Umbrella (yellow), 2011, by Michael Craig-Martin, installation view at the Windsor in Vero Beach, Florida. © The artist. Courtesy of the artist and Gagosian. Photography: Aric Attas

Somewhere in a maze of picket fences, golf greens and lakes, Vero Beach’s The Gallery at Windsor is a remote haven for British art world patricians. Its currently two years into a partnership with London’s Royal Academy of Arts, which annually brings a celebrated artist to the Atlantic coastline to exhibit. Last year, we observed with interest as Grayson Perry brought his flambouyantly British work to the palatial private community, to the visible delight of its residents. Now it’s the turn of Irish artist Michael Craig-Martin, who saw an equally warm welcome (unseasonably chilly Floridian February withstanding).

在一个迷宫般的栅栏，高尔夫绿地和湖泊，韦洛海滩的画廊在温莎是一个遥远的避风港，英国艺术世界的贵族。目前与伦敦皇家艺术学院的合作已经两年了，每年都会有一位著名的艺术家来到大西洋海岸展出。去年，我们饶有兴趣地观察到，格雷森·佩里(GraysonPerry)把他那华丽的英国作品带到了富丽堂皇的私人社区，给当地居民带来了明显的乐趣。现在轮到爱尔兰艺术家迈克尔-克雷格-马丁，他看到了同样热烈的欢迎(异常寒冷的佛罗里达二月抵挡)。

Despite his connections with the US – Craig-Martin spent much of his childhood in Washington DC, and studied at Yale in the 1960s (more of which later) – he has exhibited relatively narrowly across America. Most recently, his work was included in group exhibitions in New York and Dallas in 2015; but as his stateside exhibitions go, ‘Present Sense’ is a vastly comprehensive one. In fact, it sees the artist’s sculpture, prints and paintings exhibited together for the first time anywhere, offering never-before-seen perspectives on the artist’s unwavering approach to each discipline.

尽管他和美国有联系-克雷格-马丁童年的大部分时间都在华盛顿特区度过，20世纪60年代他在耶鲁大学学习(后来更多)-但他在美国的表现相对狭窄。最近，他的作品被列入2015年纽约和达拉斯的团体展览；但就他在美国举办的展览而言，“当下感”是一部非常全面的作品。事实上，它看到艺术家的雕塑，版画和绘画一起首次在任何地方展出，提供了从未有过的视角，艺术家对每一个学科坚定不移的态度。

Untitled (sunglasses), 2018, by Michael Craig-Martin. © The artist. Courtesy of the artist and Gagosian. Photography: Mike Bruce

未命名(太阳镜)，2018年，迈克尔克雷格-马丁。艺术家。艺术家和Gagosian的礼遇。摄影：迈克·布鲁斯

Another first, ‘Present Sense’ marks Windsor’s inaugural en plain air display, with Craig-Martin’s sculptures positioned around the manicured grounds. In its 17-year history of hosting world-leading artists (Alex Katz, Peter Doig, Ed Ruscha, Alex Katz, and Jasper Johns to name a few) it’s surprising that the gallery’s vacation-perfect surrounds haven’t been utilised more often.

第一次，“现在感觉”标志着温莎在平原上的首次展示，克雷格-马丁的雕塑被安置在修剪整齐的场地周围。在举办世界领先艺术家的17年历史中(亚历克斯·卡茨、彼得·多伊格、埃德·拉萨、亚历克斯·卡茨和贾斯珀·约翰斯等等)，令人惊讶的是，画廊的度假环境却没有得到更多的利用。

The success of Craig-Martin’s sculptures in their picturesque settings might be set to change that (though one does worry they might get clobbered by a rogue golf buggy, or over-zealous swing). The paper-thin works, almost two-dimensional in profile, describe familiar objects with Craig Martin’s known clarity. A pink stiletto punctures the turf between mansions; a red wheelbarrow frames the paddocks; two open umbrellas look like they’re about to lift off and bounce across the lake. Thanks to each sculpture’s near-transparency, the surroundings play a crucial role in the way they’re seen, and Craig-Martin had ideas for their exact positioning long before they were finally placed. The over-sized white picket-fence, for example, sits at the entrance of the resort, between rows of actual picket-fences, which look comically small in comparison. A giant, magenta pitchfork pierces the ground near a flowerbed, as if God has been gardening.

克雷格·马丁(Craig-Martin)的雕塑在风景如画的环境中获得成功，可能会改变这种状况(尽管人们确实担心，它们可能会被一辆无赖的高尔夫球车或狂热的挥杆击中)。纸薄的作品，几乎是二维的轮廓，描述熟悉的对象与克雷格马丁的已知清晰度。一条粉红色的细针刺穿了大厦之间的草皮；一辆红色的手推车将围场围起来；两把打开的雨伞看上去就像要在湖面上弹跳一样。由于每一个雕塑的透明度，周围的环境在他们的观察方式中起着至关重要的作用，克雷格-马丁在它们最终被放置之前就有了关于它们的精确定位的想法。例如，超大的白色栅栏就坐落在度假村的入口处，中间是一排排实际的栅栏，相比之下，这些栅栏看起来小得可笑。一个巨大的，洋红色的干草叉穿过靠近花坛的地面，就像上帝一直在园艺一样。

‘To be honest, I’d make all the sculptures twice as big if I could,’ Craig-Martin laughs. ‘Scale produces wonderment. Everyone is touched by something that makes them feel childlike.’ As such, humour plays an important role, too. ‘When work includes veiled illusions to humour, you can seduce people to engaging with it, without them really realising.’

克雷格-马丁笑道：“老实说，如果可以的话，我会把所有的雕塑都做成两倍大。”规模创造奇迹。每个人都被某种东西所感动，这些东西让他们觉得自己很孩子气。因此，幽默也起着重要的作用。“当工作包括隐藏的对幽默的幻想时，你可以诱使人们参与其中，而没有他们真正的意识。”

‘Architecture is like going to the movies. It’s pure entertainment.’

“建筑就像去看电影。这是纯粹的娱乐。”

This is not to say Craig-Martin’s work is not underpinned by great theoretical seriousness, much of it learnt from his transformative time as an undergraduate. ‘I was very innocent and green when I arrived at Yale in 1961,’ he explains. ‘There were so few undergraduates doing fine art at the time, that there was no real program – they just put us in with the graduate students. Josef Albers had been teaching for three or four years. I was in the same class as Richard Serra. At the time, I thought that was normal. Only later on did I learn it was remarkable.’

这并不是说克雷格-马丁的工作没有得到理论上的严肃性的支持，大部分都是从他在大学期间的转变中学到的。他解释说，1961年我来到耶鲁时，我是非常天真和绿色的。“当时学美术的本科生太少了，根本就没有真正的程序-他们只是把我们和研究生放在一起。”约瑟夫·阿尔贝尔斯已经教书三四年了。我和理查德·塞拉在同一班。当时我觉得这很正常。后来我才知道这是很了不起的。“

Through these notable alumni, Craig-Martin attended the pioneering exhibitions of the day, learning ‘from minimalists, colour theorists, and pop artists like Andy [Warhol] firsthand.’ Each early inspiration still sings through his work today, through the reduced quality of minimalism, Albers-inspired emphasis on colour interactions, and the depiction of everyday objects favoured by pop artists.

通过这些著名的校友，克雷格-马丁参加了当时的开创性展览，学习“极简主义者、色彩理论家和流行艺术家，如安迪[沃霍尔]第一手资料”。每个早期的灵感仍然通过他今天的作品，通过极简主义的质量降低，阿尔贝尔斯灵感的强调色彩互动，以及描绘日常物品流行艺术家青睐。

Craig-Martin’s work is also informed by his lifelong interest in architecture and design, and colourful prints of buildings by Mies van der Rohe and Le Corbusier feature here. But – despite his sculpture’s architecture-like structural complexity – trying his hand at designing a building doesn’t interest him remotely. ‘For me, architecture is like going to the movies; it’s like entertainment. A pure pleasure.’ The disciplines occupy different headspaces. ‘Many people think creativity is to do with invention. I think there’s different kinds of creativity. Invention is the role of designers. Artists observe.’ §

克雷格-马丁的工作也从他毕生对建筑和设计的兴趣，以及米斯·范德罗赫和勒柯布西耶的彩色建筑版画中得到了启发。但是-尽管他的雕塑建筑-就像结构的复杂性-试着设计一座建筑，他一点也不感兴趣。对我来说，建筑就像去看电影，就像娱乐一样。纯粹的快乐。“学科占据不同的前沿空间。许多人认为创造力与发明有关。我认为有不同的创造力。发明是设计师的角色。艺术家观察。

“高跟鞋(粉红色)”，2013年，迈克尔·克雷格·马丁(Michael Craig-Martin)著。艺术家。艺术家和Gagosian的礼遇。摄影：阿里克·阿塔斯高跟鞋(粉色)，2013年，迈克尔·克雷格·马丁(Michael Craig-Martin)著。艺术家。艺术家和Gagosian的礼遇。摄影：阿里克·阿塔斯

无题(观看片段黄色)，2018年，迈克尔克雷格-马丁。艺术家。艺术家和Gagosian的礼遇。摄影：迈克布鲁斯无题(观看片段黄色)，2018年，迈克尔克雷格-马丁。艺术家。艺术家和Gagosian的礼遇。摄影：迈克·布鲁斯

门(白色)，2011年，迈克尔克雷格-马丁。艺术家。艺术家和Gagosian的礼遇。摄影：阿里克阿塔斯门(白色)，2011年，迈克尔克雷格马丁。艺术家。艺术家和Gagosian的礼遇。摄影：阿里克·阿塔斯