LESS IS MORE: INTERVIEW WITH MICHAEL CRAIG-MARTIN An Oak Tree Summer Exhibition 2015 SPECIAL FEATURE
MICHAEL CRAIG-MARTIN, French Trousers, 1984 Michael Craig-Martin Image courtesy Gagosian Gallery 061/ 062
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
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
SPECIAL FEATURE
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. 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
Summer Exhibition Summer Exhibition Summer Exhibition Summer Exhibition Portrait of Michael Craig-Martin. Photographed by Harry Liu. 067/ 068
Summer Exhibition SPECIAL FEATURE
069 / 070 Spade (purple), 2013, Powder-coated steel. Michael Craig-Martin.