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1 LESS IS MORE: INTERVIEW WITH MICHAEL CRAIG-MARTIN An Oak Tree Summer Exhibition 2015 SPECIAL FEATURE

2 MICHAEL CRAIG-MARTIN, French Trousers, 1984 Michael Craig-Martin Image courtesy Gagosian Gallery 061/ 062

Photo: Mike Bruce Right: MICHAEL CRAIG-MARTIN, Untitled (bulb),

3 Left: MICHAEL CRAIG-MARTIN, Untitled (violin), 2015, Michael Craig-Martin Image courtesy Gagosian Gallery. Photo: Mike Bruce Right: MICHAEL CRAIG-MARTIN, Untitled (bulb), 2014, Michael Craig-Martin Image courtesy Gagosian Gallery. Photo: Mike Bruce SPECIAL FEATURE

Photo: Mike Bruce Right: MICHAEL CRAIG-MARTIN Untitled (iphone),

4 Left: MICHAEL CRAIG-MARTIN, Untitled (flip-flop), 2014, Michael Craig-Martin Image courtesy Gagosian Gallery. Photo: Mike Bruce Right: MICHAEL CRAIG-MARTIN Untitled (iphone), 2014 Acrylic on aluminium Michael Craig-Martin. Courtesy Gagosian Gallery. Photo: Mike Bruce 063/ 064

5 SPECIAL FEATURE

6 065 / 066 Pitchfork (pink), 2008, Powder-coated steel. Michael Craig-Martin.

Umbrella (orange), 2011, Powder-coated steel, Michael Craig-Martin. of student revolutions and changes, they changed in question of society and authority.

7 Umbrella (orange), 2011, Powder-coated steel, Michael Craig-Martin. of student revolutions and changes, they changed in question of society and authority. In Britain the power of authority was weakened. There was much more individual freedom and there 馰 կ䧮㼩倴嫦 ㅷ涸他佞竤麔帿䙼擿䣁䨾捀雊嫦䨻剣荈䊹涸栬暵䚍䧮銳穉籽ざ椚涸他佞갫䎸կ was great academic freedom. If you were really interested in 殹䧮㖈㣐㷸侅儗䧮䌢䌢剚侅肫㷸欰䋞劅荈䊹涸 ㅷꬋ䌢 and that was really what we did in Goldsmiths we used the 銳䧮佖隶㣖㢴կ 럊럊佖㽠剚溏饰剣湱殹㣐涸佖隶կ溏 being creative in teaching, it was possible to try new methods freedom of the time. Today, in British education, we don t have that kind of freedom. Now there are many regulations, many rules, and bureaucracies in the education system. So, it doesn t 剣ⶽ䠑僽銳麔倴㼥宠ⶽ倝㔔捀暟ㅷ劥魧剣荈䊹涸暵럊 溏鸎㾝涸殥 ꤑ 䨾剣涸ꤤ䕧ծ 㾝橇㞯ծ ➃ 瘝㔔稇搬鼨僽㸤侮涸 ㅷկ have the ﬂexibility that it had in the 60s, 70s, 80s. This was a "35 ;*1 䧮濼麤䝠㼩瘻㾝䖎剣莇馰〳锒锒䝠涸瘻㾝椚䙁 in Wuhan, I went to the art school, which was one of the most.$. 䧮ꡠ岤㾝錓涸䚍暵蒀瘻㾝㼩䧮罜鎊刿僽ⶽ 粭殥 the things that I saw is that the schools are very big and there 瘻㾝涸麔玐殹 ⶽ Ⰼ 倝涸 ㅷկ䧮䋞劅㖈鸎瑟涸㾝錓ッ植 period that has the most ﬂexibility in education. When I was important art schools in China, an enormous art school. One of are so many students. It is very diﬃcult to me to teach creative activity to great numbers of people, because I think you need personal contact with students, you need to speak individually, you need individual contact between teachers and students, you need continuity. To me this is a problem in mass education in every society now. In the period of 60s to the 90s, British art schools were small, and the number of student was small. The personal contact was great. 䧴酤縨 ㅷ կ殹䧮㖈涽㹻繠遮㷸剚瘻 ⷔ㢙㷍㾝錓涸儗䧮㸤Ⰼ䪾 ⴀⰺ㺂䎂ⳝ涸 ㅷ կ涽㹻繠遮㷸剚乩剣〳㺂秜涰 ㅷ涸䊭㣐㾝錓瑟䧮銳刿㥩㖑穉籽 ㅷ갫 䎸雊㾝涸 ㅷ他佞溏饰刿剣哬椚㖑ッ植窍錙滞鼙雊殥㖈㾝錓涸麔玐湱䩧仟㾝錓涸儗湱㼩㖑乩亡剚䕧 갠㾝錓劥魧涸颶ꆀկ莉㶩䧮剚䪾 ꧧ㝕佞㖈殥 կ䧮剚湈ꆀ雊錙滞腊㣀剣駈㣀涸瑟稣錙溏嫦 ㅷ 雊錙滞〳崨 կ㥵卓殥㣖㼭鸎垺涸崨剚隶䖤ꬋ䌢搁馰 կ 僽㥵卓䪾㣐殥ㄤ㼭殥ծ䬄韌殥ㄤⰨ韌殥幊䵨㖈饰他佞㽠剚剣馰䖤㢴կ㖈鸎妃㢙㷍㾝䧮尝剣佖 SPECIAL FEATURE

8 Summer Exhibition Summer Exhibition Summer Exhibition Summer Exhibition Portrait of Michael Craig-Martin. Photographed by Harry Liu. 067/ 068

9 Summer Exhibition SPECIAL FEATURE

10 069 / 070 Spade (purple), 2013, Powder-coated steel. Michael Craig-Martin.

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