Martin Creed: Work Shy

I like art, its meaningless, its sincerity, how it evolves, devolves, explores, implores, holds up mirrors, smashes them to pieces, distorts time, space and place, distrusts, confesses, rejects, confronts, entertains and enlightens. I love it. Honest. I like art when it's beautiful, when it's ugly, how it can arouse or molest the senses. I've seen it in Rothko, in Gormley, with Hopper, Caulfield among quite a long list of others...but I've yet to feel anything significant about Martin Creed, particularly in his recent installation Work 850. I wasn't exactly endeared when I came across Work 227: Lights going on and off. I'll allow Channel 4's Jon Snow and Nicholas Glass to take up the background, for those of you who have been buried under Martian ice.

http://link.brightcove.com/services/player/bcpid1529573111?bclid=1640055074&bctid=1640111623

I'm not the first and I won't be the last to stake the claim that Creed comes across as a lazy, self-indulgent, bullied, cop out, that his work embodies everything that is just plain wrong about The Turner Prize and all those 90s Brit artists that were fashionable for about two hours. I just find his work mediorce. Why the press interest? Why the hype? I can see that, beyond, the lack of concept, there is something vaguely intriguing, if not unoriginal, about people running through art galleries like arseholes, especially if they are pretentious artists being chased by masked knife men.

If this project had been conceived by someone else, say Bob Champion or Mary Decker, then it would have some mileage. But from the prism of Creed's psyche, and we know he has form, you get the understandable inkling that his cynical, smug, bad judgement has got the better of him again. It feels as if he gives most of his projects about 5 seconds thought while he's on the bog, which incidentally, I reckon he rather enjoys a bit too much.

It's OK to evolve, Martin! Try it someday. He should do a video installation, a self-portrait called Being Repeatedly Punched In The Face.