|Michael Craig-Martin, Untitled (light bulb), 2014|
It's been a busy year for Michael Craig-Martin: in the spring his excellent book On Being an Artist was published, in the summer he was co-ordinator of the Royal Academy Summer Show and now he has an exhibition of his distinctive paintings at the Serpentine spanning the years 1981to 2014.
Craig-Martin has been making his crisply-delineated drawings of common-place, manufactured objects since the late 1970s and has assembled a lexicon of archetypes. In On Being an Artist he explains that he chose "objects so familiar that they had become invisible" and he set himself a rule that "I would never draw something that could not be recognised instantly". (p171) However, along the way many of those consumer objects which were once so familiar have become obsolete as new technologies and social habits have emerged. Transience charts a cultural transition from the days of clipboards, portable TVs, audio cassette tapes and Palm Pilots to the digital world of laptops, smart cards and smart phones - all rendered in his signature black outlines and clashing hyperactive colours.
Read reviews by Adrian Searle, Alastair Sooke, Laura Cumming and Waldemar Januszczak.
Read an interview with Tim Adams on the occasion of the publication of On Being an Artist. (Click on images to enlarge.)
|Michael Craig-Martin, Untitled battery), 2014|
|Michael Craig-Martin, Cassette, 2002|
|Michael Craig-Martin, Eye of the Storm, 2002|
|Michael Craig-Martin, Untitled (watch), 2015|
|Michael Craig-Martin, Untitled (xbox control), 2014|
|Michael Craig-Martin, Untitled (iPhone purple), 2013|
|Michael Craig-Martin, Untitled (laptop turquoise), 2014|
|Michael Craig-Martin, Biding Time (magenta), 2004|
|Michael Craig-Martin, installation view of Transience, Serpentine Gallery 2015-16|