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Installation video of:
"MICHAEL CRAIG-MARTIN"
June 12—August 16, 2014
Gagosian Gallery Hong Kong
Video by Nick Foxall

If you would like to use this video, please contact hongkong@gagosian.com

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Sterling Ruby VIVIDS at Gagosian Gallery Hong Kong
17 September 2014 - 25 October 2014

Gagosian Hong Kong is pleased to present VIVIDS, an exhibition of new spray paintings by Los Angeles-based artist Sterling Ruby. This is Ruby’s first exhibition with the gallery.

Ruby engages a wide range of aesthetic strategies and mediums—glossy and color-saturated poured-polyurethane sculptures, drawings, collages, richly glazed ceramics, graffiti-inspired spray paintings, and video—maintaining a constant tension within a multitude of elements. His work engages with issues related to the violence and pressures within society, autobiography, and art history. Throughout he vacillates between fluid and static, minimalist and expressionist, pristine and dirty. Of the diverse forms that constitute his oeuvre the paintings are the most formally abstract. Ruby has long been influenced by the sociological implications of urban demarcation, vandalism, and the power struggles of gang graffiti. In his paintings, acts of defacement are transformed into a painterly sublime.

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Ending Soon - Michael Craig-Martin at Gagosian Hong Kong

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"Michael Craig-Martin


Gagosian Gallery Hong Kong
Through Saturday, August 16, 2014, 7pm HKT

Gagosian Hong Kong is pleased to present recent paintings by Michael Craig-Martin.

A principal figure of British conceptual art, Craig-Martin probes the relationship between objects and images, harnessing the human capacity to imagine absent forms through symbols and pictures. The perceptual tension between object, representation, and language has been his central concern over the past four decades. During the late 1970s, he began to transcribe everyday items into “pictorial readymades” directly onto gallery walls, and since the 1990s onto canvas in conjunction with vivid artificial color. His drawings, paintings, and monumental steel sculptures are representations in the truest sense of the word, conveying familiar subjects as concisely as possible and thereby inviting each viewer’s personal response.

Recent paintings on aluminum panels, some larger than two meters square, depict a new range of contemporary objects—a high-heeled shoe, a disposable coffee cup, an energy-saving lightbulb—in an electric palette tinged with neon blues, greens, and pinks. The simplest object can become iconic. The amplified archetypes may lure the viewer into associations with his or her own corkscrew, headphones, or prescription pills. Continuing to resist any elaboration of form, Craig-Martin allows himself absolute chromatic freedom, casting the line-drawn silhouettes—which he draws digitally, then executes using paint rollers and thin tape—against vivid backgrounds of turquoise or purple. The selected colors disrupt the usual identity of the explicitly described objects, as in a subtly self-referential painting of a standard paint roller suspended in a magenta picture plane. “The drawings are as precisely like the thing as I can make them, and the color is as artificial as I can make it,” Craig-Martin has said. In this way, he uses color to “subvert” the image.

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