MARTIN CREED, ‘I Can’t Move’ CD, 1999
each 10.8 x 14 cm, invite + order form
published by Art Metropole, Toronto, Canada
Collection K. van Gelder, Amsterdam
This invitation came with an order form on very thin paper to buy a released CD at Art Metropole in Toronto. On Thursday September 9th Martin Creed performed songs from his CD during the launch.
© foto: K. van Gelder, Amsterdam
MARTIN CREED, Art is shit., 2017
ca 59 x 38 cm (41 x 38)
text on tote bag
published by Museum Voorlinden, Wassenaar, Netherlands
For purchase see: Martin Creed, shop Museum Voorlinden
Screen printed text on fabric:
“Art is shit.
Art galleries are toilets.
Curators are toilet attenders.
Artists are bullshitters.”
This is a tote bag with a syllogistic quote from the artist: ‘Art is shit. Art galleries are toilets. Curators are toilet attendants. Artists are bullshitters.’ Apparently in the eyes of Martin Creed galleries show shit and curators are therefore toilet attendants, while artists produce shit. He says: ‘The more I work, the more I think I don’t know what I am doing. I have absolutely no idea what I am doing. It is like sweat or shit. It comes out as I go along …’.
MARTIN CREED, Everything is going to be alright – leporello, n.d. [ca 2012]
104,5 x 14,8 cm
offset postcards, leporello in cellophane envelope
MARTIN CREED, Thinking, not thinking, 2009
7″ vinyl record (blue), plastic sleeve, incl. invitation sticker, sealed
published by Hiromi Yoshii Gallery, Tokyo, Japan
MARTIN CREED, Say Cheese!, 2017
21 x 14,8 cm
catalogue, stapled brochures, each 16 pp.
2 parts: publication in English and Dutch, incl. entrance ticket
“Full Moon”, 2017, 21 x 14,8 cm, catalogue, stapled brochures, each 16 pp., 2 parts: publication in English and Dutch.
MARTIN CREED, Work No 1560, 2013
LP, hand painted sleeve
published by The Vinyl Factory, London, UK
On 17 April 2013, the night of his performance and the recording, Creed introduced an evening of acoustic music with Moshi Moshi Records in the chapel of The House of St Barnabas. Creed’s album Love To You was released on vinyl in July 2012 on label The Vinyl Factory.
example of another hand painted sleeve:
MARTIN CREED, Work No. 1273, 2011
76 x 60 cm
lithograph on 300 gsm paper
edition of 250
signed, numbered, dated
pubished by Counter Editions, London, UK
Martin Creed imposes simple rules on his creativity. He might create a painting using only paintbrushes bought in a multi-pack, or make only one mark a day with the same felt-tip pen until the whole paper surface is covered. Repetition, stacks, and intervals are familiar motifs in his work, along with ascending and descending structures. For Work No.1273, Creed has made five single brush marks using a palette derived from the Olympic colours. The marks are arranged in an ascending form that seems to represent an extended podium.
History of prices:
Counter Editions, London, UK £ 640.- September 2012
MARTIN CREED, Work No. 117
audio cassette, offset, cassette
edition of 500
All the sounds on a drum machine, recorded on a cassette tape. Martin Creed’s Work no. 117 and Two Minute Rest (1995) is a sound piece that rattles through every percussion sound on Creed’s synthesizer.
Hauser & Wirth, Zurich, Switzerland
Hauser & Wirth, Zurich, Switzerland February 2012 € 82,-
MARTIN CREED Work No. 1370 – ‘Chicago’, 2012
vinyl LP, watercolour painted cover
published by The Vinyl Factory and MCA/Museum of Contemporary Art, Chicago, USA
Each cover features a unique aquarel by Martin Creed, hand painted at Museum of Contemporary Art in Chicago earlier in 2012. Four new songs were recorded all analogue at John McEntire’s Soma Studios.
History of prices:
The Vinyl Factory and MCA/Museum of Contemporary Art, Chicago 2012 year of issue GBP 200.-
MARTIN CREED, Love To You, 2012
heavy weight vinyl, ca 40 min., 180 grams
painted LP cover, folded poster of cover image, printed inner sleeve
edition 150 (here 145/150)
published by The Vinyl Factory, Hayes (Middlesex), England
€ 875,- plus € 18,- Track & Trace registered mail
This limited edition has been hand painted by Martin Creed, hence each cover is a unique artwork. The work contains Martin’s debut album on heavyweight clear vinyl, crafted by The Vinyl Factory, and includes an oversized poster of the album cover photograph. The LP itself is an example of his way of dualistic thinking and making concepts. In ‘Love To You’ 18 love and hate songs from Martin Creed are brought together and the short tracks in this album, delivered by Martin Creed and his band, are described by The Guardian as “like something between Steve Reich and The Ramones.”