Graham Hudson: Rokeby

By Williams, Gilda | Artforum International, December 2007 | Go to article overview

Graham Hudson: Rokeby


Williams, Gilda, Artforum International


After realizing that it was impossible to take complete written notes of the innumerable details in Graham Hudson's installation--including a jumble of wooden boxes filled with lit bare lightbulbs, handsaws, two-by-fours, and other debris; multilevel crate flooring; rolls of striped packing tape dangling from the ceiling; a broken swivel chair transformed into a functioning electric lamp topped with a white paper-bag "lampshade"--I then discovered that every careless photograph I took of the work came out looking ravishing. In photographs, the whole gallery-size installation, This sculpture is 18 m long, 2007, was perfectly lit and ideally framed, like some impeccable stage set, contradicting the impression of randomness and garbage that prevailed at first sight.

The immediate references, of course, are the junk installations of Thomas Hirschhorn or Tomoko Takahashi, but Graham Hudson's range of sources runs well past recent history. The four blimplike, floating black garbage bags attached to electric fans look like a cross between smog-filled versions of Warhol's Silver Clouds, 1996, and the Hindenburg. Accumulations of nails and paint recall Gunther Uecker; thick drips of paint pouring through many layers of boxes suggest many episodes in the post-action painting history of painting. Two turntables loudly playing skipping records (it's Bach, but you'd never recognize it) with bare bulbs dangling and spinning above, knocking the needles out of their grooves, recall the musical experiments of Fluxus or Christian Marclay. In the past, Hudson has incorporated into his own work discarded materials from other artists' installations--he reused the red timber from a Liam Gillick work in reference to relational aesthetics; more fortuitously, he once recycled shelving from Martha Rosler's 2005 remake at the Institute for Contemporary Art, London, of her 1973 "Garage Sale" exhibition--making his complicated art-historical genealogy at once even more literal and more difficult to disentangle. …

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