75,7 x 16,5 cm
Martin Creed is a sculptor, filmmaker, performer and installation artist. Working within a minimal or conceptual mode, most of his artworks, objects, statements, suggestions or performances are titled “Work” and numbered. He wittily subverts the definitions of art and often uses mundane modest materials such as Blu-Tack, balloons, tape, piles of paper. In 1993, Work No. 81 consisted of a one-inch cube of masking tape in the middle of every wall in a London firm and since 1998 Work No. 200 proposes “the air in a given space” through filling it with balloons. Yet any anti-materialism is occasionally counteracted like in the marble staircase realized for the city of Edinburgh or the bronze sculptures. Creed is constantly reappraising things and nothings and all incumbent relations. During 5 months in 2008, Work No. 280 London runners sprinting one by one through the Duveen Galleries in Tate Britain. Martin Creed was born in Wakefield, UK, 1968. He lives and works in London, UK and Alicudi, Italy.
This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005...
In 2008, Grassie was invited by the Whitechapel Gallery to document the transformation of some of its spaces...
“BC/AD” (Before Cancer, After Diagnoses) is a video of photographs of the artist’s face dating from early childhood to the month before he died, accompanied by the last diary entries he wrote from April 2004 to July 2005 (entitled “50 Reasons for Getting Out of Bed”), from the period from when he lost his voice, thinking he had laryngitis, through the moment he was diagnosed with lung cancer and the subsequent treatment that was ultimately, ineffective...
To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey...
Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself...
Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...
Her 2016 video installation quotes the sitcom-as-form and also draws from a 1907 comedic short, Laughing Gas...
Comprised of fifty-one photographic postcards, Antin’s 100 Boots is an epic visual narrative in which 100 black rubber boots stand in for a fictional “hero” making a “trip” from California to New York City...
This score is a graphic record of the detailed choreography of one of Anthony McCall’s Landscape for Fire performances...