You might also like my brand new blog NYTZOI about playing all my old cds one by one starting at Full Moon 2019-09-14. So far I plan to write posts first mainly in Finnish, but hey, music is an international language. Here will be the gradually growing list of the played cds on my shelf (in random order) (literally). And here is a post about it in 
A I R  B O R N E 2019-09-14 [    remaster started playing at full moon    ]

In the spring of 2014 I was introduced to this video of Michael Hedges : Aerial Boundaries in a quickly passing online conversation of which I will be forever grateful. I had not heard of Michael Hedges before this tip, and was flustered to next learn about his early death in an accident already 17 years ago by then.

The video is not published on an official Michael Hedges channel, so I am posting here just a screenshot of the performance, and the link to the video. 2018-12-17 this copy of the video has 53 985 views, 494 Likes, 8 Yikes. The number of the Likes and the views has increased rapidly during the last week after I again payed my attention to it after a year or two since my last focus on it, and linked it on my playlists again, so apparently I am the same magnet as always, but still I guess this song must be one of the best kept secret treasures on YouTube. To me it is the key that opened the door to Michael Hedges' work. And cleaned my ears.

Stats :

2019-05-23 64502 Views 605 Likes 8 Yikes
2019-04-23 62338 Views 577 Likes 8 Yikes [yep, 4 new Likers run it for 700 times. I relate.)
2019-04-15 61660 Views 573 Likes 8 Yikes
2019-12-17 53985 Views 494 Likes 8 Yikes [this post]
2018-11-25 52621 Views 475 Likes 8 Yikes [took the screenshot for this post]
2015-01-31 [my first A I R  B O R N E post about Michael Hedges]
2014-04-xx [April-May ❤ my first touch with this video - thank you Ed]
2009-11-30 [video was published on YouTube channel]

In the description box of the video the YouTube channel No Fade Out explains :

"Michael Hedges performs his historical piece "Aerial Boundaries" from the 1984 album "Aerial Boundaries". This performance took place at the "Red Rocks Amphitheater" near Denver, CO as part of the shooting for the 1986 Windham Hill label Laserdisc and VHS release "Windham Hill In Concert", featuring Michael Hedges, Will Ackerman, Michael Hedges, Scott Cossu, Shadowfax. Info at"
http://www.nomadland.com/WH_in_Concert.htm

The soundscape of this video's version of Michael Hedges : Aerial Boundaries might be one the most beautiful if not the most beautiful one of all the videos that I have ever looped in YouTube with the help of the great function "play on repeat", and listened to for hours and hours in a row.

source : Michael Hedges webpage http://www.nomadland.com/

From this video I only wish to remove the disturbing audience - which apparently originally was done :

"The actual performance was recorded on a sound stage without an audience, they did not use the Red Rocks performance, you can see he's dressed completely differently in the Red Rocks shots. It's mixed to give the appearance of a live performance. Several of the songs off of Live On The Double Planet were recorded on the same soundstage without an audience, although the performances were indeed "live." "
Mr Marcus from DocMogoc in video's comments 3 years ago 

The first sound of the ablodes does not fit in the soundspace. It is a crack, and the reason why I will not recommend this video to be played with earphones. But somehow, looped with the end of the tape, when replaying the video it makes a contrast with the just experienced wide open non-existing aerial boundaries, and the listener is reminded of the different levels of being.

While establishing my first newborn website 2015-01-15 I was listening continuously to this song, and finding out more about Michael Hedges' work, and a week later 2015-01-21 I launched my new, the first ever, blog called [ A I R  B O R N E ]  with my first tiny and modest topics like "What is Art", and "What is Universe". Ten days after launching the blog, in my tenth blog post ever, I quoted Michael Hedges as I was trying to express something of my concept about Art :  A I R  B O R N E  2015-01-31 [  What is Art   -   Pt.  1  ]

source : Michael Hedges, guitarist (1953-1997) tells about his playing in an excerpt called "Michael Hedges Profile" from a video  " Michael Hedges - Artist Profile " on the YouTube channel of Steve Wallace https://youtu.be/ohp0wIa7roo (transcription from the video by Tiina Hölli).

I have since listened through all of Michael Hedges' other works I found, and all the other versions that I have come across of Michael Hedges playing his obviously key song Aerial Boundaries, and many of the covers too, but none of all these numerous performances have this same effect of ear cleaning and a strong impact of purity on me than this only one video.

It is the soundspace of this recording.

Later I have played this video on repeat through some personal, extremely strong emotional experiences, and the sound has enforced the overall experience immensely.

But there is one particular and quite rare peculiar treat to it.

Memories don't seem to be able to hook up to it.

The song is untouchable.

Playing this video over and over again, the soundspace of the performance stays as clear and pure as it was from the beginning.

Dillon's 'Thirteen Thirtyfive' of Dillon's debut album 'This Silence Kills' was released on BPitch Control on the week of 11th of November 2011. This would be 11.11.11. Or later. I love it. The simple soundspace of this song as such is (( ❤ )) .... I found it in the summer of 2014, and again in January 2015. It has now 35 458 734 Views and 224 672 Likes. Listeners are obsessed with it, like i am too.

A good way to prove this obsession is to follow the listener count : only three days later, on December 8th, 2017, the views count is 35 488 606 Views and 224 861 Likes, which means 30 000 views in 3 days, while the likers count increased "only" with 189 viewers. [Follow up 7 months later on July 5th, 2018, shows the views count is 36 835 323 Views, which means an increase of 1,5 million views, while the likers count is about 235 000 and the subscribers count is amazingly still only 70 324 persons.] And note : the upload is only on audio, and it was published already over 6 years ago in YouTube.


❤https://youtu.be/BDsuR22GQPQ


But first, before this above link's already legendary version on the debut album, there had been Dillon's 'Thirteen Thirtyfive' on her early YouTube video from 2009 ( link below on the second ❤ tc ) On this video, Dillon apparently is singing very emotionally live against Jens Lekman's Pocketful of Money, which is heard on the background (this link is unfortunately not to an official Jens Lekman's video, i could not find one). The lip synch is not quite correct, but still it seems spontaneously live sung. In the comment boxes someone proves it with several points.

Jens Lekman was new to me. It was also surprising to me that this song was not entirely Dillon's own handwriting. There had been no info about the original song writer, or being a cover. I was puzzled. Why would it not be told in the track info ? It seemed (judging only by one comment in a comment thread) that also Jens Lekman has done his song strongly against a sample from Beat Happening. Also Beat Happening was new to me.

The hauntingly perfect lyrics line "I'll come running with the heart on fire" eventually gave me Google Search results for Lekman's sampling Gravedigger Blues by Beat Happening - but before finding that data, i first jump-listened one by one a lot of Beat Happening videos based on that comment box info about only the band's name ... fun for a while ... but could not find that sample song by this DIY Random Search haha : D and thought that okay okay - so i'll bump into this information some day, i always do, so i'll check on this later trusting it will come to me - and a few hours later it came to my mind to google the lyrics line "I'll come running with the heart on fire" ... : )

So next i learned a new concept.

The same Genius Lyrics also tells in the track info of 'Thirteen Thirtyfive' that Jens Lekman's song is interpolated by Thirteen Thirtyfive by Dillon : written by Dillon & Jens Lekman - which seemed now an interesting way to put it, if they were not cooperating ? - and release date was November 21, 2011, and that 'Thirteen Thirtyfive' interpolates Pocketful of Money by Jens Lekman.

Interpolate ? What is interpolate here ?

to interpolate :

1. (transitive, intransitive)  to introduce (something) between other things; especially to insert words into a text.
2. (mathematics) to estimate the value of a function between two points between which it is tabulated.
3. (computing)  during the course of processing some data, and in response to a directive in that data, to fetch data from a different source and process it in-line along with the original data.

source : www.sanakirja.org


All this searching happened after i found this older version yesterday 4th of December 2017. To me, it is cleverly and stylishly simply made, visually emotional, very well built yet freshly spontaneous and very sincere seeming whole, so perhaps it is a demo version presenting real emotion, and seems to me, made by an extremely talented artist, who can take in concideration the whole appearance of her performance. This Dillon's apparently first demo version of 'Thirteen Thirtyfive' for fans ( - i don't really know whether it is a demo or not ) was published in YouTube already as long ago as 10.12.2009. Now it has 256 617 Views 2339 Likes today.


❤https://youtu.be/wKCyDCn4N_Q


I cannot understand why i had not clicked more of Dillon's videos before. I had been content with the debut album version and moved on. Probably because it is that perfect. It must have been that at that time 2014 - 2015 i also found something else and was not convinced with that, then, and forgot.

But this one, Dillon's 'Thirteen Thirtyfive' cannot be forgotten. So now i finally got interested in what is happening in her music now and in-between, and yesterday on top of this Beat Happening -hopping and Jens Lekman -playing (Swedish ... lek = play, lekman = layman, playman), i also watched probably all Dillon videos including some of her interviews in YouTube, and (yet from another comment box, not from her directly) found an explanation about the content of 'Thirteen Thirtyfive' being sung to a dead child. But to me, the song is sung to an unidentified listening object saying " you'd be 13, i'd be 35 ".

I found also yet another new version, live from a concert alongside a full female choir. This one is a video presenting Dillon's 'Thirteen Thirtyfive' Live at Haus der Berliner Festspiele. This video was recorded at Haus der Berliner Festspiele, Foreign Affairs Festival 2015, performed by Dillon & Tamer Fahri Özgönenc and Choir - composed and arranged by Dillon & Tamer Fahri Özgönenc, and performed with the choir Die Fixen Nixen under the direction of Ralf Sochaczewsky. The video was published 12.7.2016 in YouTube, it has 68 278 Views and 1576 Likes today.


❤https://youtu.be/kxYnMktx5OI

One commentor says
" That cha cha part haunts me in my dreams ❤ "
Yes that, and the originally Beat Happening line
"I'll come running with the heart on fire."


Afterwords

06.12.2017 00:12 i finally found an interview from 10.12.2016 in Raws Magazine, and reading that i found out that i had done all exactly and perfectly as Dillon wished. Not only did I travel through her maze finding the information myself, and even in correct order, but of course I do have my own interpretation of the song, 08.12.2017 22:55 formulating it into here.

My interpretation is connected to my thinking about a human individual's spiritual and emotional development in general as an adventurous and capricious journey, which is best to accept with a playful approach to eliminate permanent damages, and which interpretation is largely based on the fact that to me, by intuition C. G. Jung's age period theories were valid immediately when reading them 20 years ago, and by my own experience now, at the age of 57 they still are as valid.

In my adventures during my personal developing span so far, these periods have actualized exactly as Jung described. But there is more. In one sector of life, what happened to me at 13, occurred at 33, and then again at 53. What went on successfully in another sector of life during Jungian periods at 13, also at 35, is expected to occur as splendidly at 57 - because duh why wouldn't it. So - listening nowadays to this song, I am launched into reminiscence surfing deeply through my own practical life experiences as well as through a cool psychological theory, and looking lightly forward to the year 2018 stupidly hilarious and sure of Jungian wisdom's pearls.  : D

Now
- is this a marvelous piece of a total art work or not.

What can I say.
You are to listen to her yourself.
You cannot believe.

Listen to for example this live solo :
Ane Brun - To Let Myself Go @Sala Radio, Bucharest. May 10th 2015.

Ane Brun Playlist in YouTube compiled by Tiina Hölli

link and vink to
Christian Smith's SoundCloud :
go in and play Grey Skies on repeat
for a thousand times

it will clean your brain

|    Christian Smith :  Grey Skies    |
written & published in  - i like - Collection -  
© 2017 Tiina Hölli 2017-05-01 22:30

I like Squares.

There is one book to me, that has stayed above everything else that is written  about being an artist.

Agnes Martin : Hiljaisuus taloni lattialla
Vapaan Taidekoulun julkaisusarja
"Pohjois-amerikkalaisen nykytaiteen puheenvuoro"
Publisher : Vapaa Taidekoulu 1990, Finland.
ISBN 951-95982-1-9


Vapaa Taidekoulu - Free Art Scool in Helsinki was established in 1935 as an alternative to academic art schooling in Finland. Publications of the school have become legendary since the " publishing activities of the Free Art School were initiated in 1978, when the famous Interaction of Color by Josef Albers was translated into Finnish and published in cooperation with the artist. The enthusiasm and interest created by this book encouraged the school to continue as a publisher ", is told on the school's site.

This book is a unique compilation made in Free Art School Helsinki in the turn of a decade, when the decadence of the yuppie decade 80's was falling into the sudden and deep decadence of the depression decade of the 90's in Finland. This compilation was made by a Finnish editorial staff consisting of artist/lecturer/architect/writer/influencers ( Tor Arne - Carolus Enckell - Juhani Pallasmaa ) - an impressive anthology of the writings, hand written notes and public speeches of Canadian/American abstract painter Agnes Martin (1912-2004).

The book "Agnes Martin : Hiljaisuus taloni lattialla" includes a lot of previously unpublished material, and at that time, as the book and all the work for it was made before the digital age, the book conceals beautifully its aesthetical surprise and rewards readers even more today than it did in the 90's, I should think.

Lots of work was done by the Finnish editorial staff to gather this book from little hand written notes, transcribing videos et cetera. The book was unique worldwide. It is so cool to read from Acknowledgements that
" (...) Most of all we are grateful to Ms. Agnes Martin herself for her personal support and invaluable help during the preparation of this publication. "

Carolus Enckell writes about Agnes Martin in the foreword :
" (Agnes Martin) kuuluu siihen sukupolveen, joka teki toisen maailmansodan jälkeisen amerikkalaisen kuvataiteen maailmankuuluksi. Ominaista tälle sukupolvelle on ollut sankarillinen ja ihannoiva suhtautuminen taiteilijan kutsumukseen. Taideteos ei ole pelkästään osaamisen ja taiteellisen lahjakkuuden tuote, vaan ensisijaisesti todiste taiteilijan kehitysasteesta ihmisenä. Kun taiteellinen kehitys on sidoksissa ihmisen henkiseen kehitykseen, luomistyöstä tulee introspektiivistä toimintaa, jonka kautta taiteilijan oman olemassaolon merkitys paljastuu. Taiteen on oltava luonteeltaan ylevää. "

I will make an effort to translate the quote from Carolus Enckell's foreword in English, because here is the essence of why the content of this book is so dear to me too. Pardon me for shortcomings in interpreting :

" (Agnes Martin) belongs to the generation that made the post-war world American visual art famous. Characteristic of this generation has been a heroic and admiring attitude towards the artist's vocation. A work of art is not only the product of know-how and artistic talent, but primarily a proof of the artist's stage of development as a human being. When the artistic development is linked to the intellectual ( mental, spiritual, cognitive ) development of the human being, creative work becomes interactive, through which the significance of the artist's own existence is revealed. Art must be sublime in nature. "

How did I find this marvelous book that came to mean so much to me ? 


My background - how I started and finished my art studies

The said depression in Finland in the 90's hit most of us pretty hard, and still does, and I was no exception. I was a technical student at the time. I did my practical work and finished my technical studies during the worst and lowest low years of the depression. To get a steady job was not an offered option anywhere on any field at the time, and I started to think more deeply my premises about work in general as a concept, and what I am to do with my life. According to C. G. Jung, this was no surprise at the age of 35 - so it became the time for a change in my life, I was thinking - once again.

How to live a good life ? I was calmly and very zen asking this to myself in the midst of this depression mishmash. Yes sure, real zen like ...

In the search of how to live a good life, I turned more and more to philosophy, eastern knowledge, language studies - and finally started my art studies, first with taking several art courses in 1996 - 6 years after the Agnes Martin -book was published. Already the following year 1997 I got in as a full-time preliminary student to a small art school in southern Finland called Pekka Halosen akatemia. And the following year 1998 I took the entrance examination and got in the basic level study program of next 3 years to get a vocational degree.

After 3 years - that first year of courses, and then those my first two years of full-time preliminary general studies 1997-1999 there in the small art school, students were supposed to choose their niche.

Aha.

So ... hmm.

Because I came into the art as late as at the age of 35 and as a ridiculously virgin-minded newbie, this decision gave me a remarkable challenge. I spent the whole preceding summer vacation in uttermost perplexed neti neti -positions. I had no specific discipline or any steady practice from early childhood, and I had no primary genre or technique.

Since 1999, with the wonderful 100 % backup from my professors Irma Tonteri and Pertti Summa, I attended simultaneously both departments, the graphic arts and the painting departments, because I could not decide. The result of this of course was, that I was totally confused, which I still am, but in joy, and I don't give a shit about anything really, but one must ask, did I ever ?

As a conclusion, I then made two serial graduation works both as an absurd structure presentation and a form of an expanded diary. First in my basic level graduation work 2001 I specialized in conceptual art but graduating from the graphic arts department - and then 1,5 years later, after continuing with my postgraduate studies in painting department, I made my second degree graduation work 2002 specialized in painting - and both graduation works as a sidework in a form of a diary.  Both, my vast archiving project since 1996 as my basic graduation work, and my painting graduation work, are now ( and already were at the time ) part of an extremely fragile and sensitive conceptual time-space art project ... which is still going on ... and on ... and on ... and on ... ... : DDD

1997 - 2002 in Pekka Halosen akatemia I studied painting with Finnish painters Anna-Leena Vilhunen, Lotta Määttänen, Kaisu Aro, Pertti Summa and Matti Kurki. My first official full-time painting painting professor ( herself a true painter teaching us only painting ) in art school 1998 - 1999 was Lotta Määttänen (1968) - before her I had studied painting as part of the general art studies. Now for the first time came forward the spiritual aspects of painting.

Lotta Määttänen was the one who gave me my two most valuable pieces of advice at that time : in the beginning she told us to read this book of Agnes Martin's writings, if we want to know what painting is, and in the end of that her year of being a professor there, during the final face to face talks, she told me that " Tiina always, always, always, have lots and lots of empty supports prepared for painting, ready for painting,  all the time. "

She was right of course, with both of her advice.


I had not heard of Agnes Martin before that.

I am so glad I did not waste any time but followed Lotta Määttänen's advice immediately and read the book at that early point of my studies. I think reading this book had, it might have had the strongest influence on my speed and depth of developing in my art and philosophy studies at the time, but of course - the student also has to be ready, eager and willing for the input.

First I borrowed the book from library, became captivated, and later bought a copy of the book to myself - and the price tag shows the date of the purchase : January 24, 2002. It was the month when I had just started seriously to paint my ongoing series of square colour studies called " 4 x 28 = 107 ". When reading this book, a melting occurred - the fragmentary nature of the notes became a huge comprehensible whole in me, and I saw the whole as a whole - what she ment, the empty spaces between the lines, a process I cannot explain in any other way than an expanding of my brain somehow - a click. I was looking directly in her way of thinking, and it was cool. It was The Explanation. Afterwards I have grabbed this book each time I was in doubt, and it never failed me yet. Never.

After my art studies, some conclusions and side effects occurred ...

... since then as I have honed all I do
and polished
and cleaned
and cleared and -


Nothing will remain.


Totally, absolutely, perfectly and concretely.

- Nothing will remain. -

This is my Immaterial Art Conclusion so far.


All our endeavours as " abstract -directed " artists achieve a totally fresh and " different " level of meaning, when contrasted with T H A T ( above described ) " - Nothing will remain. - "

[ - and, I also am in a profound opinion (and inner insight) of the -value- of constantly and continuously setting my (artistic) actions in contrast with that (above described). It truely gives one a whole new perspective of one's doings. ]

As an abstract painter - abstract to me is Immateriality.
This has led me into a Quest for Immateriality in Art.

A concept ?

- not really a concept - but some fragmentary notes -
HAJAHUOMIOITA

- to say one more : to be an "abstract-driven" artist (to me) does not mean unmeaningful (useless, worthless, for fun) working ("without guidelines" - without a structure or planning or an idea), but I take it most seriously as a way to BE.

It is not a Question of technique or -isms,
but a Quest of Immateriality in Art
- and can it be achieved.

My words here leave me bothered because of my lacking literary skills.
To be more clear --- ( trial # 2 ) :
each of us (abstract -driven artists, especially, but also each human being individually) should be / ought to be aware of The Fact, that

what I do / make here -- W I L L -- .d.i.s.a.p.p.e.a.r.

 --- I T  I S  
--:   N O T   :--  
MENT TO STAND STILL THRough TIMES ---

( no body is that special )

--> how does this affect me personally in my art (making) ?
--> time spend doing / making "my art" is more valuable
than the outcome.

The outcome is a side product. If it affects others, it proves something,
but not necessarily so. What happens to it, is not of such importance.
My process in me is the art / what is happening in me.
Its lasting effect on me.
There is no other measure.
Not money, not fame, not popularity.


Artists are in different phases in their inner roads.
Each road and phase manifests itself in its own particular manner.

To bash (abstract) art is like crushing some seedlings in their beginning.

Without being aware of the cornucopia of art, an artist cannot ever be sure, from where does her own imagery/(-ism) rise -

[ it will always remain hidden/ a belief only, that "inner certainty" not being of true nature, but of possible, unaware imprinting, programming etc. - because only with negating can one reduce into one true "self" (as an artist) / (to find the true core  -to-be-able-to-be-the-channel-of-art  /non-Ego) ],

- and if/when/as bashing/crushing a particular or several "-isms" (abstract or whatever) /( aspects of life, a road, a phase - in fact, in denial of a thing ) a person does the most harm to oneself as an artist-to-be = bashing the only possibility to find out more, evolve, be mobile and develop.

How to be aware ?
How to differentiate, discern, truely, The Voice of one's own Heart ?

I do not, cannot, I have not yet been able to grasp any other way to this than through practice, practice, practice - practice being sincere, authentic, real, genuine in one's quest. Gradually, one starts to discern.

But how to practice being sincere and authentic !
Yes - through hearing The Voice of one's own Heart.

And there you are then with yourself again and your circular argument.

Note 1 : finding out, through negating, resulting in reducing oneself, is NOT same as bashing. Bashing is a reaction, whereas aware process of negating is an action.

Note 2 : negating is not an active action, it is allowing reducing to happen in oneself as a natural change.

Onward, on the subject of negating in order to reduce. I must add, that there are some rare cases, when artists have truely been omnipotent and practiced a unique art practice through decades remaining steady on their course, which was originally purely constructed out of their own true nature, right from the beginning - purged before being influenced. And still remain unique compared to dominant "reality". Why, for a while I thought I had even met one of these rare individuals, so it is quite possible that these specimen could exist somewhere ? But the primary condition is to Be BEING REAL, genuine, sincere, authentic - from the first push to the last line. However, and nevertheless, most of us mortals are influenced by the surrounding culture, and quite unaware of that affect on our "inner" art.

That is why ( I repeat ) it is the most foolish thing to do to bash an art form / whatever (to deny whatever phenomenon there is) ( because bashing it in the world means bashing it in the inner world means bashing a possibility from oneself to grow as a human being ). I say with bias : especially to bash abstract art, which (to me) is my reduced art form - so (to me) it is the purest form of art ( so far ).

: D

Abstract and expression are essential.

Nothing is more important.


I will try to edit my thoughts here as they get clearer if they do.

Of course none of these four might also ever happen.

Maybe not that good idea to hold your breath there waiting

Tate's glossary of art items
/ abstract art
/ abstract expressionism

I recommended further reading from
Maria Popova's Brain Pickings :
The Reconstructionists - Agnes Martin
Agnes Martin on Art, Happiness, Pride, and Failure:
A Rare Vintage Interview with the Reclusive Artist
35 Odd Jobs Celebrated Painter Agnes Martin Held
Before She Became an Artist
Artist Agnes Martin on Inspiration, Interruptions,
Cultivating a Creative Atmosphere,
and the Only Type of Person You Should Allow Into Your Studio
Beloved Artist Agnes Martin on Our Greatest Obstacle to Happiness
and How to Transcend It

Artsy Magazine Editorial - Alexxa Gotthardt  Jul 17, 2018 5:12 pm
Agnes Martin on How to Be an Artist
https://www.artsy.net/article/artsy-editorial-agnes-martin-artist

Artsy Magazine Editorial -  Alina Cohen Sep 27, 2018 4:57 pm
Agnes Martin and Navajo Craftswomen Made Spiritual Works Inspired by the Desert
https://www.artsy.net/article/artsy-editorial-agnes-martin-navajo-craftswomen-made-spiritual-works-inspired-desert

Artsy Magazine Editorial - Alexxa Gotthardt Aug 1, 2019 5:48 pm
Inside Georgia O’Keeffe and Agnes Martin’s Unexpected Friendship
https://www.artsy.net/article/artsy-editorial-inside-georgia-okeeffe-agnes-martins-unexpected-friendship

Artsy Magazine Editorial - Alexxa Gotthardt  May 17, 2019 5:57pm
Why So Many Artists Have Been Drawn to New Mexico
https://www.artsy.net/article/artsy-editorial-artists-drawn-new-mexico

Artsy Magazine Editorial - Alexxa Gotthardt  Jul 16, 2019 12:21 pm
Agnes Martin on Resisting the Urge to Be Alone
https://www.artsy.net/article/artsy-editorial-agnes-martin-resisting-urge