The Infinite Line

1) Briony Fer's "The Infinite Line" often discussed the function of repetition and described Agnes Martin's grids as "repetitive but never mechanical." (450) However, where do you draw the line between the mechanical and the repetitive? Machines can also create "endless differences"; mass produced Levi jeans have differences in the stitching, or factory made electronics will always have minute differences, but they are things that we would consider mechanical reproductions. When I first saw Martin's work, it reminded me of a large sheet of wallpaper, or something created in a mechanical fashion. So what makes her work a repetitive work of art and not a mechanical one?

2) Continuing on the notion of the function of repetition, Fer also talked about repetition's ability to maximize difference. By limiting herself to the constraining grid technique, Agnes Martin was more able to explore the difference within the uniformity. This concept is also prevalent in other forms of art. For example in classical ballet, the rigid technique and repetitive nature of the form is used to enable creativity, to force the dancers to find difference within the strict constraints of the technique. The same movements may be performed thousands of times in a dancer's career, however the beauty of those movements is not in the dancer's ability to perform them accurately, but in the dancer's ability to manipulate the movements within the given technique. Similarly Fer discusses the constant presence of the artist's hand within the geometric, confines of the grid. The artistic touch is magnified through repetition. Is the sole function of repetition to find difference? And was Agnes Martin too limiting in the use of her grid technique?