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https://www.michaelcraigmartin.co.uk/biography-1
Michael Craig-Martin was born in Dublin Ireland in 1941. He grew up and was educated in the United States, studying Fine Art at the Yale School of Art and Architecture. He has lived and worked in Britain since 1966. His first solo exhibition was at the Rowan Gallery, London, in 1969.
https://www.michaelcraigmartin.co.uk/
The official website for Michael Craig-Martin. Cristea Roberts Gallery 3-6 October 2019 Related talks At Frieze, FRIDAY 4 OCTOBER, 2PM:
https://www.tate.org.uk/art/artists/michael-craig-martin-955
Sir Michael Craig-Martin (born 28 August 1941) is an Irish-born contemporary conceptual artist and painter. He is known for fostering and adopting the Young British Artists, many of whom he taught, and for his conceptual artwork, An Oak Tree. He is Emeritus Professor of Fine Art at Goldsmiths.
http://www.artnet.com/artists/michael-craig-martin/
Michael Craig-Martin is an Irish Conceptual artist. Frequently working in candy-colored paintings of text and everyday objects, Craig-Martin’s practice is both varied and playful.Nationality: Irish
https://www.askart.com/artist/artist/113674/artist.aspx
Michael Craig-Martin (Born 1941) is active/lives in Connecticut / United Kingdom. Michael Craig Martin is known for Painting, sculpture-pop art, installations. Born in Ireland and based in London, Michael Craig-Martin is a conceptual artist who does painting, printmaking, sculpture and installations.
https://www.royalacademy.org.uk/art-artists/name/michael-craig-martin-ra
Michael Craig-Martin grew up and was educated in the United States. He studied Fine Art at the Yale University School of Art and Architecture and, on completion of his studies in 1966, he moved to London where he has lived ever since.
https://gagosian.com/artists/michael-craig-martin/
A principal figure of British conceptual art, Michael 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.
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