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Henry Moore Institute Newsletter Issue 118
Henry Moore Institute Newsletter Issue 118
March-April 2015

This issue focuses on our exhibitions on show over the next two months, with reports from a recent Research Fellow and updates on new Research Library acquisitions. Exhibitions are the most public part of our activities, and they are supported by our events, collections, Library, Archive and visiting researchers. Just as important are the conversations we have that are guided by curiosity and commitment to expanding our knowledge of sculpture.

Every year we present nine exhibitions at the Institute, with some touring elsewhere, alongside collections displays in Leeds Art Gallery. We are currently in our final week of The Event Sculpture, an exhibition that has been growing over the last three months, which closes with Anthony McCall’s ‘Traveling Wave’ (1972/2013). Writer Agnieszka Gratza has responded to each of the of the nine events with a short text, published on our website.

The Institute is charged with the care and development of Leeds Museums and Galleries' sculpture collections. Our 2014-15 collections display Narrating Objects: Unlocking the Stories of Sculpture draws on the sculpture and fine art collections, featuring Francis Bacon, Helen Chadwick, Tacita Dean, Antony Gormley, Simon Fujiwara, Claes Oldenburg and Coosje van Bruggen. 

As well as presenting this stunning collection of sculpture in Leeds, we actively loan works all over the world – for example works by Jacob Epstein can be seen at the Foundling Museum, London, a selection from our Archive at Whitechapel Gallery, London and sculptures by Moore are at the Hayward Gallery, London and Yorkshire Sculpture Park. Over the last year we have been working with the Arts Council Collection on Making It: Sculpture in Britain 1977-1986, with research conducted in our Research Library and a newly restored 1981 work by Tony Cragg from the Leeds collection included.

The Henry Moore Institute is a centre for the study of sculpture, a part of The Henry Moore Foundation. Our role is to ensure the legacy of Moore’s work through the study of sculpture, and our exhibitions constantly test the boundaries of sculpture from a firm historical foundation.

Lisa Le Feuvre, Head of Sculpture Studies


Image: Carlo Scarpa, Twenty Laboratory Tests for the Brion Tomb in Vitrine by Scarpa from Museo di Castelvecchio, Verona (detail). Installation view at Museion, Bolzano, (c) Museion, photo Augustin Ochsenreiter


Institute Exhibitions

In April we open two new exhibitions at the Institute in Leeds, while our focused exhibition A Study of Modern Japanese Sculpture continues to be on show through to 19 April, when it travels to Mushashino Art University, Tokyo.

A Study of Modern Japanese Sculpture

Until 19 April 2015, Gallery 4

Introducing modern Japanese sculpture to Britain, this exhibition presents nine small-scale sculptures from the Taisho and early Showa periods (1912-41). It features works by Tetsuya Mizunoya (1876-1943) and Risaburo Miyamoto (1904-98), as well as the master sculptors Kotaro Takamura (1883-1956), Heihachi Hashimoto (1897-1935) and Chozan Sato (1888-1963).

A Study of Modern Japanese Sculpture focuses on representations of nature. A stone carved in wood is placed beside the object it depicts. Polychrome carvings of dried fish, birds, a crustacean and a hibernating toad are displayed alongside a hand modelled in clay, cast in bronze and mounted on a wooden stand. Articulated in the round, the majority of these works read as ‘objects’ rather than as ‘sculptures’, asking to be handled and turned to be fully appreciated.

In May, issue 72 of our journal Essays on Sculpture publishes texts by Hirotake Kurokawa (Musashino Art University, Sculpture Department), Akira Fujii (Hirakushi Denchu Art Museum) and Shuji Tanaka (Oita University) on the topic, with responses by Clare Pollard (The Ashmolean Museum) and Rosina Buckland (National Museums Scotland) who joined us for a Study Day in January.

Carol Bove / Carlo Scarpa

2 April – 12 July 2015, Galleries 1, 2 & 3

April sees the opening of Carol Bove / Carlo Scarpa, which brings together sculptures by American artist Carol Bove (b. 1971) alongside rarely seen exhibition furniture, sculptures and architectural prototypes by Venetian architect and exhibition designer Carlo Scarpa (1906-78). The exhibition is produced in collaboration with Museion in Bolzano, where it is currently on show, and Museum Dhondt-Dhaenens, Deurle, where it travels in October.

Although of different generations, training and disciplines, Bove and Scarpa are bound by concerns with the object and its environment, the nature of encountering sculpture and the ways objects are given meaning. Bove’s sculptures use plinths and armatures to elevate and carefully cradle natural specimens, such as driftwood, feathers and shells. At the centre is a new setting by Bove for Scarpa’s objects made for ‘Ambiente’, the architect’s contribution to the 1968 Venice Biennale.

The exhibition is accompanied by a fully-illustrated publication, available from our bookshop.

Garth Evans: Sculpture Photographs

2 April – 12 July 2015, Upper Sculpture Study Gallery

Garth Evans (b. 1934) is central to the narrative of British sculpture, his work consistently experimenting with the possibilities of medium, form, weight and scale. Sculpture Photographs presents two bodies of work in which Evans uses photography to examine sculptural thinking.

In 1969 Evans was awarded a Fellowship by the British Steel Corporation. As a result he became involved with the Artist Placement Group, the organisation that placed artists in government, commercial and industrial organisations. Evans spent his time observing the human and industrial processes of the changing steel industry, reflecting on how this production related to the studio activities of the sculptor. He produced a series of images that reveal the sculptural qualities of vision, and over one hundred of these vintage photographs were acquired last year for the Leeds Museums and Galleries sculpture collection, along with related archival material. The Institute curates and manages the collection in a unique partnership that has built one of the strongest public collections of British sculpture. These photographs are shown alongside a colour slide-work made in 1977, never previously exhibited.

Henry Moore at Yorkshire Sculpture Park

This month The Henry Moore Foundation and Yorkshire Sculpture Park (YSP) have joined forces to present the first major exhibition of Moore's work in the Park since 1987. When Henry Moore first visited YSP in 1979 it comprised a small exhibition of sculptures in the grounds of Bretton Hall College. Moore understood the Park’s vision and ambition and, following the visit, he became its first patron. From 1981 The Foundation grant-aided YSP, and in 1982 Moore was made an Honorary Fellow of Bretton Hall College. Today The Foundation continues to support the work of YSP by guaranteeing a continuous representation of Moore’s work in the Park.

Entitled Henry Moore: Back to a Land, this exhibition considers Moore’s profound relationship with land, his fascination with siting his sculptures in the landscape and the importance of earth in his creative thinking. The exhibition includes some 150 loans from The Henry Moore Foundation collection (artworks and archival material), as well as works from the Arts Council Collection, British Council, Tate, University of the Arts London and private collections, shown in the Underground galleries and in the grounds.

It also presents an opportunity to explore the man behind the practice through a carefully selected display of personal artefacts, notes, sketches and photographs, curated in collaboration with the artist's daughter, Mary Moore.

The Henry Moore Institute is a part of The Henry Moore Foundation, which Moore set up in 1977. His Foundation comprises his former home and studios at Perry Green, the Institute in Leeds, a centre for the study of sculpture, and a Grants programme, which this year supports sculpture through funds of £500,000. The Foundation's collection of Moore's work can be seen all over the world, while every summer Moore's former home and studios are opened to the public. Currently on show at Gagosian Gallery in London is the first exhibition dedicated to Moore's maquette studio at Perry Green, curated by the Foundation's Director, Richard Calvocoressi.

New Acquisitions

The Library continues to add rare items to its collection, including hard-to-find issues of journals published in the 1960s and 1970s. Recent acquisitions include the ‘Auto Destructive’ issue of Art and Artists, August 1966, which was produced a month before the notorious Destruction in Art Symposium (DIAS) in London and the constructivism magazine, Structure, published in Holland between 1958 and 1964, with contributions by British artists Anthony Hill, Peter Lowe and Mary and Kenneth Martin.

New additions of serials from the 1970s include TriQuarterly 32,  Anti-Object Art, Northwest University Press, 1975 and Klepht, University of Swansea, 1970, a newspaper broadsheet featuring texts from the ‘Event Structure Research Group’ which featured artists Jeff Nuttall, Ian Breakwell, Ron Hunt and Gustav Metzger. The idea of sculpture as event is explored in our current exhibition The Event Sculpture, which closes on 8 March.

Audio Visual Library: New Acquisition

The Library has acquired a copy of 28b Camden Street (1965). Produced by Derrick Knight and directed by David Gladwell, the film follows a group of artists living and working in north London in the mid-1960s.

This film is of particular importance to the Institute as it contains rare footage of the sculptor Peter Peri (1899-1967), whose drawings and photographs are held in the Henry Moore Institute Archive of Sculptors' Papers (Ref: 1995.37) and in the sculpture collection. Peri's 'Bust of Mr Thomas Dokepanol' (c. 1940) was the topic of one in our series of Single Sculpture Lectures. The film also follows artists Ernest Shone-Jones, Eleanor Whittall, Harold Dow, Adrian Ryan, Annabel Sprigge and Harold Parker.

Fellowship Report

Every year we host Research Fellows at the Institute, with our 2015-16 Fellows to be announced in the next issue of the Newsletter. Cecilia Canziani (University of Naples, Federico II), one of our 2014-15 Fellows, reflects here on her Research Fellowship:

'Our landscape is punctuated with monuments. Until the Second World War the monument held a pivotal social and aesthetic function in the construction of public memory, narratives and consciousness. In this frame, First World War war memorials have been functional to a collective narrative of the nation and as such articulate specific and different national ideologies. The aftermath of the Second World War is instead characterised by a crisis of representation, which it can be argued still invests recent events such as the Gulf War, the wars in Bosnia and Kosovo in the mid-nineties, in the frame of the reconfiguration of the former Eastern bloc after 1989 and 9/11.

Focusing on the permanence of the ritual and memory work as pivotal characteristics of the memorial and the monument, in my research I attempted to reconsider the category of the monument, analysing works by contemporary artists using video and film, that while giving testimony of past events, offer a re-articulation of the past. I am interested in shifting the focus of the current research from an analysis that retains the "sculpturality" of the monument, to analysing the potential of film as monument in the light of its paradoxical qualities: multiple versus unique, copy versus original, dislocated versus located.

The Henry Moore Institute with its programme, Library, events and the dialogue with other Fellows and staff, represented a most stimulating context to put to the test the possibility of the monument to resist objecthood, and to rethink itself as time-based medium. Spending a month in Leeds conducting research has been a unique and most productive experience, for which I am truly grateful.'

Forthcoming Events

Unless otherwise noted, events are free and take place at the Henry Moore Institute


Wednesday 4 March, 6pm

Leeds Collections Single Sculpture Lecture: Tom Overton on Peter Peri’s ‘Bust of Mr Thomas Dokepanol’

Saturday 7 March, 2-6pm

Seminar: Reflecting on The Event Sculpture

Wednesday 1 April, 2-4pm

Gallery Discussion: Carol Bove / Carlo Scarpa

Wednesday 22 April, 6pm

Lecture: Graham Ellard and Stephen Johnstone (artists)

Space. Mass. Light. Transparency: The display design of Carlo Scarpa’s Gipsoteca Canoviana, Possagno



French Sculpture Census Now Online

The French Sculpture Census of works located in American public collections is now accessible online at

The database lists French sculpture dating between 1500-1960 that can be found in American public collections, museums, public buildings, historic homes, or displayed in public space. French here is understood in a broad sense to mean artists who are French-born, with acquired French citizenship, or working mainly in France.

The bilingual website provides information on 7,000 sculptures created by 700 sculptors and housed in 300 locations. Started in September 2009, the completion date is estimated to be summer 2019. The completed census is expected to number approximately 15,000 records. has been developed to share detailed information on each of the objects listed in the census and broader information on sculpture as a field.

The project’s initiator and director is Laure de Margerie (former Sculpture Archivist at the Musée d’Orsay, Paris). It is a partnership between the University of Texas at Dallas, the Nasher Sculpture Center, Dallas, the Institut National d’Histoire de l’Art (INHA), the Musée d'Orsay, the Musée Rodin, and the Ecole du Louvre, Paris.

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