Michael Craig-Martin is regularly referred to as the godfather of ‘Brit Art’ due to his influence on a younger generation of artists whom he taught at Goldsmiths in London between 1974 and 2000, including Damien Hirst, Sarah Lucas, Gary Hume and Julian Opie. He first gained recognition for his seminal conceptual work An Oak Tree (1979), in which he asked the viewer to accept that he had transformed a simple glass of water on a glass shelf into a mighty oak tree without physically changing the object itself. This act of ‘transubstantiation’ (or making a change that you can’t actually see) not only pointed to the power of an artistic gesture, it also set the scene for Craig-Martin’s ongoing post-Duchampian investigation into ‘readymades’ and how mass-produced and designed objects are shaped by and shape the world we live in.
Five-sided 4.5mm acrylic cover; float mounting using Japanese tissue paper hinges with purified wheat starch adhesive on 4-ply cotton-fibre museum rag board; 3mm acrylic and Dibond backing boards; sealed timber sub-frame with inbuilt split-batten hanging system for easy and secure wall attachment.
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