Zhuang wubin biography of martin luther king
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Third Text
Nicola Gray
‘Frank Bowling: Land of Many Waters’, Arnolfini, Bristol, UK, 3 July – 26 September 2021
Anxiety keeps me painting; I want to get better.
I’m always risking things with the old procedures and processes,
constantly trying to push it over the edge
and looking for what will surprise me in the work.
I won’t stop until I make the best painting in the world ever. [1]
I was trying to jump out of the trick bag that I was being forced into.
I was always trying to destroy, erase, and reconstitute clichés.[2]
Frank Bowling, in front of The Pearl Poet, 2020, acrylic on canvas with marouflage, 292.1 x 188 cm, at the opening of
the ‘Land of Many Waters’ exhibition, Arnolfini, Bristol, 2 July 2021, photo by Lisa Whiting for the Arnolfini
Compared to Tate Britain’s 2019 retrospective and the major exhibition at Munich’s Haus der Kunst in 2018, [3] Frank Bowling’s 2021 exhibition at Bristol’s Arnolfini in the UK was a much smaller and arguably more modest endeavour – but none the lesser for it. For an artist now in his late eighties who has worked tirelessly over decades (albeit with some practical assistance in recent times) and devoted his
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"An Interview with Manit Sriwanichpoom" [On curating "Rediscovering Forgotten Thai Masters of Photography"] (2018)
AN INTERVIEW WITH MANIT SRIWANICHPOOM REDISCOVERING FORGOTTEN THAI MASTERS OF PHOTOGRAPHY ZW: In your rediscovery of past photographers in Thailand, you have included several commercial photographers. What prompted you to re-contextualise their works? Broadly speaking, what are your criteria in selecting these masters? Zhuang Wubin In 2011, Manit Sriwanichpoom decided to actively intervene in the historiography of Thai photography. As the owner of Kathmandu Photo Gallery in Bangkok, Manit started hosting a series of solo exhibitions at his space, each dedicated to a forgotten Thai master of photography. He rediscovered these masters by following the leads given by his friends while looking more closely into the exhibitions held previously in Thailand. Since then, I have followed this series of exhibitions with keen interest. Manit’s curating involves a re-contextualisation of commercial photography, journalism and even Buddhist instruction, elevating the practices of the seven photographers as an exemplar of Thai visual art. As a whole, the project offers us a precious insight into the diversification and vibrancy of photographic practices in
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