Dia:Beacon is located about 60 miles north of Manhattan, New York. The train from Grand Central Station runs alongside the Hudson river, with a slate beach close to the track. The train passes jetties and wooden houses on its way to Beacon, a small place that houses the Dia art galleries within surrounding grounds of trees. On the day that I visited it poured with rain. I arrived just after the gallery opened around 11am and stayed until it closed at 6pm. There were enough paintings and sculptures to keep me occupied all day, with an excellent bookshop and cafe.
Agnes Martin’s paintings occupy two adjoining galleries, with the ‘Innocent Love’ series from the 90s purposely made for the gallery in one space and some older works in the second space. The natural light filters in from slanted roof windows and changes according to the light outside. I had seen some of Agnes Martin’s paintings before in the Tate galleries, London but in the Dia galleries the paintings seemed to emanate light. Particularly along the top edge, where they seemed to have an afterimage that extended into the space above the paintings. The arrangement of paintings allowed the works to be in dialogue with each other. I moved from side to side, towards their surfaces and away. At a distance they seem to float, close up I became aware that the paint was so thin in some areas as to seem to be only a residue on the surface. The earlier works showed the logical sequence of progression from geometric shapes and grids to the later works with bands of pale washy paint. The pencil lines of the grids seemed to have dissolved into the paint. I became aware of how important light is to Martin’s paintings and how slight the traces of paint were upon the surfaces of her later works.