Editing Agnes Martin (section)

==Career==
Her work is most closely associated with Taos,<ref name="Christies"/> with some of her early work visibly inspired by the desert environment of New Mexico.<ref name=":1" /> However, there is also a strong influence from her young upbringing in rural Canada, particularly the vast and quiet Saskatchewan prairies.<ref name="Régimbal, Christopher, 1982"/> While she described herself as an American painter, she never forgot her Canadian roots, returning there after she left New York in 1967, as well as during her extensive travels in the 1970s.<ref name="Régimbal, Christopher, 1982"/> Some of Martin's early works have been described as simplified farmer's fields, and Martin herself left her work open to interpretation encouraging comparisons of her unembellished, monochromatic canvases to landscapes.<ref name="Régimbal, Christopher, 1982"/>

She moved to New York City at the invitation of the artist/gallery owner Betty Parsons in 1957 (the women had met prior to 1954). That year, she settled in [[Coenties Slip (Manhattan)|Coenties Slip]] in lower Manhattan, where her friends and neighbors, several of whom were also affiliated with Parsons, included [[Robert Indiana]], [[Ellsworth Kelly]], [[Jack Youngerman]], and [[Lenore Tawney]]. [[Barnett Newman]] actively promoted Martin's work, and helped install Martin's exhibitions at Betty Parsons Gallery beginning in the late 1950s.<ref name="Christies">{{cite web |url=http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5147496 |author=Agnes Martin |title=Starlight 1963, Lot Notes |publisher=[[Christie's]] |location=New York |work=Post War and Contemporary Art Evening Sale |date=November 12, 2008 |access-date=March 22, 2014}}</ref> Another close friend and mentor was [[Ad Reinhardt]].<ref name="Saved From the Artist's Fire">{{cite news |first=Ann |last=Landi |date=March 13, 2012 |url=https://www.wsj.com/articles/SB10001424052970203753704577253590562995200 |title=Saved From the Artist's Fire |newspaper=Wall Street Journal |access-date=6 August 2017 |url-access=subscription}}</ref> In 1961 Martin contributed a brief introduction to a brochure for her friend Lenore Tawney's first [[solo exhibition]], the only occasion on which she wrote on the work of a fellow artist.<ref>{{cite web |url=http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5437870 |title=Agnes Martin ''Homage to Greece'' (1959) |publisher=[[Christie's]] |location=New York |work=Post War and Contemporary Art Evening Sale |date=May 11, 2011 |access-date=October 6, 2015}}</ref> In 1967, Martin famously abandoned her life in New York. Cited reasons include the death of her friend Ad Reinhardt, the demolition of many buildings on Coenties Slip, and a breakup with the artist [[Chryssa]] whom Martin had dated off and on throughout the 1960s.<ref name="Martin2018" /> In her ten years living in New York Martin was frequently hospitalized to control symptoms of schizophrenia which manifested in the artist in a number of ways, including aural hallucinations and states of catatonia: on a number of occasions she received electroconvulsive therapy at Manhattan's [[Bellevue Hospital]].<ref name="Martin2018" /> After Martin left New York, she drove around the western US and Canada, settling in [[Cuba, New Mexico]] for a few years (1968-1977), then settling in [[Galisteo, New Mexico]] (1977-1993).<ref name="MorrisBell" />{{rp|240–242}} In both New Mexico homes, she built adobe brick structures herself.<ref name="Smithsonian" /> She did not return to art until 1973 and consciously distanced herself from the social life and social events that brought other artists into the public eye.<ref name="Martin2018" /> She collaborated with architect Bill Katz in 1974 on a log cabin she would use as her studio.<ref>{{cite magazine |author=Bagley, Christopher |date=March 2008 |url=http://www.wmagazine.com/artdesign/2008/03/bill_katz |title=Perfect Vision |magazine=[[W (magazine)|W]] |access-date=October 6, 2015 |archive-date=May 28, 2013 |archive-url=https://web.archive.org/web/20130528165128/http://www.wmagazine.com/artdesign/2008/03/bill_katz |url-status=dead}}</ref> That same year, she completed a group of new paintings and from 1975 they were exhibited regularly.

In 1976 she made her first film, ''[[Gabriel (1976 film)|Gabriel]]'', a 78-minute landscape film which features a little boy going for a walk.<ref>{{Cite book|title = Agnes Martin: Her Life and Art|last = Princenthal|first = Nancy|publisher = Thames & Hudson|year = 2015|isbn = 978-0-500-09390-0|location = London|pages = 199}}</ref> A second movie, ''Captivity'', was never completed after the artist threw the rough cut into the town dump.<ref name=Martin2018 />

According to a filmed interview with her that was released in 2003, she had moved from New York City only when she was told her rented loft/workspace/studio would be no longer available because of the building's imminent demolition. She went on further to state that she could not conceive of working in any other space in New York. When she died at age 92, she was said not to have read a newspaper for the last 50 years. Essays in the book dedicated to the exhibition of her work in New York at The [[Drawing Center]] (traveling to other museums as well) in 2005 – ''3x abstraction'' – analyzed the spiritual dimension in Martin's work.<ref>{{cite book |url=https://books.google.com/books?id=3Ew8pPV-59MC |title=3 X Abstraction: New Methods of Drawing, Hilma Af Klint, Emma Kunz, Agnes Martin |editor1=de Zegher, Catherine |editor2=Telcher, Hendel |year=2005 |publisher=Yale University Press |isbn=978-0300108262 |quote=Published on the occasion of the exhibition 3 x abstraction: new methods of drawing by Hilma af Klint, Emma Kunz, and Agnes Martin; Organized by the Drawing Center; The Drawing Center, New York, NY, March 19-May 21, 2005, Santa Monica Museum of Art, Santa Monica, CA, June 10-August 13, 2005, Irish Museum of Modern Art, Dublin, January 24-March 26, 2006.}}</ref> The 2018 biography ''Agnes Martin: Pioneer, Painter, Icon'' was the first book to explore her relationship with women and her early life in substantial detail, and was written in collaboration with Martin's family and friends.