A Quote by Michael Craig-Martin
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.
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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.
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.
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.
I'm involved with this exhibition, which is a collection of Nobby Clarke's photos of the opening night of my own art exhibition.
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.
Usually when I go to the Summer Exhibition, I think every room is too much the same, and I loose my capacity to look at individual works.
Lately, I've discovered the Hellenistic bronzes. I'd never really thought about them much, but then there was this marvelous exhibition - many of them Roman, some of them Greek, all kinds of wonderful standing figures or heads or horses. It all suddenly became a passion of mine. I finally got to see that exhibition, which led to the idea of bringing up the statue in the film.
I do hear from people at my exhibition about seeing these things made from this toy from their childhood, and it brings them back. They'll go and buy a set of Lego from the gift shop because of that nostalgia and seeing it at the art exhibition.
I didn't have an exhibition anywhere until I was 30. My first exhibition was at 30, and then for my first show in America, I'm 50. It's kind of all right: I'm just a slow burner.
I hate sentiment when it's inappropriate. I saw someone who went and saw an exhibition and came out in tears. If an exhibition drives you to tears you need to see a psychiatrist immediately. That's what I think.
An exhibition is in many ways a series of conversations. Between the artist and viewer, curator and viewer, and between the works of art themselves. It clicks when an exhibition feels like it has answered some questions, and raised even more.
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.
’The Art of the Brick’ exhibition is accessible because it engages the child in all of us while simultaneously illuminating sophisticated and complex concepts. Everyone can relate to the medium since it is a toy that many children have at home. But my goal with this exhibition when it first debuted in 2007 was to elevate this simple plaything to a place it has never been before.
When I have an exhibition, I usually arrange it so that if people want to, they can spend two hours there. That way, people who like it don't feel cheated when they go. I want them to walk into the exhibition space and look low and at other levels and angles. The same with emotions. I want them to be emotionally manipulated, to come out feeling something. I want them to laugh, smile, feel sad. Even if they feel angry, that's okay.
Our generation has an incredible amount of realism, yet at the same time it loves to complain and not really change. Because, if it does change, then it won't have anything to complain about.
Shooting movies has changed, and me too - I have changed. And then, every film I do, something in my mind, my soul, changes. My natural change, I change at the same time as the films, I think.
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