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A Curator's Insights: Martin Creed: Scales with Kelly TaxterSunday, January 26 · 2 pm to 3 pm. FREE for members and children 18 and under; FREE with the price of admission. Join us for a close look at the participatory and multi-sensory works by Martin Creed, visual artist, composer, musician, performer, and choreographer. Walk the galleries and engage in conversation about the art with visiting curator Kelly Taxter, the expert who curated Martin Creed: Scales. Presented in the Music exhibition series, Creed’s multifarious activities are received and contextualized as artworks, yet he resists that definition; rather, he catalogues his output by a simple taxonomy: a number followed by a descriptive title. Since the initial Work No. 3, Yellow painting (1996), he has made nearly two thousand works, including Work No. 1652 (2013), a Victorian upright piano whose lid mechanically opens and closes. The abrupt slam causes the faint resonance of every string, an atonal drone that ebbs and flows with the creak and bang of the lid's movement. What might be considered music in this work is as much tied to the object's inherent qualities as to a nimble exercise in classification. Michelangelo, master of the High Renaissance, is supposed to have said that the sculpture was inside the marble and it was just a matter of finding it. Creed often refers to this anecdote as "a nice way to think about working—finding it, not making it." Scales assumes this exploratory methodology, finding music both sonorously and conceptually in the most obvious and least likely of things and ways, in works in paint, ink, sculpture, and video. This exhibition is bound together by the artist's consistently applied methodology: playing off characteristics essential to light—metronomes, balloons, a piano, a drum machine, paint brushes, and people—rather than manipulating them to a desired effect, which yields work as much about music as all forms of creative expression. Creed lives and works in London, England, and Alcudi, Italy.