Michael Craig-Martin


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"I like seeing a still image animated without anything moving.
I like seeing colour that is arbitrary but not accidental.
I like being in control or on automatic." Michael Craig-Martin

我喜欢看的是一个活泼的不动的静止的图像。
我喜欢看的是那些专制而不是意外造成的颜色。
我喜欢的是被控制或自动机械性。   ----------Michael Craig-Martin

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Michael Craig-Martin (born 1941 in Dublin/Ireland, lives in London/UK) is one of the most influential artists of Britain’s postwar generation. Born in Ireland, Craig-Martin studied at Yale University in America in the 1960s, where he was influenced by conceptual approaches to painting and to art in general. Having lived in London for many years, he used to be a teacher at the prestigious Goldsmiths College, where the internationally renowned scene of “Young British Artists” such as Gary Hume, Damien Hirst and Julian Opie, who are also represented in The UBS Art Collection, were among his students in the 1980s and 1990s.

Michael Craig-Martin （生于 1941 年的都柏林/爱尔兰，现居住在伦敦/英国）是英国战后那一代人中最具影响力的艺术家。出生在爱尔兰，1960年在美国的耶鲁大学学习时他受到了观念主义在绘画及普遍艺术上的影响。在伦敦居住多年，他曾经在享有声望的 Goldsmiths 学院任教，他从1980年至90年代教育出的学生有国际上有名的YBA（英国青年艺术家）里的Gary Hume, Damien Hirst 和 Julian Opie。

顶！

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Laban Dance Centre

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Deptford, London
Colour and wall drawing
(in collaboration with architects Herzog deMeuron)
2002

White Interior with Figure

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Still Life with Interior

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Nikon Coolpix Digital [attachment=28731]

Deconstructing Seurat (blue)

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2004
A pair of screenprints
Paper and image 63 x 93.5 cm (each)
Edition of 40
Published by Alan Cristea, London

Deconstructing Seurat (turquoise green)

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2004
A pair of screenprints
Paper and image 63 x 93.5 cm (each)
Edition of 40
Published by Alan Cristea, London

Deconstructing Seurat

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2005
Computer and 21" LCD unit, vector drawings and bespoke software
Edition of 10
Published by Alan Cristea

This work consists of a custom made computer fitted behind a 21" monitor that hangs on the wall like a small painting. It runs a randomized program of a work based on Seurat's Bathers. The composition and the colour of the work are constantly but slowly altering. The eight figures independently fade, disappear, and eventually re-emerge. At the same time each of the six areas forming the landscape slowly change colour through a range of nineteen alternatives.

Coloured TV (2001)

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Download PC screensaver (1.5mb)
(Mac screensaver available soon)

1. Click to download
2. Save the application on your hard disk.
3. Double Click on the icon.
5. Wait several seconds for the animation to start.

Also available from BBC Arts

16 Objects, Ready Or Not (1999)

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Availabe as a PC or Mac screensaver from MoMa Online Projects

Becoming

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2001
Computer and 19" LCD unit, vector drawings and bespoke software
Edition of 6
Published by Alan Cristea

This work consists of a custom made computer fitted behind a 19î monitor that hangs on the wall like a small painting. It runs a randomized programme determining the composition of a work that is constantly slowly changing. The eighteen images each independently fade, disappear, and eventually re-emerge. Sometimes all are visible, sometimes only one or two, or even none.

近期作品

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Johanniterkirche Feldkirch
Nr Bregenz, Austria
[url]www.kunsthaus-bregenz.at

Signs of life

June - August 2006

Deconstructing Piero (turquoise blue)

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2004
A pair of screenprints
Paper and image 63 x 88.5 cm (each)
Edition of 40
Published by Alan Cristea, London

Deconstructing Piero (pink)

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2004
A pair of screenprints
Paper and image 63 x 88.5 cm (each)
Edition of 40
Published by Alan Cristea, London

Eyetest

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2005
Duratran Lightbox
128cm x 61cm, 3cm deep
Edition 15
Published by Alan Cristea, London

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Folio

2004
Set of 12 screenprints
Paper & image 33cm x 100cm (each)
Edition of 40
Published by Alan Cristea, London

Always now

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Kunstverein Hannover
Hannover, Germany

1998

Modern Starts: Things

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Museum of Modern Art
New York

1999-2000

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Michael Craig-Martin

IVAM
Valencia, Spain

2000

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Installation in the Medieval Collection

Buxtehude Museum
Buxtehude, Germany

1997 to present

Installation in the Medieval Collection

Buxtehude Museum
Buxtehude, Germany

1997 to present

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The Fan London

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Regents Place
Euston Road
2003

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An Oak Tree 1973 一棵橡树

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Glass, water, shelf and printed text
sculpture

Lent from a private collection 2000


While this appears to be a glass of water on a shelf, the artist states that it is in fact an oak tree. Craig-Martin’s assertion addresses fundamental questions about what we understand to be art and our faith in the power of the artist. The work can be seen as an exploration of Marcel Duchamp’s declaration that any existing object can be declared a work of art. In his accompanying text, Craig-Martin provides the questions as well as the answers, allowing the simultaneous expression of scepticism and belief regarding the transformative power of art.

(From the display caption April 2005)

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关于《一棵橡树》的有趣幽默但不失令人深思的访谈：

Next to the glass of water is the following text:

Q. To begin with, could you describe this work?

A. Yes, of course. What I've done is change a glass of water into a full-grown oak tree without altering the accidents of the glass of water.

Q. The accidents?

A. Yes. The colour, feel, weight, size ...

Q. Do you mean that the glass of water is a symbol of an oak tree?

A. No. It's not a symbol. I've changed the physical substance of the glass of water into that of an oak tree.

Q. It looks like a glass of water.

A. Of course it does. I didn't change its appearance. But it's not a glass of water, it's an oak tree.

Q. Can you prove what you've claimed to have done?

A. Well, yes and no. I claim to have maintained the physical form of the glass of water and, as you can see, I have. However, as one normally looks for evidence of physical change in terms of altered form, no such proof exists.

Q. Haven't you simply called this glass of water an oak tree?

A. Absolutely not. It is not a glass of water anymore. I have changed its actual substance. It would no longer be accurate to call it a glass of water. One could call it anything one wished but that would not alter the fact that it is an oak tree.

Q. Isn't this just a case of the emperor's new clothes?

A. No. With the emperor's new clothes people claimed to see something that wasn't there because they felt they should. I would be very surprised if anyone told me they saw an oak tree.

Q. Was it difficult to effect the change?

A. No effort at all. But it took me years of work before I realised I could do it.

Q. When precisely did the glass of water become an oak tree?

A. When I put the water in the glass.

Q. Does this happen every time you fill a glass with water?

A. No, of course not. Only when I intend to change it into an oak tree.

Q. Then intention causes the change?

A. I would say it precipitates the change.

Q. You don't know how you do it?

A. It contradicts what I feel I know about cause and effect.

Q. It seems to me that you are claiming to have worked a miracle. Isn't that the case?

A. I'm flattered that you think so.

Q. But aren't you the only person who can do something like this?

A. How could I know?

Q. Could you teach others to do it?

A. No, it's not something one can teach.

Q. Do you consider that changing the glass of water into an oak tree constitutes an art work?

A. Yes.

Q. What precisely is the art work? The glass of water?

A. There is no glass of water anymore.

Q. The process of change?

A. There is no process involved in the change.

Q. The oak tree?

A. Yes. The oak tree.

Q. But the oak tree only exists in the mind.

A. No. The actual oak tree is physically present but in the form of the glass of water. As the glass of water was a particular glass of water, the oak tree is also a particular oak tree. To conceive the category 'oak tree' or to picture a particular oak tree is not to understand and experience what appears to be a glass of water as an oak tree. Just as it is imperceivable it also inconceivable.

Q. Did the particular oak tree exist somewhere else before it took the form of a glass of water?

A. No. This particular oak tree did not exist previously. I should also point out that it does not and will not ever have any other form than that of a glass of water.

Q. How long will it continue to be an oak tree?

A. Until I change it.

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4 Identical Boxes with Lids Reversed 1969

Plywood painted with non-slip deck paint
object: 610 x 2438 x 914 mm
sculpture

Purchased 1969

According to Michael Craig-Martin, the very ordinariness of these simple grey boxes is intended to allow the viewer to focus on ''the idea embodied in the piece''. The work is an exploration of what happens to four identical structures when a logical mathematical progression is applied to them. The lids were created by cutting away the top surface of the boxes in a sequence of 6, 12, 18 and 24 inch intervals. The artist then reversed the order of the lids, placing the first lid on the fourth box, and so on. ''With the lids reversed, the boxes are always both visually and factually unique. However, taken as a whole, the piece is still essentially 4 identical boxes,'' he has commented.
(From the display caption December 2001)

Six Foot Balance with Four Pounds of Paper 1970

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Mild steel, lithograph on paper, lead and brass
object: 1105 x 1930 x 85 mm
sculpture

Presented by Clodagh and Leslie Waddington 2003

T07975

By balancing a lead weight of four pounds with a stack of paper, Craig-Martin upsets our visual expectations, since we instinctively associate paper with lightness and lead with density. The paper consists of just over 40 thick sheets, each of which bears an identical lithographic print depicting the lead weight. ‘Art always involves looking at something familiar as though it were unfamiliar’, Craig- Martin has said. ‘It doesn’t invent anything: everything that art deals with is around.’

(From the display caption April 2005)

4 Complete Clipboard Sets: 1. Clipboard 2. Sheet of Paper 3. Pencil 4. Written Title 5. Eraser, Extended to 5 Incomplete Sets with Photograph Replacements 1971

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Mixed media on board
unconfirmed: 768 x 2556 mm

Purchased 1971

T01495

In this work, Craig-Martin is exploring the nature of art making, in particular raising philosophical and perceptual questions about the relationship of art to the reality it represents. His intention is to use simple, familiar objects used for the making of a drawing to reveal the ambiguities, contradictions, and complexities normally unrecognised in the process of representation. The work consists of a set of 5 drawings using various graphic means to create an actual-size representation of a previous work that consisted of 5 sets of identical real objects - clipboard, paper, pencil, written title, eraser - each with one missing.
(From the display caption September 2004)

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Close Relations
1996


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Distant Relations
1996

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吴俊勇它祖宗

Michael Craig-Martin Biography


1941 Born 28, August, Dublin, Ireland

1946 Family moves to Washington D.C: Education in U.S.A.

1961 Fordham University, New York

1961 - 1966 Studied Fine Art at Yale University, B.A., M.F.A.

1965 - 1966 Taught at School of Visual Arts, New York

1966 Moves to Britain

1966 - 1969 Taught at Bath Academy of Art

1969 First solo exhibition, Rowan Gallery, London, England

1968 - 1970 Taught at Canterbury College of Art

1970 - 1972 Artist-in-Residence, King's College, Cambridge, England

1981 - 1982 Living and working in New York

1982 First solo exhibition with Waddington Galleries, London

1974 - 1988 Taught at Goldsmith's College School of Art, London

1989 Retrospective Exhibition, Whitechapel Art Gallery, London

1989 Appointed Trustee of the Tate Gallery, London

1994 - 2000 Appointed MIllard Professor of Fine Art, Goldsmith's College, University of London, England

2001 Awarded a CBE

2001 Lives and works in London, England


Selected Exhibitions


2010 FRIDAY: YBA Group Show, Galerie Haas & Fuchs, Berlin, Germany (group)

2010 Michael Craig-Martin, The Goss-Michael Foundation, Dallas, Texas, US (solo)

2009 New works Galerie Haas & Fuchs, Berlin, Germany (solo)

2009 Michael Craig-Martin, PKM Trinity Gallery, Seoul, Korea (solo)

2009 Nothern Print Biennale, Laing Art Gallery, Newcastle upon Tyne, UK (group)

2009 Summer Exhibition 2009, Royal Academy of Arts, London, UK (group)

2008 Static: Contemporary Still Life and Portraiture, Harris Museum & Art Gallery, Preston, UK (group)

2008 Forgetting Vel醶quez: Las Meninas, Museu Picasso de Barcelona, Barcelona, Spain (group)

2008 Turned On, Alan Cristea Gallery, London, UK (group)

2008 Alphabets and Sunsets, Alan Cristea Gallery, London, UK (solo)

2008 Martian Museum of Terrestrial Art, Barbican, London, UK

2008 ARTfutures 2008, Bloomberg Space, London, UK

2008 Outlines, Gimpel Fils, London, UK

2008 For the Spirit - From the UBS Art Collection, Mori Art Museum, Tokyo

2007 Living In the Material World ?慣hings?In Art of The 20th Century and Beyond, The National Art Center, Tokyo

2007 Imagery Play, PKM Gallery, Seoul, Korea

2007 ART Futures, Bloomberg Space, London, England (group)

2007 Michael Craig Martin, The Columns, Gallery, Seoul (Korea) (solo)

2007 Michael Craig Martin, A is for umbrella, Gagosian Gallery, London (solo)

2006 Michael Craig-Martin, Irish Museum of Modern Art - IMMA, Dublin (solo)

2006 Michael Craig-Martin, Kunsthaus Bregenz, Bregenz (solo)

2006 Michael Craig-Martin, New Art Centre, Salisbury (England) (solo)

2006 Michael Craig-Martin - Changement de climat (solo)

2006 MAGASIN-Centre National d抋rt Contemporain de Grenoble, Grenoble (solo)

2006 Form and Line. Prints, Green On Red Gallery, Dublin (group)

2006 The Hiscox Collection #2 (group)

2006 Hiscox Art Projects, London, England (group)

2006 ACG Publications, Alan Cristea Gallery, London, England (group)

2006 6th Shanghai Biennale - Hyper Design (group)

2006 Shanghai Biennale - Shanghai Art Museum, Shanghai (group)

2006 Lightboxes, Alan Cristea Gallery, London, England (group)

2006 SWITCHED ON, Alan Cristea Gallery, London, England (group)

2006 Morandi抯 Legacy - Influences on British Art, Estorick Collection of Modern Italian Art, London, England (group)

2006 MORANDI, Abbot Hall Art Gallery, Kendal, Cumbria, England (group)

2006 As if by Magic, Bethlehem Peace Centre, Bethlehem, Palestine

2005 Works on Paper, Gagosian Gallery, Beverly Hills, California

2005 Arp / CRAIG-MARTIN / Arp, Arp Museum, Remagen, Germany (solo)

2005 Alan Cristea Gallery Publications, Alan Cristea Gallery, London, England (group)

2005 Painting in the Edge, Gallery Hyundai, Seoul (group)

2005 Raised Awareness - Curated by Bill Woodrow, Tate Modern, London, England (group)

2005 Michael Craig-Martin, Galerie Haas & Fuchs, Berlin (solo)

2004 Michael Craig-Martin ?Surfacing, Milton Keynes Gallery, Milton Keynes (solo)

2004 Michael Craig-Martin - New Work, Alan Cristea Gallery, London (England) (solo)

2004 100 Artists See God, Laguna Art Museum, California; and Institute of Contemporary Art, London, UK

2003 Workspace, Galerie J黵g Judin, Zurich, Switzerland (solo)

2003 Gagosian Gallery, New York (solo)

2003 Michael Craig-Martin, Haunch of Venison - Z黵ich (ex Galerie Judin), Zurich (solo)

2003 Michael Craig-Martin - Eye Of The Storm, Gagosian Gallery, New York (solo)

2002 Inhale/Exhale, Manchester Art Gallery, Manchester, England (solo)

2002 Inhale/Exhale, Manchester Art Gallery (solo)

2002 Works 1984-1989, Waddington Galleries, London, England (solo)

2002 Passenger, Astrup Fearnley Museum, Oslo, Norway

2002 Blast to Freeze, British Art in the 20th Century, Kunstmuseum, Wolfsburg, Germany

2001 Living, Sintra Museum of Modern Art, Berardo Collection, Portugal (solo)

2001 Lux Gallery, London, UK

2001 Yale School of Art and Architecture, New Haven, Connecticut, USA

2001 Landscapes, The Douglas Hyde Gallery, Dublin, Ireland (solo)

2000 Intelligence, New British Art 2000, Tate Britain, London

2000 Live in your head, Whitechapel Art Gallery, London

2000 Voil? Mus閑 d扐rt Moderne de la Ville de Paris, Paris

2000 Shifting Ground, Irish Museum of Modern Art, Dublin, Ireland

2000 Conference, Waddington Galleries, London, England (solo)

2000 Haus der Kunst, Munich

2000 IVAM, Valencia, Spain

2000 Die scheinbaren Dinge, Haus der Kunst, Munich, Germany (site-specific installation)

2000 Drawings 2000, Barbara Gladstone Gallery, New York, USA

2000 Drawings & Photographs, Matthew Marks Gallery, New York, USA

2000 Full/empty, fig-1, London, UK( solo)

1999 Signature Pieces, Alan Cristea Gallery

1999 ModernStarts: Things, Museum of Modern Art, New York (site specific installation)

1999 Michael Craig-Martin, Peter Blum Gallery, New York City, NY (solo)

1999 Michael Craig-Martin - and sometimes a cigar is just a cigar, W黵ttembergischer Kunstverein, Stuttgart (solo)

1998 Michael Craig-Martin always now, Kunstverein Hannover, Hannover (solo)

1998 Elegant Austerity, Waddington Galleries, London

1998 Jardin d抋rtiste, Mus閑 Zadkine, Paris

1998 Up to 2000, Southampton City Art Gallery

1998 慍luster Bomb? Morrison Judd, London

1998 Love Hotel, The John Curtin Gallery, University of Technology, Perth, Australia

1998 British Pavilion, Ibirapuera Park, 24th International Biennale of Sao Paolo, Brazil (site-specific installation) (solo)

1998 Mario Diacono Gallery, Boston, Massachusetts, US (solo)

1997 Treasure Island, Gulbenkian Foundation, Lisbon

1997 Follow me: British Art on the lower Elbe, organised by Landschaftsverband

1997 Alan Cristea Gallery, London, England (solo)

1997 Waddington Galleries, London, England (solo)

1997 Southampton City Art gallery (solo)

1997 Galerie Der Spiegel, Cologne, Germany (solo)

1997 Michael Craig-Martin und Raymond Pettibon, Kunstverein fur die Rheinlande, Dusseldorf, Germany (solo)

1996 - 1997 Ace! Arts Council Collection New Purchases, South Bank Centre exhibition: touring Britain

1996 慤n si鑓le de sculpture Anglaise? galerie nationale du jeu de Paume, Paris

1995 Drawing the line: Reappraising drawing past and present, selected by Michael Craig-Martin, South Bank Centre exhibition: touring Britain

1995 Open House, Kettle抯 Yard, Cambridge

1995 The Adventure of Painting, Kunstverein, Dusseldorf and Kunstverein, Stuttgart

1995 Museum of Contemporary Art, Chicago (solo)

1995 Drawing the line: Reassessing drawing past and present, Whitechapel Art Gallery, London

1995 Traveled to:Southampton City Art Gallery, Southampton, UK

1995 1:1 Wandmalerei: wall drawings and wall paintings, Kunstlerwerkstatt Lothringer Strasse, Munich, Germany (site-specific installation)

1994 Centre Georges Pompidou, Paris, France (solo)

1994 'An oak tree', galeria Foksal, Warsaw, Poland (solo)

1994 Wall Paintings at the Villa Herbst, Museum Sztuki, Lodz, Poland (solo)

1994 Wall to Wall, Serpentine Gallery, London; touring to Southampton and Leeds; wall drawing exhibition with Lothar Baumgarten, Jessica Diamond, Neile Toroni, Lawrence Weiner and Barbara Kruger

1993 Out of sight out of mind, Lisson Gallery, London

1993 Here and Now, Serpentine Gallery, London

1993 Accomodating, British School at Rome (solo)

1993 Galerie Claudine Papillon, Paris, France (solo)

1993 At Home, Waddingtons Galleries, London, England (solo)

1993 An oak tree, Galeria Foksal, Warsaw, Poland (solo)

1992 - 1993 Twelve Stars: selected works from the European Parliament Collection, Arts Council Gallery, Belfast; touring to Edinburgh and London

1992 Waddington Galleries, London, UK (solo)

1991 Objects for the Ideal Home: The Legacy of Pop Art, Serpentine Gallery, London

1991 Michael Craig-Martin, Michael Landy, Julian Opie, Goldsmiths College Art Gallery

1991 Project Gallery, Museum of Modern Art, New York (solo)

1991 David Nolan Gallery, New York (solo)

1991 Musee des Beaux Arts, Andre alraux, Le Havre (solo)

1990 Galerie Claudine Papillon, Paris, France (solo)

1990 The Readymade Boomerang, Sydney Biennale, Sydney, Australia

1990 A Painting Show: Michael Craig-Martin, Gary Hume, Christopher Wool, Karsten Schubert, London, England

1989 Sculpture, Six Friedrich Gallery, Munich, Germany

1989 Michael Craig-Martin, Grenville Davey, Julian Opie? Lia Rumma Gallery, Naples

1989 Whitechapel Art Gallery, London, England (retrospective) solo

1988 - 1989 100 Years of Art in Britain, Leeds City Art Gallery, 100th Anniversary Exhibition

1988 Starlit Waters: British Sculpture, an International Art 1986-88, Tate Gallery, Liverpool, England

1988 Britannica: Trente Ans de Sculpture 1960-88, Musee des Beaux-Arts, Andre Malraux, Le Havre: touring France and Museum van Hedendaagse Kunst, Antwerp

1988 That Which Appears Is Good, That Which Is Good Appears, Tanja Grunert Gallery, Cologne

1988 Waddington Galleries, London (solo)

1987 Vessel, Serpentine Gallery, London, England

1987 Wall Works, Cornerhouse Gallery, Manchester, England

1987 Zach Schuster Gallery, Florida (solo)

1986 L扐ttitude, Galeria Comicos, Lisbon

1986 Entre El Objeto Y La Image-Escultra brit醤ica contempor醤ea, Palacio Vel醶quez, Madrid; touring to Barcelona and Bilabao

1985 Waddington Galleries, London, England (solo)

1984 1965-72 - when attitude became form, Kettle抯 Yard, Cambridge: touring to Fruitmarket Gallery, Edinburgh, Ireland

1984 The British Art Show, City Museum and Art Gallery and Ikon Gallery, Birmingham: touring Britain

1984 Waddington & Shiell Gallery, Toronto, Canada (solo)

1983 New Art, Tate Gallery, London, England

1982 Aspects of British Art Today, Metropolitan Art Museum, Tokyo: touring Japan

1982 Fifth Triennale India, New Delhi, India (solo)

1982 Waddington Galleries, London (solo)

1981 Galerija Suvremene Umjetnosti, Zagreb (solo)

1981 British Sculpture in the 20th Century, Whitechapel Art Gallery, London

1981 Malmoe, Konsthall, Malmo Sweden

1981 Construction in Process, Lodz, Poland

1980 Galerie Bama, Paris, France (solo)

1980 ROSC, University College Gallery and National Gallery of Ireland, Dublin, Ireland

1979 Oliver Dowling Gallery, Dublin, Ireland (solo)

1979 Galeria Foksal, Warsaw, Poland (solo)

1979 Galeria Akumlatory, Poznan, Poland (solo)

1979 Un Certain Art Anglais, Musee d扐rt Moderne de la Ville de Paris; organised by ARC II and the British Council

1979 JP II, Palais des Beaux-Arts, Brussels, in collaboration with the British council

1978 Galerie December, Dusseldorf, Germany (solo)

1978 Michael Craig-Martin: 10 works 1970-77 (solo)

1978 Institute of Modern Art, Brisbane; touring Australia (solo)

1978 The Garden, Jardin botanique National, Meis, Belgium

1977 Documenta VI, Kassel, West Germany

1977 Hayward Annual: Current British Art Part II, Hayward Gallery, London, England

1977 Reflected Images, Kettle抯 Yard Gallery, Cambridge, England

1977 Works on Paper - The Contemporary Art Society抯 Gifts to Public Galleries 1952-77, Royal Academy of Arts, London, England

1977 Oliver Dowling Gallery, Dublin, UK (solo)

1976 - 1977 Turnpike Gallery, Leigh (solo)

1976 - 1977 New Gallery, London (solo)

1976 - 1977 Glynn Vivian Art Gallery & Museum, Swansea (solo)

1976 - 1977 Third Eye Centre, Glasgow, Ireland (solo)

1976 Michael Craig-Martin: Selected Works 1966-1975, Turnpike Gallery, Leigh, UK (solo)

1976 Art as Thought Process, XI Biennale International d扐rt, Palais d扙urope, Menton, France

1976 Recent International Forms in Art, 2nd Biennale of Sydney, Art Gallery of New South Wales, Sydney, Australia

1975 Britanniasta 75, Helsingin Taidehalli, Helsinki, Finland

1975 IX Biennale des Jeunes Artistes, Paris, France

1975 Body and Soul? Peter Moores Liverpool Project 3, Walker Art Gallery, Liverpool R.I.B.A., London, England

1975 Contemporary British Drawings, XIII Bienal of Sao Paolo

1974 Idea and Image in Recent Art, Art Institute of Chicago

1974 Art as Thought Process, Serpentine Gallery, London

1974 Galerie December, Munster, Germany (solo)

1973 11 British Artists, Staatlichen Kunsthalle, Baden-Baden: touring to Kunsthalle, Bremen

1973 Henry Moore to Gilbert & George, Palais des Beaux-Arts, Brussels

1972 7 Exhibitions, Tate Gallery, London

1972 The New Art, Hayward Gallery, London

1971 Arnolfini Gallery, Bristol (solo)

1971 Richard Demarco Gallery, Edinburgh, Ireland (solo)

1970 Critic抯 Choice, Arthur Tooth & Sons, London, UK

1969 Rowan Gallery, London. (also 1970, 1972, 1973, 1974, 1975, 1976, 1978, 1980)

2009


2009


2010


2010
http://www.artnet.com/artist/4547/michael-craig-martin.html

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