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Indepth Arts News:
"A Measure of Reality: Dan Graham, Mona Hatoum, Lizzie Hughes, Richard Long, Robert Morris,
Euan Uglow, Gary Woodley"
2002-03-09 until 2002-04-28
Kettle's Yard Gallery
Cambridge, ,
UK United Kingdom
Time, distance, size, speed. From earliest times people have tried to come to terms with the real world – to locate themselves in time and space – by measuring. Through painting, photography, video and installation this exhibition takes an unusual variety of art from the last thirty years which has measurement as its basis.
Location, a wall piece by the American Robert Morris, literally records
its own location in the gallery. His fellow minimalist, Dan Graham lists
measurements from the edge of the known universe to the distance between
his cornea and retinal wall. In equally deadpan fashion Lizzie Hughes, the
youngest artist in the show, relentlessly telephones people on each floor
of the Empire State Building to ask which floorthey are on. Hearing the
tape now there is unavoidable pathos, though it was recorded before
September 11.
Gary Woodley plays with architectural space. In a specially commissioned
impingement he negotiates a geometric figure through the spaces of
Kettle’s Yard from the street window to the back of the house.
Richard Longs work is altogether more rural. With texts and maps he evokes
his measured walks in a barely disturbed wilderness. Over twelve days he
took a circular walk of 360 miles, crossing and recrossing the circle to
create A Circle of Middays.
Euan Uglows world was his studio. Paintings, which go by names such as
Root Five Nude and ‘Double Square, Double Square, plot the geometry of a
life model in a meticulously organised setting. The exhibition includes a
remarkable sequence of reclining nudes, spanning more than twenty years.
In Mona Hatoums early video, Measures of Distance, her mother’s letters
from Lebanon speak of the pain of distance and separation and of the
familys exile from Palestine.
The exhibition is accompanied by an illustrated catalogue with an essay by
Brendan Prendeville who lectures in the History of Art at Goldsmiths
College.
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