Martin Creed is interviewed in The Guardian this week, giving a typically elusive, cheeky interview covering his greatest fears, his most embarrassing moment, and his thoughts on dinner parties: “I hate dinner parties,” he says. “I don’t even like dinners particularly. I hate eating because I am scared of most food a lot of the time. I am disgusted by meat and fish.” (more…)
Artist Martin Creed is profiled in the New York Times, previewing the artist’s upcoming career retrospective at the Hayward Gallery in London, and discussing his unique take on conceptions of the word “art.” “I would not disagree with me not being an artist, because I don’t know what art is,” Creed states. “I’m just making a painting or a sculpture or whatever it may be. I’m not making art, because art would seem to me to be in the eye of the beholder.” (more…)
Martin Creed, Work No. 1690: Self-portrait (2013), Courtesy Hauser & Wirth and Gavin Brown’s Enterprise
On November 8th, Hauser & Wirth and Gavin Brown’s enterprise opened parallel solo exhibitions in New York City featuring works by Scottish artist Martin Creed. The exhibitions will present new works in addition to selections from the past thirty years of his career. The display will remain on view at the two New York locations through December 21st 2013.
Martin Creed at Gavin Brown (Installation View), via Gavin Brown
London’s Hayward Gallery has announced plans for a retrospective of the work of Martin Creed, featuring a broad selection of work from the Turner Prize winner. The exhibition, set to open in January of next year, will also include exhibitions at the Southbank Centre and the Royal Festival Hall. “If people find the exhibition exciting, that would make me happy.” Creed says. (more…)
The Tate has purchased the instructions to artist Martin Creed’s notorious Work No. 227: The Lights Going On and Off. Fittingly titled, the 2001 work involves the constant flicking of light in a room from on to off and back again, and won Creed the Turner Prize when it was first unveiled, dispute vocal protests from tabloids and artists. “It is an important work. It is a sober minimalist piece in a long line of artists using every day materials for potent formal and psychological effect. It’s not easy viewing.” Says critic Louisa Buck.
