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Henry Moore Institute

20 October 2017



Last week saw our institutional partner, Leeds Art Gallery, open its doors having been closed for refurbishment since January 2016. With this the bridge linking both organisations also reopened too, allowing visitors once again to go back and forth between the Henry Moore Institute and Leeds Art Gallery and to enjoy our respective exhibitions. There is a considerable amount of sculpture now on display: from David Dye: Devices in the Sculpture Study Galleries, through to the ARTIST ROOMS: Joseph Beuys exhibition, and items from the nineteenth-century portrait bust collection to large works by Alison Wilding, Eva Rothschild, Hilary Lloyd, Martin Naylor, Carl Plackman and Tony Cragg. Many of them are recent acquisitions, highlighting our joint commitment to the development of the Leeds Museums and Galleries collection of British Sculpture, which is now one of the strongest in Britain.


David Dye: Devices presents works and archival material kindly bequeathed by the artist himself following his death in 2015. It is a large archive and this present display offers a small part of it, highlighting his work from 1967 to 1977, from his student years at St Martin’s School of Art (1967–71) to his early success in solo and group exhibitions in the 1970s. The story it traces is a movement from sculpture to photography and film, but one in which the material and spatial lives of things were always sculpturally at stake. The display of David Dye’s work sits well with our present exhibition, The Temperature of Sculpture, looking at the conceptualist work of Jiro Takamatsu in the 1960s and 1970s, which ends on 22 October.


David Dye: Devices will also chime with the next exhibition in our main galleries, Becoming Henry Moore (closes at Henry Moore Studios & Gardens on 22 October, opens in Leeds on 30 November), which looks at Moore’s early work from the mid-1910s to the end of the 1920s. Sculpture and works on paper will be shown alongside work by other artists who inspired Moore as a young sculptor, including Alexander Archipenko, Jacques Lipchitz, Pablo Picasso and Ossip Zadkine. Across both these exhibitions we will see how talented young artists, half a century apart, developed apace in their twenties. And we will have the opportunity to think about how artists work with and against the examples of sculpture on offer to them – both inside and outside the walls of the art school, art gallery and museum – as they strive to find their own voices and their own particular contributions to the sculpture of their times.


Dr Jon Wood, Head of Research

Leeds Sculpture Collections: New Acquisitions


We are pleased to announce two new acquisitions for the Leeds Sculpture Collections, managed by the Henry Moore Institute on behalf of Leeds Museums and Galleries. Both are donations generated through the Institute’s research and exhibition programme.

Roy Ascott: 'Items of Intention'

Roy Ascott: 'Items of Intention'

Roy Ascott has presented his wooden relief ‘Items of Intention’ (1963), which was shown in the 2017 exhibition Roy Ascott: Form has Behaviour. This exhibition emerged from the work carried out by Henry Moore Foundation Post-doctoral Fellow, Dr Kate Sloan (University of Edinburgh), including an Institute-supported session at the 2016 Association of Art Historians Conference. Ascott, who spoke at the conference, is a British cybernetic artist and has worked with cybernetic ideas since 1961. In an extraordinary career spanning six decades, he has maintained his belief in cybernetic theory and its continuing relevance to contemporary life. It also informed his revolutionary ‘Groundcourse’, an art foundation course that incorporated cybernetics, behaviourism and play.

Neal White: 'Archive in Ashes'

Neal White has presented ‘Archive in Ashes’ (2016–17) to the collection. White is an artist with a long-standing relationship with the Henry Moore Institute. In 2004 he was commissioned to research and respond to Jacob Epstein’s archive, which is held in the Archive of Sculptors’ Papers, and the resulting work, ‘The Third Campaign’, has been made public at the Henry Moore Institute, at the Whitechapel Gallery and in an issue of the Institute’s Essays on Sculpture. As a part of the 2016 exhibition A Lesson in Sculpture with John Latham, White was invited to realise a ‘Skoob Tower’ directly outside the Henry Moore Institute building and ‘Archive in Ashes’ is composed from the remnants of that event sculpture.

Neal White: 'Archive in Ashes'

Leeds Sculpture Collections: Henry Moore Institute Archive


The Archive of Sculptors’ Papers has made new and varied acquisitions over recent months, increasing understanding and knowledge of sculptural practice in Britain from the mid-nineteenth century to the present day. This has included a significant group of archive material, sculptures and works on paper by sculptor Anthony Hatwell (1931–2013) which was generously donated to the Leeds Sculpture Collection by the artist’s estate.

Hatwell was an early assistant to Henry Moore and as a young artist in the 1950s showed work alongside that of his contemporaries including Eduardo Paolozzi, William Turnbull and Gustav Metzger. He was an influential figure in the field of art and sculptural education, in London and then in Edinburgh, teaching a younger generation of artists that included Phyllida Barlow.

His archive is a comprehensive and fascinating record of his practice, exemplified by the contents of his two workbooks dating from 1951 to 2009. The workbooks document the making of his work encompassing both creative and practical concerns and are accompanied by correspondence with contemporary artists, gallerists and other influential figures which give an insight into the arts and cultural sphere of the late twentieth century. A proportion of his work is documented in a small selection of photographs, alongside exhibition publicity material and several sculpting tools which he used to make his distinctive works.

The Archive is available for consultation by researchers. For appointments and more information please contact Claire Mayoh, Archivist.


Research Library


New Acquisitions

This summer the Library received a selection of books on contemporary art from the library of Miranda Strickland-Constable (1938-2017). During her time as Keeper of Art at Leeds Art Gallery, Miranda purchased several works for the sculpture collection which were at the forefront of developments in sculpture during the 1970s and 1980s, including Richard Long’s ‘Five Stones’ (1975) and Hamish Fulton’s ‘Arran Hilltops’ (1978).

The books and catalogues added to the Library collection reflect Miranda’s interest in contemporary sculpture, conceptual art and photography. The gift includes artists’ books which accompanied exhibitions at Lisson Gallery in the 1970s: Richard Long (1971), Dan Graham (1972), Sol LeWitt (1974) and a copy of the catalogue Strategy: Get Arts, from the groundbreaking Edinburgh International Festival exhibition which presented Joseph Beuys and other Düsseldorf-based artists. Noteworthy American publications include John Baldessari’s Throwing a Ball once to get Three Melodies and Fifteen Chords (Art Gallery, University of California, Irvine, 1975) and November 1968 by Douglas Huebler (Seth Siegelaub, 1968).

The gift is a welcome addition to the collection and the books are now available to consult without appointment in the Research Library.



In addition to the Annual Academic Open Day, the Institute offers tours of the Galleries and Library for small groups throughout the year. These are particularly useful for new students to the region and we encourage tutors to bring small groups as part of induction activities. If you would like to arrange a tour please contact Bruce Davies, Senior Receptionist, at least one week in advance of your visit.

Conference Reports


Nothing Permanent

Nothing Permanent

Skulptur Projekte Münster, 14 September 2017

‘Nothing Permanent’ as a statement in relationship to work in public spaces was explored through this symposium by eight diverse voices from multiple viewpoints, making it a valuable experience for an artist/curator with an interest in how artists work with place. ‘Make nothing permanent’ as Kasper König once said, is a familiar and recognised approach to making contemporary artwork for a place.

What became evident during the symposium was that even supposedly robust and permanent monuments don’t always last as long as expected. Brandon Taylor mapped out how, over centuries artists have been asked to create monuments, promoting beliefs and political leaders. Some end their days in the British Museum, Ramses II for instance, as referenced by Jon Wood; while others are forcefully removed by people for representing redundant or unpopular ideas compared to their own. The statue of Robert E. Lee in Charlottesville being the latest example. Sculptors beware!

Thomas Hirschhorn spoke about his social monuments and why for him, non-permanency persists. The Gramsci Monument in the Bronx circumvented the need for physical permanency by creating a collective memory, held by his neighbourhood collaborators, existing long after the architectural constructions are removed and the artist leaves.

Curators Marilyn Douala Manga Bell and Nancy Adajania independently identified artists that have collaborated with situated artists and indigenous populations to create architectural structures. These had then become part of the social infrastructure of that place, supporting ideas of social, rather than the political or monumental places. Philip Aguirre y Otegui’s ‘Théâtre Source’, initially built for the SUD festival in Cameroon's capital Douala, but now having an existence and purpose of its own, and Navjot Altaf’s collaborative children’s playhouses functioning as alternative educational spaces for communities in Mumbai, were strong examples of this practice.

You were left by the end with the view that nothing lasts as long as perhaps the publications and archives that documented the works. Is the archive the true permanent record of all types of work? Certainly, Michael Archer's ‘Caravan’ installation supports that, now immortalised by a series of black and white photographs, which plots its numerous sites over four Skulptur Projekte since 1977, all of which will be able to be found in the Skulptur Projekte archive currently being developed by Dr Marianne Wagner.

Charles Quick, University of Central Lancashire

Mapping the Henry Moore Studio at Dean Clough

Mapping the Henry Moore Studio at Dean Clough

Henry Moore Institute, 20 September 2017

Mapping the Henry Moore Studio was a public presentation of research undertaken by Sophie Raikes (Assistant Curator, Sculpture at the Henry Moore Institute) in the first collaborative doctoral project between the Henry Moore Institute and the University of Huddersfield.

The day brought together key protagonists to speak about their involvement with the Henry Moore Studio under three headings: ‘Origins’, ‘Artistic and Social Life’ and ‘Impact’. In the first session the conversation between curator Barry Barker and artist, arts facilitator and cultural entrepreneur Paul Bradley revealed that while the Studio was based in Halifax in West Yorkshire, from the outset the projects it instigated reached beyond England to Europe through Bradley’s training as an actor in Berlin and Barker’s experience as a curator working directly with artists of international stature including Giuseppe Penone, resident at Dean Clough in 1989.

Session two with Chris Sacker, David Wilkinson and Jon Wakeman revealed the artist-led nature of the Dean Clough project in which artists, whilst maintaining their own practices, also acted as skilled technicians and sensitive installers of work by visiting artists. Wilkinson revealed links with Northern Ireland and Scotland through his studies with Alistair MacLennan at the University of Ulster, and Wakeman mapped broader relations between the Studio and East Street Arts, Leeds. In this session the value of Sophie Raikes’ use of oral history as a research method was particularly apparent in Chris Sacker’s presentation.

In the final panel Greville Worthington chaired presentations of their work by artists John Newling and Glen Onwin, and discussed the legacy of the Henry Moore Studio in a changing cultural environment in England marked by The Cauldron, the final Dean Clough project curated by Maureen Paley. Tribute was paid by all participants to the late Robert Hopper (1946-99), Director of the Henry Moore Sculpture Trust from 1989 to 1999.

Alison Rowley, University of Huddersfield




Henry Moore Institute Internships 2017-18


Each year we invite applications for four funded internships from students across MA programmes at UK universities. The internships are aimed at students who have an interest in sculpture and are intended to provide practical experience of working in a museum environment. Internships involve students working with our resources under the supervision of members of our curatorial team.

The internships should be completed between January and July 2018. Travel and, if necessary, accommodation will be provided. An award of £250 will be given to students at the end of the two-week internship.

This year the focus of the internship projects will be on the Leeds Sculpture Collections. Together, the Henry Moore Institute and Leeds Museums and Galleries have built one of the strongest public collections of British sculpture in the UK. The collections are on display next door to us in Leeds Art Gallery, where the Institute curates the sculpture displays and in 2018 the collections will also be the focus of exhibitions in the Institute’s galleries.

Today the Leeds Collections comprise over 800 objects and 400 works on paper, as well as our outstanding Archive of Sculptor’s Papers. They narrate the development of sculpture being made in Britain as broadly as possible, representing neglected practitioners as well as established ones. In recent years there has been a particular focus on conceptual, performance, photographic and other expanded sculptural forms from the 1960s and 1970s, which are underrepresented in museum collections of sculpture.

To apply please email a cover letter stating why an internship with the Henry Moore Institute would be suited to your research interests and complementary to your academic focus, and a CV to Kirstie Gregory, Research Co-ordinator, by Monday 4 December 2017.

Visiting Fellow Reports


Anna Dezeuze is Lecturer in Art History at the Ecole Supérieure d'Art et de Design Marseille-Méditerranée:

Thanks to a Visiting Fellowship at the Henry Moore Institute, I was able to begin a new research project focusing on the subversive potential of sculpture’s inertness. Consulting a wide range of books, catalogues, articles and conference recordings in the Institute’s Research Library allowed me to sketch a preliminary map of some key relations between sculpture, performance, dance, photography and film in contemporary practices since the 1960s. There also emerged from this general reading a variety of useful references including the tableau vivant, the myth of Pygmalion and Galatea, object-oriented philosophy and reflections on endurance in performance art.

I undertook more specific research into 1960s practices by Keith Arnatt, Bruce McLean and Gilbert & George in the UK; Vito Acconci, Eleanor Antin, Scott Burton, Barry Le Va, Dennis Oppenheim and Charles Ray in the United States; as well as Franz Erhard Walther in Germany. I also expanded my research into more contemporary practices by Mel Brimfield, Mark Leckey, Franz West and Erwin Wurm. It was a privilege to engage at first hand with works by Arnatt and Brimfield in the Leeds Sculpture Collection, and to spend time comparing Bruce McLean’s 'Half Hour Stand and Walkabout Piece, Barnes’, also held in this collection, with the artist’s ‘Documentation Boards’ kept in the Henry Moore Institute Archive.


Amy Tobin is Lecturer in the Department of the History of Art, University of Cambridge and from January 2018 will also be a curator at Kettle’s Yard:

My research at the Henry Moore Institute is focused on the archive of Helen Chadwick held in the Archive of Sculptors’ Papers, but is part of a longer project on sculpture by women artists in the 1980s. Rather than insist on connections, I am thinking about the very different directions these artists take – from Chadwick’s exploration of subjectivity, to Rose Garrard’s interest in personal history and mythology, and Alison Wilding’s abstraction. The project situates the 1980s work of each artist in the social context in which they were practising, thinking particularly about the impact of feminism and women’s liberation politics. The Institute’s Research Library has numerous important resources for this project, including oral history recordings with a number of sculptors working in the 1980s and of course the vast collection of art-historical books and exhibition catalogues.

During my time in Leeds I have been concentrating on Chadwick, and her connection to Garrard. Both artists exhibited together in the Aperto at the Venice Biennale in 1984. In the Archive I focused on the records relating to Chadwick’s ‘Ego Geometria Sum’, shown in the Aperto. Both Chadwick and Garrard take autobiography as a subject, but they also investigate their relationships to those pasts, their ability to remember and the trauma of remembering. Following on from my first two weeks’ research I have been thinking about Chadwick and Garrard’s approach to autobiography through the work of the British poet and scholar Denise Riley. Riley wrote the important book War in the Nursery: Theories of the Mother and Child, looking at childcare provision in and after the war. This book provides another parallel to Chadwick’s and Garrard’s work because both brought images of or objects from childhood into their sculptural work in the 1980s. It is this latter theme that I am pursuing over the next year, and when I return to finish my research at the Henry Moore Institute in March.


Joo Yeon Park is an artist based in London:

Alluding to Echo’s repetition of Narcissus’ last words in Ovid’s Metamorphoses, my artistic and philosophical questions, often manifested as writings and sculptural installations integrating mirrors, lights and shadows, consider the poetical and political aspects of the self and ‘otherness’ in languages.

During my Fellowship at the Henry Moore Institute, I researched sculptors who wrote in a language of others in pre-war Paris, with particular focus on abstract sculptures and letters exchanged between the Bristol-born painter and sculptor Paule Vézelay (born Marjorie Agnes Watson-Williams) and the Alsatian sculptor and poet Hans (Jean) Arp. The research on complex literary self-translatability in Vézelay’s and Arp’s writings in relation to their sculptural forms introduces further issues of the dialogic relationship of two voices, languages, genders, and nationalities. The research ultimately addresses ways in which a potential ‘non-violent other’ could be imagined in a space of literary and visual art. My forthcoming commission and exhibition at the Poetry Library at the Southbank Centre in London is in conjunction with the celebration of the thirtieth anniversary of Samuel Beckett’s death.

What's On


David Dye: Devices

David Dye: Devices

Leeds Art Gallery

13 Oct 2017 – 18 Feb 2018

Sculpture Study Galleries, Leeds Art Gallery

Becoming Henry Moore

Becoming Henry Moore

Henry Moore Studios & Gardens

14 April – 22 October 2017

Peter Blake's 'Girl in a Window' (1962)

Peter Blake's 'Girl in a Window' (1962)

Henry Moore Institute

Wednesday, 15 November 2017

Lecture in the Institute's seminar room, starting at 6pm

Henry Moore Foundation Insight Day

Henry Moore Foundation Insight Day

Henry Moore Studios & Gardens

Monday, 6 November 2017

11am - 3pm

Nigel Walsh on Paul Nash's 'Forest' (1937)

Nigel Walsh on Paul Nash's 'Forest' (1937)

Henry Moore Institute

Wednesday, 22 November 2017

Lecture in the Institute's seminar room, starting at 6pm

Mary Gillick and the making of medallic sculpture in twentieth-century Britain

Mary Gillick and the making of medallic sculpture in twentieth-century Britain

Henry Moore Institute

Saturday, 18 November 2017

2:30 - 5:30pm in the Institute's seminar room


Art Fund: Art Happens

Launched by the Art Fund in June 2014, Art Happens is the UK’s first crowdfunding platform designed specifically for museums and galleries. It’s free to use, with all money raised going directly to the projects. To date Art Happens has supported a varied mix of unique and ambitious creative projects; from William Morris-inspired gardens, to the restoration of iconic spaces, to landmark exhibitions.

In May this year Leeds Art Gallery held a successful Art Happens campaign, raising £17,000 in thirty days to commission a Lothar Götz mural for their Victorian stairwell. Leeds Art Gallery has now reopened to the public, with Götz’s vibrant, abstract design leading visitors up the historic staircase to discover the newly renovated spaces.

If you’re part of a non-profit arts organisation or museum and have a project in need of support you can find out more here: www.artfund.org/get-involved/art-happens


Henry Moore Grants Programme Application Deadline: 8 December 2017

In addition to our own programmes at our bases in Hertfordshire and Leeds, we support the growth and development of sculpture through our Grants programme. Henry Moore Grants continue Moore's legacy by supporting sculpture across historical, modern and contemporary registers and seeking to fund research that expands the appreciation of sculpture.

Applications are assessed four times during the year by the Grants Committee. The deadline for applications in 2017 is Friday 8 December.

For information on how to apply, see our website.

Photo credits: David Dye, ‘A for Absence’ (1970, detail), image courtesy Leeds Museums and Galleries (Henry Moore Institute Archive), photo: Norman Taylor; installation view of Roy Ascott: Form has Behaviour [foreground] ‘Plastic Transactions’ (1969), [background] ‘Items of Intention’ (1963), courtesy the artist; ‘Skoob Tower’ organised with the John Latham Foundation by Neal White for the Henry Moore Institute, April 2016, photo: Jerry Hardman-Jones; Research Library recent acquisitions, photo: Karen Atkinson; Michael Dean, ‘Tender Tender’, Skulptur Projekte 2017, photo: Henning Rogge; Mapping the Henry Moore Studio at Dean Clough symposium, photo: David Cotton; Henry Moore with ‘Reclining Figure’ and ‘Mask’ (1929–30), courtesy the Henry Moore Archive and Leeds Museums and Galleries; David Dye, ‘Mirror Film’ (1971), image courtesy Leeds Museums and Galleries (Henry Moore Institute Archive), photo: Norman Taylor; Henry Moore Institute, photo: Sarah Mason; Hilary Lloyd, 'Awful Girls' (2017), courtesy Dorich House Museum (Kingston University London), photo: Ellie Laycock; Henry Moore Archive; Peter Blake, 'Girl in a Window' (1962), © Peter Blake, all rights reserved, DACS 2017, image courtesy Peter Blake/DACS and Leeds Museums and Galleries (Leeds Art Gallery); Mary Gillick carving Sir John Crosby for Crosby Hall (1926), courtesy the Estate of Mary Gillick and Leeds Museums and Galleries (Leeds Art Gallery); Paul Nash, 'Forest' (1937), Estate of Paul Nash and Leeds Museums and Galleries (Leeds Art Gallery); Leeds Art Gallery, staircase with Lothar Götz wall painting, photo: David Cotton.

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