A Quote by Michael Craig-Martin
I look at the character of the exhibition and I treat it as I would a painting or an installation. When I did the Summer Exhibition at Royal Academy, I did it exactly as I would when making a new work.
Related Quotes
I was so impressed with the work we were doing and I was very involved ideologically in photography - that I arranged an exhibition at the College Art Association. The first exhibition I picked the photographs and so on and we had an exhibition in New York.
If one or two works from a body of work for an exhibition are what you would like to be remembered by, it is a good exhibition.
The Royal Academy Summer Exhibition is very difficult to hang because it is so large and the quality is very varied. There are 1,200 works, an almost impossible number, some are interesting and some are not.
Only an idiot would open an exhibition saying, 'Look at my awesome work.'
At the Summer Exhibition, I didn't really change anything; it's the same exhibition. All I changed is the presentation. I didn't really change the rules.
One teacher told me that my work belonged in the trash. That day I ran out of the classroom and ended up in the library, where there happened to be a black and white photography exhibition of Robert Rauschenberg's photographs of the streets of New York. The subject of his photos were exactly what I was painting about.
The man at Kodak told me the shots were very good and if I kept it up, they would give me an exhibition. Later, Kodak gave me my first exhibition.
I would rather hear the pleased laugh of a child over some feature of my exhibition than receive as I did the flattering compliments of the Prince of Wales.
Drake went through my exhibition. I did meet him in Los Angeles, and he was in the spaces that I did do there, and has some images from that.
As a good picture would come, I would never know exactly what I had done. When you did see it, it would strike you as a great surprise - who did that? How did it happen? Being surprised by your own work makes you both less serious and have serious reverence.
The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.
I'm involved with this exhibition, which is a collection of Nobby Clarke's photos of the opening night of my own art exhibition.
My work, in a certain way, got started in 1996 when I did an exhibition of thirteen paintings that were solely based on fashion imagery.
I would not have been able to accomplish a lot of what I did professionally had I not learned to fly myself and owned an airplane. For example, I was able to fly to an exhibition for the day and be back home in time for dinner. I never would have been able to do that flying commercially.
The first exhibition that I used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the exhibition, I saw they came with a smile. Everybody smiles - this is something I never saw in my work before.
There is a discrepancy of somebody going to an art dealer and promising what they'll make for the next three years. And I'm old fashioned that way; I think that every exhibition you make is supposed to put you in the world, that the next exhibition is spinning off of that. It's almost like a riff. And if you know what you're going to do for the next three years, why don't just do it the final point? You would think, in a progressive situation, that the final would be the best.
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