London

Michael Craig-Martin

Waddington Custot Galleries

Michael Craig-Martin’s work becomes more concrete with the passing years. His black-and-red-tape line drawings on gallery walls gave way to outlines defined in black-painted steel, and some of his most recent works (12 of which were shown here, together with some pieces from 1986) are almost freestanding objects. The new works, all from 1987, incorporate elements of the steel outlines within and around aluminum-framed slices of “reality.” All of his work sets out to probe notions of what art is and how it functions. And in his use of found objects and his references to the essence of others, Craig-Martin displays his roots in and continued loyalty to the paradigms of Minimalism and Conceptualism.

In addition to the references to the human figure that appear in all the larger pieces, the two images/objects that Craig-Martin uses most frequently are those of a giant light bulb and of a

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the Summer 1988 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.