Task 6 - Exhibition Review

Write a critical review of one of the exhibitions in Leeds (500-1000 words).

Attempt to include information on-

Context- Gallery info & history, curatorial issues etc

A physical description of at least one work

Theoretical contextualization and analysis- linking to theoretical ideas and using quotes etc

Info about the artist(s) / designer(s)

A critique of the curatorial strengths and weaknesses of the show

The Henry Moore Institute, Leeds, is internationally renowned for its overwhelmingly diverse definition of the word ‘sculpture’. Stamping its mark on the city centre in the form of a glistening granite stronghold the HMI boasts an exhibition space that ‘houses the best in international sculpture, both historical and contemporary’. Last year it proudly displayed ‘Sculpture in Painting’ which directly explored the relationship in art between the second and third dimension, and this year they have further raised the bar of sculptural controversy with their latest exhibition, ‘Drawing a Shadow: No Object’.

The exhibition, curated by Penelope Curtis, celebrates the work of Edinburgh-based artist Alan Johnston, who had the HMI closed to the public for 4 weeks whilst single-handedly constructing his drawings upon the main gallery’s towering walls. The drawings themselves – short, sporadic pencil marks confined within meticulously precise lines, spanning the length and breadth of the vast, crisp white walls – are used as illusive tools to bring the architectural qualities of the gallery space to life, deeming it a work of art in its own right.

Upon entering the exhibition space the expanse of seemingly empty walls cast a wave of intimidation over the viewer. The transition from one’s initial expectations of the exhibition to the acceptance of what is actually being presented is certainly not instantaneous, and in that midst of uncertainty the idea of ‘nothingness’ has an overpowering internalising effect. The apparent lack of a definitive focal point heightens the senses, places each individual viewer on a pedestal and provokes unquestionable self-awareness.

The minimalist nature of the exhibition draws obvious parallels with the Modernist movement; the pencil marks constrained to rigorously architectural forms are comparative to that of Mondrian’s linear compositions, in which the presence of the piece is marked by its bold use of right-angled structures. Yet it’s site specific nature and manipulation of the viewers experience of a given space holds feint echoes of the early works of James Turrell, who described his collision of light, shape and space not as minimalist or conceptual, but as ‘perceptual’.

It is perception of space that lies at the core of Johnston’s installation. In the same way that Modernism aimed to turn on its head the perception of traditional art, here, Johnston is tacking our perception of a gallery. Very rarely does the space outside of a frame hold such significance, but the subtlety of these drawings pulls your eye to each and every one of the room’s extremities; comprehensively examining the architectural genius of the space and encouraging a level of appreciation that would otherwise go amiss.

In conjunction with the powerful wall drawings, the exhibition also features a series of comparatively minute pencil drawings applied to plaster, lino and wood dispersed at eye level amongst the galleries corners, alongside two sculptural, engineered spaces displayed upon plinths in the centre of the furthest room. The inclusion of such pieces is undoubtedly the only questionable aspect of the curatorial process. The bold decision to exclude any form of introductory text or titling was a demonstration of ingenuity on Curtis's part – such a feature would have seen confused visitors flock to it, unwilling to trust their own interpretation, seeking some form of justification. And yet these small, tiled drawings seem to contradict that very point; detracting away from the sheer magnitude of everything else in the room. Having said that, there is something to be said about their positioning: in the opposite corner to the doorway in each of the three large rooms, forcing the viewer to cross the space, physically dissecting it and gaining another vantage point.

‘Drawing a Shadow’ will unquestionably be met with criticism by those unwilling to deviate on their traditionalist views of sculpture. However, regardless of whether you conceive Johnston’s work inspirational or a mere act of pretension there is no doubt in my mind that this exhibition merits a visit simply to experience, if anything, the sheer humility, exposure and awe inflicted upon the individual by this haunting space.