Martin Boyce
| Type | Male Artist |
|---|---|
| Associated person(s) | |
| URLs | Wikipedia (de) Institutions/museums |
| Awards | |||||
|---|---|---|---|---|---|
| Award | 2011 | Turner Prize | Tate Gallery, Tate Britain | London, England (UK) |
| Exhibitions | |||||
|---|---|---|---|---|---|
| Solo exhibition | 2019 | Just Beyond the Undertow | Convent Space for Contemporary Art | Gent (BE) | |
| Group exhibition | 2019 | Negative Space. Trajectories of Sculpture | ZKM - Zentrum für Kunst und Medien | Karlsruhe (DE) | |
| Solo exhibition | 2018 | Hanging Gardens | A4 Art Museum | Chengdu (CN) | |
| Solo exhibition | 2016 | Do Words Have Voices | Tate Britain | London, England (UK) | |
| Group exhibition | 2016 | L’Esprit du Bauhaus, L’Objet en Question | Musée des Arts Décoratifs | Paris (FR) | |
| Solo exhibition | 2015 | Martin Boyce | Museum für Gegenwartskunst | Basel (CH) | |
| Group exhibition | 2013 | London: City of Disappearances | CCA Wattis Institute for Contemporary Arts | San Francisco, California (US) | |
| Group exhibition | 2012 | Common Ground | 13th International Architecture Exhibition, Venice Biennale | Venice (IT) | |
| Solo exhibition | 2011 | Commission | Massachusetts Institute of Technology | Cambridge, Massachusetts (US) | |
| Group exhibition | 2007 | Skulptur Projekte Münster | LWL-Museum für Kunst und Kultur | Münster (DE) |
| Artworks in Collections | |||
|---|---|---|---|
| Museum of Modern Art | New York City, New York (US) | ||
| Tate Gallery | London, England (UK) | ||
| Museum of Modern Art | Frankfurt (DE) | ||
| Carnegie Museum of Art | Pittsburgh, Pennsylvania (US) | ||
| Rhode Island School of Design | Providence, Rhode Island (US) | ||
| Gallery of Modern Art | Glasgow, Scotland (UK) | ||
| Daimler Art Collection | Berlin (DE) |
| Publications | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Monography | 2011 | Snoeck | Martin Boyce (Turner Prize 2011) | Boyce, Martin; Christian Ganzenberg; Wiehager, Renate | 978-3864420054 | Cologne (DE) | ||||||
| Monography | 2015 | Princeton Architectural Press | Martin Boyce: When Now is Night Paperback | Molon, Dominic | Martin Boyce: When Now is Night Paperback | New York |
| Research & teaching | professorship | 2018 | Professur für Bildhauerei | Hochschule für bildende Künste | Hamburg (DE) |
|---|
Research and teaching
Hamburg, Germany
Professor for Sculpting
Awards
London, England, United Kingdom
Turner Prize
Education
Glasgow, Scotland, United Kingdom
Education
Los Angeles, California, USA
California Institute for the Arts
Education
Glasgow, Scotland, United Kingdom
Glasgow School of Art
Born
Hamilton, Scotland, United Kingdom
Places of residence
Glasgow, Scotland
Martin Boyce works across a range of media including sculpture, installation and photography as well as wall paintings and fictional text. At the core of his work is an exploration of modernist design and specifically how time has affected our understanding of design objects.
Now I've got real worry (Mask and L-bar) from 1998-9 is an example of an early work in which Boyce has deconstructed two modernist objects by the iconic American designers, Charles and Ray Eames, making the leg splint into a tribal mask and the L-bar into a spear. In works such as this, Boyce compares the culture in which the objects were originally produced, in this case the optimism surrounding the post-war boom in manufacturing, to their position today as collectable art objects.
Boyce's interest in modernist design was reinforced when he discovered a photograph of the concrete trees created by the sculptors Joél and Jan Martel for the 1925 Parisian Exhibition of Decorative Arts. This marks the departure point for his recent work. From the Martels' decidedly cubist-inspired interpretation of nature, Boyce devised his own grid-based vocabulary of geometric shapes that he has since used as a basis for all aspects of his art. He also created his own font of angular letters, which has allowed Boyce to develop his interest in language and narrative.
Installation plays a significant role in Boyce's art. His distinct awareness of space and its effect on the viewer was honed through his education's focus on art for the public realm. Recalling familiar public spaces such as playgrounds, pedestrian walkways and abandoned or disused sites, Boyce's installations often have a ghostly or somewhat disquieting atmosphere. His 2002 installation. Our Love is Like the Flowers, the Rain, the Sea and the Hours at Tramway, Glasgow, transformed the gallery space into a darkened urban park, the only light emanating from trees constructed from tubular lamps. Such stage-sets create an imagined world where the past, present and future mix. Boyce merges the natural and the constructed, the populated and the uninhabited, the real and the imaginary, to create a melancholy interpretation of an unnamed landscape.
https://www.nationalgalleries.org/art-and-artists/artists/martin-boyce (25.09.2020)
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Our love is like the flowers, the rain, the sea and the hours | 2002 | Martin Boyce | |
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We Are The Breeze (Electric Trees) | 2006 | Martin Boyce | |