Born in Dublin in 1941 and educated at Yale, Michael Craig-Martin was a key figure in the first generation of British conceptual artists of the 1960s and a powerful influence on the generation known as Young British Artists. From his early, box-like constructions, he moved to installations and line drawings of ordinary objects, always working against the logic of his sources with elegant restraint and conceptual clarity. In the 1990s, his focus shifted to painting and to complex installations of wall paintings with boldly outlined motifs and luridly vivid color schemes in unexpected combinations. Craig-Martin's work is in the collections of MoMA, Tate Gallery and Centre Pompidou. He has had solo exhibitions, permanent installations and retrospectives at institutions across the world. He was an Artist Trustee of Tate from 1989-99, received a CBE in 2001 and was elected to the Royal Academy in 2006. Craig-Martin lives and works in London.
Jacques Herzog & Pierre de Meuron, Michael Craig-Martin and Hiroshi Sugimoto discuss with Julia Peyton-Jones and Hans Ulrich Obrist the concepts behind the Serpentine Gallery Pavilion 2012 by Herzog & de Meuron and Ai Weiwei
Artist Michael Craig-Martin, the man who helped foster the development of the 'Young British Artists', discusses the early work of one of his most famous pupils, Damien Hirst.
Artist Michael Craig-Martin was an influential teacher at Goldsmith's College, London in the 1980s, where he became mentor to a gifted group of students, later known as the 'Young British Artists'. Among them was Damien Hirst.
TateShots caught up with Craig-Martin at Tate Modern, and asked him to revisit that fertile period, which saw Hirst create his first Spot paintings, Medicine Cabinets and his iconic installation 'A Thousand Years'.
Looking back over his long career, artist Michael Craig-Martin explains why the same ideas drive him today as when he first started out.
In the early 1970s Michael Craig-Martin created his famous sculpture An Oak Tree. The work consists of a glass of water standing on a shelf. On the wall next to it a text by the artist argues that, despite what your eyes tell you, the glass of water is in fact an oak tree.
In the spirit of Duchamp, Craig-Martin provokes questions about what we understand to be art and unpicks the relationship between a real object and its depiction.
More info: http://www.tate.org.uk/art/artists/michael-craig-martin-955
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