signed and dated (to reverse), acrylic on canvas on board 51cm x 56cm (20in x 22in) Provenance: Karsten Schubert Ltd., London, 1991; Waddington Galleries, London, 1992; Richard Salmon Gallery, London. Exhibited: Richard Salmon Gallery, London, Spatial Harmony in Fixed Diverse Contemporaries: Tony Bevan Keith Coventry Michael Craig-Martin Gary Hume Bridget Riley and Stuart Taylor, May-June 1999. In 1991 Michael Craig-Martin created a series of monochromatic paintings, covered with uniformed rows of white dashes, suspending working with images of objects for a period. These works continued his interest in the idea of the repeated constituent, as Richard Cork observed, which he had already explored in his Venetian-blind series. Craig-Martin’s intention was to make the most basic works he could imagine, with the ambition that every segment of the painting matched each other, and therefore that the paintings would only stand for themselves. This period in his oeuvre culminated in a set of nine large identical works being shown at the Waddington Galleries in 1991, and in creating this body of work he saw himself as a composer, with the ‘dash’ paintings being reminiscent of musical scores sending meticulous but unreadable messages. (Richard Cork Michael Craig-Martin Thames and Hudson, London, 2006, pp.92-3)
signed and dated (to reverse), acrylic on canvas on board 51cm x 56cm (20in x 22in) Provenance: Karsten Schubert Ltd., London, 1991; Waddington Galleries, London, 1992; Richard Salmon Gallery, London. Exhibited: Richard Salmon Gallery, London, Spatial Harmony in Fixed Diverse Contemporaries: Tony Bevan Keith Coventry Michael Craig-Martin Gary Hume Bridget Riley and Stuart Taylor, May-June 1999. In 1991 Michael Craig-Martin created a series of monochromatic paintings, covered with uniformed rows of white dashes, suspending working with images of objects for a period. These works continued his interest in the idea of the repeated constituent, as Richard Cork observed, which he had already explored in his Venetian-blind series. Craig-Martin’s intention was to make the most basic works he could imagine, with the ambition that every segment of the painting matched each other, and therefore that the paintings would only stand for themselves. This period in his oeuvre culminated in a set of nine large identical works being shown at the Waddington Galleries in 1991, and in creating this body of work he saw himself as a composer, with the ‘dash’ paintings being reminiscent of musical scores sending meticulous but unreadable messages. (Richard Cork Michael Craig-Martin Thames and Hudson, London, 2006, pp.92-3)
.jpg "Quelle: Christie's")
Testen Sie LotSearch und seine Premium-Features 7 Tage - ohne Kosten!
Lassen Sie sich automatisch über neue Objekte in kommenden Auktionen benachrichtigen.
Suchauftrag anlegen
.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
