Work No. 227 (The lights going on and off), 2001 Martin Creed


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Work No. 227 The lights going on and off 2000 5 seconds on / 5 seconds off MOMA, New York, 2007


Martin Creed (1968 ) Work No. 227 The Lights Going On a… Flickr

Martin Creed is an artist best known for turning the lights on and off.


Martin Creed, Work No. 203, 1999 Martin creed, Tate britain, Installation art

Martin Creed. Work No. 227, The Lights Going On And Off. 2000


Martin Creed, ‘Work No. 227 The Lights Going On...

Ready? Artists make lots of choices as they work. But Creed, like many people, finds it hard to make up his mind. Martin Creed: One of the ways that this piece came about was just thinking, I want to do something in a room, but I don't know if I should have the lights on or off. Narrator: He even wrote a song called "I Don't Know What I Want."


Work No. 227 (The lights going on and off), 2001 Martin Creed

Work No. 227: The lights going on and off, Martin Creed, 2000, Gallery lighting. | Tate Images. This is a Tate Images licensable image titled 'Work No. 227: The lights going on and off' by Tate Images.


Martin Creed, 'What's the point of it?', Hayward Gallery Thoroughly Modern Milly

the-lights-going-on-and-off.com by Jonathan Chomko, after Martin Creed. An online version of Martin Creed's year 2000 Turner Prize winning installation. This work, created during the covid pandemic of 2020, expresses how the online world has become the venue for viewing art.


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It was first shown at Tate when the artist won the Turner Prize in 2001, generating significant press coverage at the time and going on to form an important part of the history of the Turner Prize. The work consists of an empty room which is filled with light for five seconds and then plunged into darkness for five seconds.


Martin Creed, ‘Work No. 227 The Lights Going On...

The piece, The Lights Going On And Off, is a real attempt to try to engage with the theatrical situation which is all around you. I mean it's almost exactly like a piece of music. It exists as a score and instructions. And the piece, like a piece of music, needs to be played or made in order to be experienced.


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Work No. 227, The Lights Going On And Off. 2000. off), Dimensions variable. Song by Martin Creed: I don't know what I want. I don't know what I want. I don't what I think. I don't know what I think. I don't know what I see. I don't know how I feel. I don't know what I want.


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Jonathan Jones Tue 3 Sep 2013 11.46 EDT 175 So what do you get when you buy Martin Creed's Work No 227: The Lights Going On and Off, which has just been acquired by the Tate? A light.


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Art installation by Martin Creed. Work No. 227: The lights going on and off; Summary; Reaction; References


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Martin Creed Work No. 227: The lights going on and off WORK NO. 227: THE LIGHTS GOING ON AND OFF We all have our bad days, when you just can't get it right, like moments of loss and surrender. And we all have our good days, when everything seems to run smoothly, just perfect for no apparent reason. I can see clearly now the rain has gone.


Martin Creed Mothers Dazed

Directed by: Meryam Joobeur Written by: Meryam Joobeur Produced by: Maria Gracia Turgeon, Habib Attia Mohamed is deeply shaken when his oldest son Malik returns home after a long journey with a mysterious new wife. 'Work No. 227 (The lights going on and off)' was created in 2001 by Martin Creed in Conceptual Art style.


Martin Creed, work no 227, lights going on and off, 2000. Esculturas, Instalacion

The Tate is to turn the lights back on, and off, on a more regular basis after buying Martin Creed's controversial Turner Prize winning piece from 2001.


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Work No. 227: The lights going on and off [1] is an installation by British artist Martin Creed. As of 2013, it forms part of the permanent collection at Tate Britain. [2] The installation is widely considered to be one of Creed's signature art works [3] and has also been described as Creed's "most notorious work". [4] Summary


Martin Creed, work no 227, lights going on and off, 2000. Martin creed, Lights, Gallery lights

Creed controls the fundamental conditions ofvisibility within the gallery and redirects our attention to the walls that normally act as support and background for art objects. He treats the gallery as a medium to be molded, manipulating the existing lighting to create a new effect.