
direct expression for something other than the high emotion of farewell is also
5:54
really valuable how do you paint the sublime how
5:57
do you paint the beauty that is in your mind how do you paint
6:00
the rose that is hidden behind your back this
6:03
was the challenge that Agnes Martin set for herself and I know it's easy
6:07
to dismiss canvases lightly painted with bands of pastel
6:11
color but if you ever find the opportunity
6:13
to commune with Agnes Martin's
6:15
paintings you may find as I did that
6:18
they make visible a joy you
6:20
know but cannot name
6:26
our patrons for supporting the art assignment especially Vincent
6:29
app' and Indianapolis Holmes Realty
6:31
you can visit patreon.com
6:32
slash art assignment if you'd like to learn more about how you can support our channel
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