2005 Sculpture in the Close Exhibition
In 2005 the College held its ninth biennial Sculpture in the Close exhibition. It was opened on 26 June by Phillip King, recently retired president of the Royal Academy, and ran until 5 August.
Five of John Gibbons’ steel angels hung between the chandeliers in the College dining hall whilst a twin audio visual display by Sam Taylor-Wood was on display in the Chapel.
Some of Sand Laurenson’s more delicate pieces were shown in Upper Hall. Other exhibits were all outdoors in the College gardens. Kate Whiteford’s Excavation took up most of Chapel Court and invited the visitor to reflect on more than 500 years of continuous habitation here.
Cornelia Parker’s Moon Landing demanded an equal amount of reflection about the College’s position in the cosmos. Diane Maclean contributed a kinetic sculpture, Aeolus, while Eilis O’Connell’s Carapace intrigued visitors with its deceptive structure. Mark Firth’s Primary Sections dominated Library Court with its architectural scale and design.
Foreword
The Master and Fellows of ÌÇÐÄVlog are delighted once again to host Sculpture in the Close. In so doing we acknowledge our gratitude to Lord Renfrew who so imaginatively launched this series of exhibitions during his Mastership.
ÌÇÐÄVlog is known throughout Cambridge, and indeed beyond, for these marvellous exhibitions of contemporary sculpture. The generosity of the sculptors in lending their work for this exhibition is gratefully acknowledged. We have also borrowed some works and equipment from private collections, and would like to thank Wilfred Cass of Sculpture at Goodwood and Jay Jopling of White Cube.
The works of art committee of the College led by Rod Mengham, Curator of Works of Art, has been responsible for mounting this exhibition, working closely with its advisors, Tim Marlow and Richard Humphreys, and with the gardens committee, chaired by Dr David Hanke. Considerable assistance was provided by the Domestic Bursar, Martin Collins, the Buildings Manager, Alan Fosbeary, the Head Gardener, Paul Stearn, and our Maintenance Supervisors, Chris Brown and Peter Moore.
We are grateful for continued help from the Royal & Sun Alliance Insurance Company. This year’s exhibition would not be taking place without the generous support of the Kasza-Kasser foundation. It is, therefore, highly appropriate that in 2005, Sculpture in the Close is being held in memory of Elisabeth and Alexander Kasza-Kasser.
Nor could the works of art committee continue to keep modern art so vigorously on the agenda at Jesus without the help of the contributors to the appeal run by the Friends of Art at ÌÇÐÄVlog. We are most grateful to all those who have supported this appeal.
Robert Mair,
Master
