Martin Creed, Hauser & Wirth | reviews, news & interviews
Martin Creed, Hauser & Wirth
Martin Creed, Hauser & Wirth
The lovable conceptual artist delivers the mother of all shows
Thursday, 27 January 2011
Installation view of Martin Creed's 'Mothers' at Hauser & Wirth, Savile RowAll images © Martin Creed, Courtesy the artist and Hauser & Wirth. Photo: Hugo Glendinning
Who could not love Martin Creed? The tweed-encased harumphers of the world adore him, because they can say, “That’s not art,” and, “My cat could do that,” and have an all-round wonderful time. Conceptualists have it easy: what could be more fun than his Turner Prize-winning Work No 227, a light going on and off in a room? And lovers of abstract art love him because his work is just there. “Take it or leave it,” it seems to say. And they love him because, well, because his work is lovable.
Who could not love Martin Creed? The tweed-encased harumphers of the world adore him, because they can say, “That’s not art,” and, “My cat could do that,” and have an all-round wonderful time. Conceptualists have it easy: what could be more fun than his Turner Prize-winning Work No 227, a light going on and off in a room? And lovers of abstract art love him because his work is just there. “Take it or leave it,” it seems to say. And they love him because, well, because his work is lovable.
The placement, the size, makes Creed's painted squares irresistibly comic, even as you know that black squares are not themselves inherently funny
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