The Goss-Michael Foundation will premiere a new exhibition by noted contemporary artist and renowned teacher, Michael Craig-Martin. Curated by Filippo Tattoni-Marcozzi, the exhibition will open to the public Saturday 6 February and continue through 24 April 2010. The exhibition will include works on canvas ranging from the early 1990s to today, new digital animated work, computer portraits of both Kenny Goss and George Michael, and a large wall drawing installation specifically designed and commissioned for the space.
In the 1990s, Craig-Martin introduced the intensely vibrant color range for which his installations and paintings are now well known. More recently he has added single words in his work, words as commonplace as the object images, but which refer to abstractions, ideas, or feelings. Craig-Martin is internationally recognized as having been an influential teacher at Goldsmiths College in London, having taught many of those who subsequently became known as the Young British Artists including Damien Hirst, Gary Hume, Sarah Lucas, Liam Gillick and many more that today still refer to him as the main influence in their work.
As part of its ongoing lecture series, The Goss-Michael Foundation will also host an event at the Nasher Sculpture Center with Michael Craig-Martin in conversation with Jeremy Strick, Director of The Nasher Sculpture Center, on Saturday, February 6 at 3 p.m. The event is free and open to the public.
Michael Craig-Martin was born in Dublin, Ireland in 1941 and grew up in Washington D.C. On completion of his studies at Yale Art School in 1966, he was offered a teaching position at the Bath Academy of Art in England. Though originally intending to stay only a year or two, he has lived and worked in Britain ever since. During the late 60s and 70s, he established a reputation as one of the leading British conceptual artists. His best known work of that period is An oak tree from 1973, in which he claimed to have changed a glass of water into an oak tree. It is now on permanent loan to the Tate Gallery in London. In the late 70s, his attention shifted from objects to images, and he began making the line drawings of common objects that continue to act as the foundation of his practice to this day.