Martin Creed

born 1968

Martin Creed, ‘Work No. 203: EVERYTHING IS GOING TO BE ALRIGHT’ 1999
Work No. 203: EVERYTHING IS GOING TO BE ALRIGHT 1999
© Martin Creed
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Materials and Objects: Martin Creed

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2 artworks by Martin Creed
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Biography

Martin Creed (born 21 October 1968) is a British artist, composer and performer. He won the Turner Prize in 2001 for exhibitions during the preceding year, with the jury praising his audacity for exhibiting a single installation, Work No. 227: The lights going on and off, in the Turner Prize show. Creed lives and works in London.

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Abject art Conceptual art

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Features

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  • Maurizio Cattelan Installation view of All at Kunsthaus Bregenz 2007

    Tate Etc

    Now is for ever, again: The everyday

    Francesco Bonami

    From Gabriel Orozco’s exhibition of yoghurt pot lids to Rirkrit Tiravanija’s transformation of a gallery into a kitchen to serve …

  • Martin Creed, Words 2006

    Read

    Martin Creed born 1968Words 2006

    Clare Gormley

    Case study exploring Martin Creed's Words 2006, published as part of Performance at Tate: Into the Space of Art, a …
  • Tate Etc. issue 21 magazine cover

    Tate Etc

    Tate Etc. issue 21: Spring 2011

    Tate Etc. Issue 21: Visiting and revisiting Art, etcetera; online edition of Tate's magazine
  • Martin Creed Work Number 878 2008

    Tate Etc

    Nothing works: The void

    Anna Dezeuze

    Marcel Duchamp’s phial of Paris air, Yves Klein’s The Void exhibition, Martin Creed’s Work No.227: The lights going on and …

  • Tate Etc

    The death of the body

    Nicholas Blincoe

    The body matters, more than at any other time in history. As Abi Titmuss appears in a Sapphic embrace on …

  • Martin Creed The lights going on and off 2000

    Tate Etc

    But is it installation art?

    Claire Bishop

    What does the term ‘installation art’ mean? Does it apply to big dark rooms that you stumble into to watch …

  • Keith Farquhar John Lewis Partnership 2000

    Tate Papers

    Awkward Relations

    Neil Mulholland

    This paper focuses on practices that captured critical and curatorial attention in Scotland and England at the turn of this …

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