Further distancing herself from the proud desire to make self-consciously 'great work,' Frankenthaler embraced the concept of the accident, folding it into her practice, working with it and coming to rely on it, as she said, "so that the whole surface looks felt and born all at once."
When asked directly, she replied, "Why the spider? Because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and as useful as a spider."
In the monograph Agnes Martin (D.A.P./Tate), the work is described variously as ascetic, immensely fragile, calm, direct, hypnotic, quiet and inward. Martin says her subjects are lightness and formlessness. Her work is so interior it does not invite more concrete description.
Sally Mann opens her memoir, Hold Still (Little, Brown), by invoking the muese. An outdated word, the meuse is a mark left in the ground after a small animal leaves; the grass or dust bears an imprint of its departed body.
Over twenty years ago, Sally Mann published Immediate Family (Aperture), a book of photographs of her children playing on their family farm in Virginia, which was called "disturbing" by the New York Times and "degenerate" by the Wall Street Journal.