Issue Number Fifteen Winter 2006 The Henry Moore Foundation Review Contents

3 Chairman’s Introduction Sir Ewen Fergusson

4 Director’s Report Tim Llewellyn

7 Financial Statement 2005 – 2006

8 Henry Moore Collections and Exhibitions Anita Feldman Bennet

11 Restoration of Hoglands David Mitchinson

12 Henry Moore Institute Penelope Curtis

15 Publishing Sculpture Studies at the Henry Moore Institute Martina Droth

16 Grants Programme

20 Publications

23 General Information

Front Cover: Sheep Piece 1971–72 (LH 627) at Perry Green. Photo: Michael Phipps

Tim Llewellyn in 1994 with Moore’s Large Figure in a Shelter 1985– 86 (LH 652c). Photo: Michel Muller Chairman’s Introduction

This year has been rich in achievements and there is much Whatever has been achieved over the past year, I must to excite us for the future, but I start with the bad news. now look ahead to a most significant event. Next May, after While last year’s Review was being printed, thieves succeeded thirteen years of extraordinary activity on behalf of the in stealing a large bronze from Perry Green. No trace has Foundation, Timothy Llewellyn will be retiring from the since been found. It is hard to imagine a motive for this post of Director. audacious crime, which inevitably has influenced the Tim Llewellyn came to the Foundation early in 1994 conditions under which we and others will be able to show after a highly successful career at Sotheby’s. He brought sculpture to the public in the future. with him experience in management, a knowledge of finan- In spite of this discouraging beginning, the year has seen cial affairs and, above all, a genuine feel for works of art, many exciting projects brought to fruition, including the historic and contemporary. During his time at the Foundation, painstaking restoration of the structure and fabric of he has built this up into a commanding knowledge of sculpture Hoglands, the reinstatement of its garden, and preparations in the twentieth and twenty-first centuries. Art depends, of for the re-installation of the contents of the house. There course, on people; Tim Llewellyn’s enthusiasm and his have been innovative and widely ranging exhibitions in capacity for hard work have had a major impact on others Leeds; a magnificent Moore exhibition in Barcelona; very throughout the United Kingdom and in the international successful reworkings of themes first explored in displays arena. His skilful handling of often sensitive situations has in the Sheep Field Barn, Perry Green, at the Imperial War helped make the Henry Moore Foundation more coherent Museum and at the Kunsthal, Rotterdam, and a particularly in its structure, and more focused in its aspirations. rich crop of publications, to which we have given special From the start, Tim Llewellyn commanded the confi- emphasis in this edition. These activities are of course very dence of the Board. My predecessor as Chairman, Sir Rex much in the public eye, but behind the scenes, too, great Richards, and I have relied without hesitation on his good progress has been made in the libraries and archives, espe- judgement, and those on the Board and the staff of the cially in the preparation of Moore research material for Foundation have responded with admiration and gratitude eventual presentation on our website and, in Leeds, provision to all that he has done. of digital material which will eventually replace the slide It is a tribute to the way in which, under Tim Llewellyn’s library. Such a broad range of activities requires manifold direction, the reputation of the Foundation has so steadily skills from our remarkable staff. The trustees commend and grown, that from an exceptional field of aspirants the Board congratulate them for an outstanding year. has been able to choose as his successor Richard Calvocoressi, During the year, we were glad to welcome onto the for the last nineteen years Director of the Scottish National Board, John Lewis, Chairman of the Attingham Trust and Gallery of Modern Art. There, and previously at the Tate former Chairman of the Wallace Collection, and Duncan Gallery, he has been able to develop a formidable expertise Robinson, Director of the Fitzwilliam Museum and Master in the field of contemporary sculpture. He is well equipped of Magdalene College, Cambridge. Henry Wrong retired to meet the challenge of the future. from the Board after a long and active role as a trustee and has agreed to join the Advisory Board, as has Peter Ohrenstein, Ewen Fergusson who played an important part in setting up the Foundation and who, until his recent retirement gave invaluable financial and accounting advice to the trustees. I know that the trustees enjoy their membership of the Board and find it Note: This Review follows the pattern of its predecessors both fascinating and a considerable privilege to be closely in giving a summary account in words and pictures of the associated with Henry Moore and what, through the Foundation’s activities during the current year. The only Foundation, he sought to achieve. Nevertheless, the significant change in presentation from previous editions is Foundation and all those who benefit from its activities the formal recording of all grants made during the financial should remember that this participation is entirely voluntary: year 2005–6 in addition to those made up to the end of this trustees, new and old, give the Foundation not just the calendar year. As in the past, we have presented the annual benefit of their wide experience but also their capacity for accounts in summary form with categories which comple- hard work. I should like everyone who reads this Review to ment the sections of the Review. As always, full audited recognise the value of that contribution. financial statements are freely available on request.

3 Director’s Report Studio at Dean Clough, Halifax), and the Grants Programme through which support is given to a wide range of projects. To the Henry Moore collection we have added a small As I approach the end of my time as Director, I have been number of works specifically chosen to strengthen areas reflecting on the Foundation’s aims and what has been important for exhibition making. At Perry Green we have achieved. Henry Moore himself defined our objectives. He built a versatile and beautiful gallery, new storage space, a wanted a body of his own work kept together to be available temporary library and archive, new offices and better facilities for exhibition; he wished that the studios, archives and for visitors, including residential accommodation. We have grounds at Perry Green be preserved to give an insight into planted wild flowers, bulbs, shrubs and trees, and revived his working methods, and he hoped that his Foundation orchards. Most recently, we have acquired the Moores’ home could help develop better understanding of sculpture in of more than forty years, Hoglands, and with the generous general and wider opportunities for those who make it, see support of Mary Moore and her family we shall soon have it or study its history. In particular, he remembered how completed the restoration of the ground floor and garden difficult it had been both for him to see works of sculpture to something like their appearance in the 1960s and 1970s. while he was a student in Leeds, and to have his work shown More needs to be done; we must improve our storage facil- as a young avant-garde artist. Our strategy for realising these ities (following the distressing and costly theft, still aims was laid down by Moore, the trustees and my prede- unsolved, of an important work), build a new library and cessor as Director, Sir Alan Bowness. That fundamental archive with appropriate environmental and security strategy has altered little and focuses on Henry Moore at controls and, perhaps, a new visitor centre. Perry Green, the Henry Moore Institute in Leeds (building Responding to confusion among the public about our on the work of the Study Centre begun in Moore’s time and the activities, we simplified the corporate structure of the

Henry Moore: Sculptuur en architectuur, Kunsthal Rotterdam; installation designer: Herman Postma. Photo: Anita Feldman Bennet

4 Foundation, and began to publish this annual Review, together with a quarterly Calendar, now distributed elec- tronically. A little later, we launched our interactive website, which provides a dynamic interface for students of Moore and all sculpture. Preparing for the digital age has been a heavy investment. The paper archive has been scanned and digitised, together with a good number of photographic images, and a massive effort has been put into creating an oeuvre database, which it will be possible to consult on line. For a small organisation these are taxing undertakings, all done in-house, costly and labour-intensive. We have also published a wide range of books on Moore for specialised as well as general audiences, including the very successful Cover Design for Contemporary Poetry and Prose c.1937 (HMF centenary publication Celebrating Moore, a full catalogue of 1346). One of forty-four previously unexhibited drawings included in Moore’s drawings in seven volumes, a number of updated Moore: Unseen at Wakefield Art Gallery. Photo: Menor Creative Imaging volumes of the sculpture catalogue and of course many exhibition catalogues. There can be few British visual arts organisations with a prices, but no doubt they deceive many innocent buyers. wider geographical reach than the Henry Moore Foundation There is little that we on our own can do to prevent this, in its exhibitions programme. Within the last year colleagues but we hope we can influence regulators to take action to have been active in Brazil, Central Asia and Siberia, as well provide buyers on the web the same protection they would as locations nearer home. Over the years, I have colourful have if buying from a reputable gallery or auction house. memories of the projects in China, Cuba, Argentina and Opening a research institute dedicated to sculpture in Brazil, and the compelling strength of those in Dallas and Leeds might have seemed a risky endeavour when the Vienna. Like many artists, Moore preferred to show his trustees, Sir Alan Bowness and the late Robert Hopper, work by itself rather than in group shows. To a large degree with the support of Leeds City Council, brought it about we have followed this course, but as we acquire a greater in 1993. It probably was risky, but the combination of out- historical perspective on the middle of the twentieth standing people, then and since, great ambition, a strong century, I am sure there will be good occasions to show collection, a distinctive and beautiful building by Dixon/ Moore in context. Jones, and generous funding have made the Henry Moore Opportunities for receiving the public at Perry Green are Institute a leader in its field. I am sure Henry Moore would limited, and so our focus has been on bringing the collection have been proud of its standing: the reach of its interna- to much wider audiences in venues with appropriate tional connections, the rigour, invention, discernment and resources. We never propose ourselves to partners, but we originality of a programme that carefully integrates research, are quick to respond when the chance arises; while mostly display of the Leeds collections, publications and loan outside the United Kingdom, there have also been useful exhibitions – looking at the new, the not so new and the opportunities to show Moore’s work to new British audi- old through a contemporary lens. Since the Institute first ences, as, for example, this autumn at the Imperial War opened, we have built additional library and archive storage Museum. A display next year at Kew Gardens will give space to house the growing collections, improved some a large audience a view of Moore’s work normally only security and environmental aspects and reconfigured some possible at Perry Green or the Yorkshire Sculpture Park office space to allow for additional staff and activities. close to the artist’s native Castleford. Nevertheless, after more than thirteen years, the building Finally, a note of caution. Moore wisely decided that retains the luminous, tranquil, considered character that there should be no more work after his death: no new distinguished it from the start. Of all the many things that editions, no more additions to editions, no work of any kind. I shall feel keenly when I leave, probably the most telling, As the holder of his copyright, part of the Foundation’s task apart from missing the close contact with colleagues, will is to honour his wishes. That is one reason why the oeuvre be the greater distance from the sense of discovery at the catalogue is so important. We occasionally find genuine Institute, from an intensely serious ethos, which is at the unknown works, especially early drawings; much more same time edgy, even perverse and which provides stimulus frequently, especially for sale on the world wide web, we to students, scholars, curators and artists alike. encounter works that are not genuine. These forgeries and A close engagement with contemporary art has always pastiches are mostly of poor quality and for sale at low been central to our interest. At first at Dean Clough, then

5 out of their research because of the need to earn a living by teaching. So were born our post-doctoral fellowships. Every year a few more are selected, and every year the publications of their predecessors, books and articles, find their way onto the shelf. If, as I hope, the Foundation is able to continue the programme, over a generation it will surely make a truly vital contribution to the study and understanding of sculpture at every level. As time has gone by, we probably seem less like the idio- syncratic creation of a highly gifted and motivated individual and more like a conventional public visual arts organisation. We manage ourselves in a business-like way and have close and long-established relationships with many leading art institutions around the world. However, we have been careful to nurture our financial independence, which we owe to the magnanimity of Henry Moore, and to keep the cost of capital investment and our programmes scrupulously within our means. The value of the endowment today is greater in real terms than it was thirteen years ago despite many millions of pounds of expenditure. This testament to Moore’s supremely generous vision and to the careful Installation view of Henry Moore:War and Utility, Imperial War Museum, stewardship of the trustees enables us to plot a course inde- London. Photo: Roger Tolson pendent of political or any other influence, and means that we do not need to fish in the diminishing pool of funding later through the Contemporary Projects programme, the on which other organisations depend. Foundation has commissioned works and exhibitions from These remarks have covered a broader timeframe than a wide range of prominent international artists. Now, apart usual, but readers will find in these pages a full record of from work commissioned for shows at the Henry Moore the Henry Moore Foundation’s activities during the past Institute, we give grants to others to commission new work, year. Some of the themes will be familiar, some not; the whether temporary or permanent. Within the Grants extraordinary conservation and restoration project at Programme, the New Commissions fund sits alongside the Hoglands has presented an entirely new challenge to Exhibitions and Publications funds as a powerful combina- colleagues at Perry Green, but has not interrupted the tion of potential support for both artists and curators. It is a normal programme which has included some memorable matter of great regret that we receive very few applications exhibitions at home and abroad. In Leeds too, we have for the support of exhibitions of historic sculpture. We have been exploring new fields: classical antiquity in the Antinous changed the categories of grant very little over the years, exhibition and twentieth-century Brazilian sculpture. although we no longer give capital grants or grants for I should like to salute and thank all my colleagues – conservation. We saw, with the advent of the lottery, that Chairman, trustees, staff, professional advisers – for the greater funding had become available to visual arts institu- contributions they make to the Foundation’s work and for tions for capital projects, while on balance revenue funding the support they have given me personally over the years. and particularly funding for exhibitions and publications They are a truly impressive team. I am most grateful for was diminishing. We decided to focus on providing the having been appointed Director of the Foundation. It has means to make things happen, particularly outside London. been an extraordinary opportunity to learn and to share in In respect of contemporary art, we have recently entered the vision, energy and creativity of a host of dedicated people, into a partnership with the Esmée Fairbairn Foundation, artists, curators, designers, directors, administrators, fund- which is bringing additional support in this area. The raisers and the many others who make art happen and record of the Grants programme speaks for itself, but there bring it to the public. Until May 2007 I shall be in the is one category in particular which I am sure has made a thick of it, thereafter I wish Richard Calvocoressi, whom I real difference. Some years ago, Prof. Andrew Causey, now warmly congratulate on his appointment and welcome on Chairman of the Grants Committee, pointed out that scholars behalf of us all, every possible success in the post. who had recently completed PhD theses in the field of sculpture often found it difficult to produce publications Tim Llewellyn

6 Financial Statement 2005–2006 2005–2006 2004–2005

As was foreshadowed in last year’s Review, better conditions EXPENDITURE in world markets, satisfactory performance from our fund Henry Moore, Perry Green managers, a prudent strategy on behalf of the trustees and Perry Green estate 260,307 181,585 careful management of our costs have greatly improved our Exhibition support 326,600 361,827 financial resources over recent years. We retain our ‘total Works of art acquired 121,795 0 return’ approach, and while the move away from traditional Insurance 49,906 64,163 balanced managers towards a mix of more innovative, Library, archive, conservation 35,102 43,394 responsive funds has brought with it a reduction in income Exhibitions & projects 692,264 533,398 from investments, this has been more than off-set by capital Total 1,485,974 1,184,367 growth. As a result we have been able to expand our budgets and activities while the real value of the endowment has Publications 48,855 28,478 increased. These indicative, unaudited summary accounts, retain Henry Moore Institute the format adopted last year, which resulted partly from the Exhibition support 332,150 207,561 new SORP. For the same reason, this year we have had to Administration 94,674 97,786 make further changes to the way some costs are allocated. Research costs 484,367 434,590 Readers wishing to see a more detailed statement should contact Charles Joint at Perry Green, requesting the Exhibitions & projects 579,228 269,406 Consolidated Financial Statements of the Foundation for Dean Clough costs 37,628 21,678 the year ended 31 March 2006. Total 1,528,047 1,161,410 The increase in costs at the Perry Green estate was due largely to the building of a new road, car parking space, additional security provisions and work on the refurbishment Grants 1,079,116 787,614 of Hoglands. The increase in the cost of exhibition support at the Henry Moore Institute arises largely from changes Other expenditure in allocations. The Research category in Leeds includes Review, calendar, website, PR 47,163 49,607 allocated salaries, running costs and other overheads. Management & administration 93,574 90,005 Professional fees have risen partly because of the way Depreciation 220,227 223,460 accounting costs are treated and partly because of increased Professional fees 58,323 22,903 legal fees connected with the Hoglands project. Total 419,287 385,975 Finally, the sculpture whose theft is referred to elsewhere in this Review was fully covered by insurance. Payment has been received from underwriters and credited to the reserves. Total expenditure 4,561,279 3,547,844

Tim Llewellyn FUNDED BY Director Investments 168,372 593,742 Sale of artworks 3,089,455 143,571 Sale of publications 53,570 65,141 Rental income 47,730 51,807 Bank interest 240,066 199,543 Leeds City Council 137,490 133,285 Allocation from capital 824,596 2,512,228

Total 4,561,279 3,547,844

7 Henry Moore Collections and Exhibitions

There have been several high points in 2006, but perhaps the most significant was the discovery of twenty-eight previously unrecorded Moore drawings. All post-war ideas for textile designs, these were found in the home of a private collector in the course of research for a forthcoming book and exhibition on the artist’s textiles. The drawings are being fully catalogued and photographed by the Foundation’s curatorial staff. Continuing forward with research and conservation, Malcolm Woodward of the Foundation met with Tate con- servator Derek Pullen to collaborate on a unique structural survey of Moore’s travertine The Arch (LH 513b), using a three-dimensional laser scanner to measure stresses on the sculpture. This method, Finite Element Analysis (FEA), is a system more commonly used by engineers for bridge and building design. The study was coordinated with Dr Angie Geary of the London University of the Arts, Camberwell, and Prof. John Harrison of Imperial College, with the cooperation of Mark Camley and Nick Butler of the Royal

Parks. The structural analysis is needed in order to ascertain Three-dimensional laser scanning of sections of Moore’s travertine the possibility of eventual restoration and resiting of the The Arch 1979–80 (LH 513b). Photo: Malcolm Woodward work in Kensington Gardens. The focus of this year’s exhibitions programme has been on Barcelona, where a retrospective of 150 works celebrating the artist’s career was held at Caixa Forum. With loans from institutions and private collections worldwide, the selection highlighted the wide variety of Moore’s

Henry Moore at Caixa Forum, Barcelona; installation designer: Laura Baringo. Photo: James Copper Moore’s Wall Relief 1955 (LH 375), Bouwcentrum, Rotterdam. Photo: Rene van der Hulst Surrealist carvings in stone and wood, and his social and political role as an artist during the 1930s with the onset of the Spanish Civil War and the rise of fascism. A unique display of Moore’s early stone, concrete and slate masks was assembled, as well as a number of half-figures inspired by Sumerian artefacts, and Moore’s first major elmwood reclining figure (LH 175 of 1936) which has only been lent once before in twenty years. Later works included the colossal plaster Three Way Piece: No.1 Points 1964–65 (LH 533) and the monumental Two Standing Figures 1981 (LH 715a) in travertine marble which has never before been exhibited outside the United Kingdom. The catalogue includes essays by Foundation staff on the Spanish political connection in Moore’s work, and on the influence of pre-Columbian art by Toby Treves of Tate. The often difficult relationship between sculpture and architecture was the subject of Henry Moore and the Challenge of Architecture, which transferred from the Sheep Field Barn to the Kunsthal Rotterdam as Henry Moore: Sculptuur en Architectuur in October. The Kunsthal, designed by Rem Koolhaas, is within walking distance of Moore’s Bouwcentrum Wall Relief 1955 (LH 375), which may itself be the subject of controversial resiting. The first exhibition to deal with this theme, it closely examines Moore’s various approaches to the problems of integrating sculpture within an urban environment. Moore’s early carvings on garden benches c.1928 (LH 50a) were reunited Caixa Forum Barcelona, a restored Catalan Art Nouveau textile factory and site of this year’s major Moore retrospective. and restored specifically for this exhibition, the first time Photo: Anita Feldman Bennet they have ever been on public display. A comprehensive catalogue is now available in Dutch with essays by the Foundation’s curator and Jan van Adrichem from Stedelijk Museum, Amsterdam.

9 Three exhibitions were held this year within the United other significant loans have been made to the British Kingdom: Henry Moore: War and Utility at the Imperial Museum, Guggenheim Bilbao, Kunstmuseum Wolfsberg, War Museum, London; Henry Moore: Natural Forms at Tate Museum of Cycladic Art in Athens, Fundacio Joan Miró in Liverpool (both remain on view until the end of February Barcelona, and Burghley House in Stamford. 2007), and Moore: Unseen at Wakefield Art Gallery. War and Following the excitement of last year’s acquisition of Utility is a reworking of the exhibition originally shown in three Moore drawings, 2006 was more modest, the sole the Sheep Field Barn in 2001, the selection for the Imperial acquisition being a deluxe copy of Sacheverell Sitwell’s War Museum incorporating their dramatic atrium space Valse des Fleures 1980, containing Homage to Sacheverell with sculpture seen against a backdrop of aircraft and tanks, Sitwell 1979 (CGM 537). while smaller galleries provide enclosures for the Shelter Perry Green educational workshops, organised by and Coalmining Drawings. A new catalogue illustrating Emma Stower and Georgina Gauntlett, were held for the works in situ includes an introduction by David Mitchinson sixth consecutive year over the spring bank holiday and and an essay by Roger Tolson, ‘Moore and the Machinery proved more popular than ever; the subject this year was of War’, giving a fresh perspective on this era. life drawing. Progress continues in the library and archive, While War and Utility brings familiar works into a new as Michael Phipps has been supervising the scanning of the light, Moore: Unseen presents forty-four drawings from the letters archive and transfer of audio, film and video record- Foundation’s collection that have never been on exhibition ings of Moore to DVD. The website is also being developed before. Selected with Antonino Vella of Wakefield Art by Martin Davis to show details of Moore works on public Gallery, many of these compositions include unusual subjects display around the world, based around an interactive map; in Moore’s oeuvre, such as ideas for covers of literary journals this should be available on line in 2007. Finally, in our and rare glimpses of the artist’s family and close friends, efforts to continue the momentum of the programme, including portraits of Edna Ginessi, ‘Gin’, and the poet management of the collection and records on Moore’s W H Auden made on the day of Auden’s death. complete oeuvre, we are very pleased to welcome Alaine Alongside our own exhibition programme, the Foundation Shand who was appointed this year to work alongside continued to make loans during 2006 to institutions world- Jenny Harwood on much welcomed improvements to the wide. Head of the Virgin 1922–23 (LH 6), after a relief of Foundation’s database. the Virgin and Child by Domenico Rosselli, has been installed in the last section of the newly restored British Anita Feldman Bennet, Curator sculpture galleries at the Victoria and Albert Museum, while

One of twenty-eight Sue Prichard of the Victoria and Albert Museum, cataloguing recently discovered Moore textiles and archival material in New York with Moore textile designs curators from the Foundation. Photo: Jennifer Harwood currently being catalogued by the Foundation. Photo: David Mitchinson

10 The front of Hoglands undergoing the final stages of restoration. Photo: Michael Phipps

brick-workers, tilers, floor specialists, electricians, plumbers, plasterers and painters – under the direction of architect Kay Pilsbury, builder John W Younger, quantity surveyor Martin Hall and project manager Steve Limmer, worked their way from foundations to roof, carefully replacing Moore in front of the Top Studio at Hoglands in the 1950s. decaying structures, strengthening others and restoring Photo: HMF archive and redecorating the rest. While this was taking place, garden designer Yvonne Innes was appointed to take charge Restoration of Hoglands of clearing and replanting the landscape areas around the house, and a group of interior specialists began dealing with everything from reprinting curtains and reweaving The house and its immediate surroundings remained in carpets to restoring furniture, sourcing cacti and reassem- the possession of the Moore family until 2004, when they bling the contents of the etching studio. were acquired by the Foundation. Following a sixteen-month To coincide with the opening of the house, the Founda- period of restoration which ended in November, many of tion’s publishers, Lund Humphries, will produce a book the original contents are being re-installed to allow visitors entitled Hoglands: The Home of Henry and Irina Moore. The the opportunity of seeing the ground floor of the house and Moores acquired Hoglands in 1940 and lived there until their the adjacent etching studio as they would have looked respective deaths in 1986 and 1989. Books and catalogues about 1970 when Moore’s reputation was at its height and on Moore’s life and work abound, but pictorial images his art collection at its most complete. These spaces will showing how he lived, his family, friends and what artefacts complement the experience of viewing monumental surrounded him have been published less frequently. Mary bronzes in the open air, visiting Moore’s sculpture studios, Moore has written one of the book’s chapters, concentrating and seeing the changing exhibitions programme in the Sheep on childhood reminiscences from the 1950s. Other contrib- Field Barn galleries. utors are the Foundation’s librarian Michael Phipps, who Reassembling such a unique private collection would has unravelled the house’s architectural history and told have been impossible without the full collaboration and the story of its recent restoration; the Moores’ niece Ann approval of the Moore family. The Foundation is indebted Garrould, from whom we have received personal memories to Henry and Irina’s daughter, Mary, and her children, of the 1940s; Foundation trustee Andrew Causey, Professor Gus, Jane and Henry, for their generous loans from the of Art History at Manchester University, who has written Henry Moore Family Collection, which are returning to about the significance of visitors to Hoglands in the inter- the house – not only valuable artworks, books and furni- national business of commissioning and dealing in Moore’s ture, but items of a more domestic and personal nature, work; Curator, Anita Feldman Bennet, who researched the too. Further works, some by Moore, others ethnographic Moores’ collection and made links between it and Moore’s items belonging to the Foundation, will also be displayed own work; Information Manager, Martin Davis, who on a seasonally changing basis. catalogued every book in the house and has written about Before the commencement of restoration, months of the significance of Moore’s archive; and myself, with the work were needed from Foundation staff to meticulously task of summing-up everything in the introduction. clean, catalogue, photograph and pack the contents of the house before sending them to storage. Once this was David Mitchinson completed, experts within the building trades – carpenters, Head of Collections and Exhibitions

11 Henry Moore Institute

What is Modern Sculpture, and where is it located? 2006 opened at the Institute with a focus on the forms of modern sculpture, and on its geographical limits. The works of Stephen Gilbert and his wife Jocelyn Chewett represented a geographical centre for post-war abstraction in its Parisian heartland, mirrored by the works in the first gallery of our Brazilian exhibition, Sites for Sculpture in Modern Brazil, which responded to these same European roots. Brazilian sites became increasingly diverse, forced Installation view of Espaço Aberto/Espaço Fechado: Sites for Sculpture in Modern Brazil, Main Galleries, Henry Moore Institute (5 February – out of the pavilion and onto the street by political events. 16 April). Photo: Jerry Hardman-Jones Works by Antonio Manuel, from which the viewer must lift a cloth in order to read the hidden text, alluded directly to the censorship imposed by the military dictatorship in power How can we look at Antique Sculpture? How do we from 1964 to 1985. A variety of pieces, by over twenty artists, look at the Nude? showed how artistic strategies devised to circumvent official It is hard to know how to look at Antique Sculpture, but constraints were increasingly stimulating for sculptural Antinous, the lover of Hadrian, and one of the most sculpted language. figures of the Antique World, offers a very human invitation to consider his image. The line-up of heads, all portraying the same subject but each different, readily prompted specialised questions – about identification, restoration, replication – while splendid pieces such as the Mondragone Head from the Louvre, so beloved of Winckelmann, equally commanded admiration and wonder. The restrained white beauty of Antinous was nicely contrasted by Alfred Gilbert’s tense and lively bronzes; his New Man was examined in the light of a changing culture of homo-eroticism. Giorgio Sadotti’s remarkable project, From Navels to Nipples: Henry Moore, drew on our artistic patronage as well as our library. His book, sound and visual display allowed us to peep through Stephen Gilbert holes of diminishing circumference, plot their progression, photographed in Shaping Modern Sculpture: Stephen and hear the spaces in-between. Gilbert and Jocelyn Chewett in post-war Paris, Mezzanine Gallery, Henry Moore Institute (5 February – 16 April). Photo: Jerry Hardman- Jones

Installation view of Antinous: the face of the Antique, Main Galleries, Henry Moore Institute (25 May – 27 August). Photo: Miel Verhasselt

Image taken from the publication Giorgio Sadotti: From Navels to Nipples Henry Moore accompanying the exhibition of the same name in Gallery 4, Henry Moore Institute (3 May – 4 June). Imi Knoebel: Primary Structures 1966/2006, Main Galleries, Henry Moore Institute (23 September –16 December). Photo: Hélène Binet

How do we return to the newly expanded field of sculpture in the 1960s and 70s? Imi Knoebel’s exhibition is an almost case-book example of an artist examining his own founding language, daring not only to return to works made 40 years ago, but even to renovate and remake them. His show is a magnificent foil Installation view of The New Man: Alfred Gilbert’s heroic nudes 1882–1895, off which to bounce ideas about mass and about image, an Gallery 4, Henry Moore Institute (12 June – 6 August). Photo: Jerry installation which is difficult to penetrate and which repays Hardman-Jones the close-up view (as demonstrated in Hélène Binet’s remarkable photographs). Two fellowship projects, by Charlotte von Poehl and Frederico Câmara, respond in Is sculpture about change or about constancy? different ways to Knoebel: to the serial and formulaic Paper, Stone, Flesh and Blood reflected the ideals of sculpture vocabulary, and to the interest in the unexhibited or as represented in Antinous, yet also undermined them. The unseen. Knoebel’s Raum 19, which in Leeds more than prints showed how sculpture taken as symbolic of a higher ever evokes the storeroom, is reflected in Câmara’s pictures and lasting authority was simultaneously being toppled. A of our subterranean sculpture stores. But many of our detailed reading of the many prints on show charted the complex history of the French Revolution within a wider rubric of sculpture as an agency and barometer of change. Sigmund Freud’s collection of antiquities, on the other hand, suggests a more constant relationship, almost continuously accompanying his intellectual activities, to the extent of being smuggled out of occupied Austria in 1938 and re-appearing on his desk in London. This show cast us forward and back, with Freud’s desk at the centre of the timeline.

Paper, Stone, Flesh and Blood:Transforming Views Notepiece (detail) 2006 in of Sculpture In French Revolutionary Prints, Charlotte von Poehl:The Notepiece, Mezzanine, Henry Moore Institute Gallery 4, Henry Moore Institute (25 May – 27 August). Courtesy Biliothèque (26 August – 19 November). Nationale de France Photo: Jerry Hardman-Jones

Installation view of Freud’s Sculpture, Gallery 4, Henry Moore Institute (22 February – 23 April). Photo: Jerry Hardman-Jones 13 Jacob Epstein, Flenite Relief 1913. Photo: Jerry Hardman-Jones

Accounting for the story of British sculpture Alongside these exhibitions, the Institute has been active in developing the collections, the research and publishing programmes. New works acquired for the Leeds collections Installation view of Frederico Câmara: Leeds (Partial View), Mezzanine – including Frank Dobson’s Fount and Jacob Epstein’s Gallery, Henry Moore Institute (September 24 – 16 December). Photo: Jerry Hardman-Jones Flenite Relief – could be seen in the display Significant Form, and models by Ivor Roberts Jones and Franta Belsky in Maquettes for Monuments. All works acquired up to the end of 2005 are featured in a new concise illustrated cata- sculptures are on view, in Leeds City Art Gallery, and this logue. The library has a new catalogue and user database, year’s annual display showed how we have risen to the and the archive has recorded its highest-ever level of visits. challenge of collecting the performance-related works of the period, with significant new acquisitions of films, photo- graphs, costumes and robots by Ian Breakwell, Stuart Brisley, Helen Chadwick, Bruce Lacey and others. Other more object-based works – such as Michael Kenny’s Tranquil Night, shown here – with an equally theatrical thrust were also included in Important Mischief. The team at the Institute – Gill Armstrong, Karen Atkinson, Martina Droth, Stephen Feeke, Jackie Howson, Ian Kaye, Sophie Raikes, Ann Sproat, Ellen Tait, Jon Wood, Victoria Worsley – have worked to develop this programme of exhibitions in collaboration with curators in Brazil, with colleagues in British Universities including Michael Asbury, Jason Edwards, Valerie Mainz, Caroline Vout and Richard Williams, and in the Freud Museum, and with the artists themselves. Installation view of Significant Form Sculpture Galleries, Leeds City Art Gallery (March – 26 November). Photo: Jerry Hardman-Jones

Sculpture Studies in Leeds and beyond The talks programme has attracted an unusually diverse audience. Topics were drawn from literature, psychoanalysis, film and oral history. Partner organisations included the Yale Center for British Art, the Victoria and Albert Museum, the Royal Academy, CentreCATH and the Centre for Brazilian Film Studies at Leeds and Wochenklausur, the Viennese Artists’ Group. We hosted a Senior Fellow (Martha Buskirk), Fellows Claudia Mesch, Franka Hornschmeyer and Mark Wilsher, as well as a number of junior scholars from America and Europe. Our contribution to the Ashgate series on British Sculptors and Sculpture bears fruit with the new titles on Reg Butler and William Tucker, and opposite Martina Droth reviews the developing series Subject/Object: New Studies in Sculpture. Installation view of Important Mischief: British Sculpture from the 1960s and 70s, Sculpture Galleries, Leeds City Art Gallery (March – 26 November). Photo: Jerry Hardman-Jones Penelope Curtis, Curator

14 Publishing Sculpture Studies at the Henry Moore Institute

Over the last few years the Henry to the Institute’s programme, they by Moore Institute has significantly no means represent an ‘in-house’ view added to its publishing activities, of sculpture; on the contrary, they com- principally through the Subject/Object prise an international cross-section of series published with Ashgate, but research. By highlighting the work of also through collaborations with Peter younger scholars, as yet, perhaps, less Lang, a new online initiative, and our well-known, and by inviting senior art ongoing essay series, all of which historians to collaborate with us on sit alongside and complement our areas they may not previously have exhibition catalogues. considered in their work, the books To date, six titles have appeared in not only act as a forum for innovative the Subject/Object series, all deriving writings, but also provide an indicator from conferences initiated by the of the current status of scholarly Institute. A key aim of the series is to research. reconnect sculpture with the other disciplines and cultural contexts of Titles published in the Subject/Object which it is a part, and to identify fields series to date are: Henry Moore: Critical that are either missing from the Essays, eds. Jane Beckett and Fiona current scholarship of sculpture, or in Russell, 2003; Rodin: The Zola of need of revision. To this end, we have Sculpture, ed. Claudine Mitchell, developed two areas of focus. Firstly, 2004; Figuration/Abstraction:Strategies the reassessment of major figures such for Public Sculpture in Europe 1945– as Rodin, Moore and Giacometti, who 1968, ed. Charlotte Benton, 2004; are mostly studied in a monographic Pantheons: Transformations of a Monu- or survey format, but are examined in mental Idea, eds. Richard Wrigley and our books through the social, literary Matthew Craske, 2004; Sculpture and and political perspectives that shaped Psychoanalysis, ed. Brandon Taylor, their historical positions. Secondly, 2006; Sculpture and the Garden (see we have concentrated on sculpture’s p.22), eds. Patrick Eyres and Fiona relationship with other fields of study, Russell, 2006. including garden history, iconoclasm, Titles forthcoming in 2007–2009 archaeology and film. Although these are: Iconoclasm: Contested Objects, disciplines have had a significant bear- Contested Terms, eds. Stacy Boldrick ing on the history and development of and Richard Clay; Giacometti: Critical sculpture, they are rarely studied Essays, eds. Peter Read and Julia Kelly; cohesively with it. Our interdiscipli- Defining Urban Space: Royal Monuments nary approach has enabled us to work in 18th-Century Europe, ed. Charlotte with scholars from diverse fields: for Chastel-Rousseau; Sculpture and example, a planned title on Sculpture Archaeology, ed. Thomas Dowson. and Film is the result of a collaboration Future planned titles include Sculpture with Ian Christie, Professor of Film and Film, eds. Ian Christie and Jon and Media History at Birkbeck College, Wood; and Sculpture and Display. London, who brings his expertise in film studies to our interest in sculpture, Martina Droth while the forthcoming Sculpture and Research Coordinator Archaeology, edited by archaeologist Thomas Dowson, similarly affords us a fresh viewpoint. While the books link very directly

15 Research Projects Grants Programme A Feasibility study for compiling a database of Sculptors in Britain 1850–1950, Ann Compton Visiting Arts, a continuation of the Artist to Artist international scheme Funding given by National Life Stories, artists’ lives recordings FELSSO, 3D scanning of The Arch (LH 513b) – see p.8 The Henry Moore Foundation during 2005/6 Werk, ‘Art is not Enough’, workshop with Carlos Garaicoa’s studio at University of Liverpool School of Architecture The figures after each category are the total grants paid in that cate- Ashmolean Museum, Oxford, a three year fellowship to research the gory during the financial year to 31 March 2006. All grants are listed, documentation of the Chantrey Gift and its subsequent history and the aggregate is included in the financial summary on p.7. As this Royal Collection Trust, a scientific investigation of bronzes and terracottas Review is published nine months after the end of the financial year, we in the Royal Collection include some grants allocated since 1 April 2006. These appear in black in the second section of each category. To some grants we have Support for Post-Graduate Students £42,798 added support from the Esmée Fairbairn Foundation; these are marked Bursaries of between £500 and £1,500 are offered to post-graduate students with an asterisk (*). at British institutions to help fund special research or creative projects. John O’Connell, Jessie Flood Paddock, Hélène Martin, David Treloar, Fellowships for artists £24,000 Royal College of Art, London The Foundation considers applications throughout the year jointly Rochelle Fry, Amy Woolley, Sinta Tantra, Liane Lang, Weng Fung Man, from an artist and institution for a six-month fellowship worth Royal Academy of Arts, London £12,000. The following were continued or given in 2005/6: Miranda Mason, University of Leeds Graham Hudson, Chelsea College of Art and Design Kathleen Merrill Campagnolo, Courtauld Institute of Art, London Daniel Silver, University of Sunderland The Foundation also gave significant support for the sculpture Suzanne Lacy, Robert Gordon University, Aberdeen component of the University of Leeds MA programme. Mair Hughes, Glasgow School of Art Post-Doctoral Research Fellowships £37,500 Rodney Johnstone, Goldsmiths’ College, London Fellowships of £15,000 to develop publications are awarded each spring for one year to scholars who have recently completed PhD Conferences, Lectures and Workshops £9,830 degrees. Dada in Debate, organised by the University of York, venue: Tate Modern Dr Anna Dezeuze, Manchester University: The ‘Almost Nothing’: Confraternity or Confrontation, Monumental Sculpture: Ireland and the UK, Dematerialisation and the Politics of Precariousness – extension awarded Public Monuments and Sculpture Association, venue: University Dr David Hulks, University of East Anglia: Adrian Stokes and the College Dublin Changing Object of Art Plaster Casts: Making, Collecting and Display, study day at University Dr Uta Kornmeier, Oxford University: Taken from Life: Madame Tussaud of Reading and the Pantheonic waxworks display Revival and Invention: Sculpture and its Material Histories, Université Dr Marika Leino, Oxford University: Italian Renaissance Plaquettes in Libre de Bruxelles Context – extension awarded Art Spaces, British School at Rome, contemporary architecture programme Dr Anna Lovatt, Courtauld Institute: The role of Drawing in New York- Artist-culture and the spirit of capitalism, 2006 conference at based sculptural practices of the late 1960s and early 70s The Showroom, London Dr Alistair Rider, York University: Base Measure: Andre’s Sculptures and Space Soon, Arts Catalyst at the Roundhouse, London Politics 1959–1976 Collecting and Dynastic Ambition, Institute of Historical Research, London Back to the Future, MA Creative Students at Goldsmiths’ College, London CIMAM Conference 2006 – Contemporary Institutions: Between Public and Private, Tate Modern, London

Aleksandra Mir, Gravity 2006 at The Roundhouse, London. Courtesy The Arts Catalyst. Photo: David Smith, Australia, Bolton Landing, 1951. Collection:The Museum of Modern Marcus J Leith Art, New York. Gift of William Rubin, 1968. © Estate of David Smith/ VAGA, New York, DACS 2006. Photo David Smith Publications £76,739 Certain Trees: The Constructed Book 1964–2006 for an exhibition at Applications especially for documenting contemporary work are Centre des Livres d’Artistes, Saint-Yrieix-le Perche (touring to considered throughout the year and must come from the publisher Victoria and Albert Museum, London) of the proposed volume. A publication accompanying the exhibition ‘Roger Hiorns’, Milton Keynes A publication documenting Ayşe Erkman’s exhibition ‘Under the Roof ’, Gallery* Ikon Gallery, Birmingham A book of essays on the writings and artistic patronage of Lady Anne Clifford A book documenting twenty-five years at Matt’s Gallery; A monograph on (1590–1676), Yorkshire Archaeological Society, Leeds the work of Lucy Gunning, Matt’s Gallery, London ‘Bent Aura’, a publication of fictional sculpture parks, an element of an Francis Alÿs, Seven Walks, Artangel, London exhibition by Chris Evans at Studio Voltaire, London A publication documenting sculpture workshops at Ironbridge Open Air A publication accompanying an exhibition of work by Alice Mayer, at Museum of Steel Sculpture, Telford Oratorio di San Ludovico, Venice The Sculpture Journal, volumes XIII and XIV The Sculpture Journal, volume XV, nos. 1 and 2 Stephen Bann, The Coral Mind, Penn State University Press Writings on Carl Andre since 1965, an anthology compiled by Literature: The Space of Reading, a textual work by Nick Thurston Alister Rider, Paula Feldman and Karsten Schubert, published produced by Information as Material, York by Ridinghouse, London Church Monuments, volume 19, Church Monuments Society A publication to accompany the exhibition ‘Armour Boys’ by Laura Ford A publication for the exhibition ‘Loose Ends: drawings of Lucia Nogueira’, at the Royal Scottish Academy, Edinburgh The Drawing Room, London A publication to accompany the exhibition ‘A Secret Service: Art Compulsion Jason Edwards, Alfred Gilbert’s Aestheticism: Gilbert Amongst Whistler, Concealment’ at Hatton Gallery, Newcastle upon Tyne* Wilde, Leighton, Pater & Burne-Jones, Ashgate Publishing, London A publication to accompany the exhibition ‘Stephen Cox: Sculptor – Origins A publication documenting an exhibition by Maurizio Nannucci, Bury Metro & Influences’, Bristol City Museum & Art Gallery* Mark Dion, The Bureau, AHRB Research Centre, Manchester Monograph on the work of Layla Curtis, by Matthew Hart and Sally ‘Privacy’ Publication recording the Privacy Symposium, protoacademy, O’Reilly, co-published by Locus+ Publishing and New Art Gallery, Edinburgh Walsall th th Kim Woods, Imported Images: 15 and 16 Century Sculpture from the English Medieval Tomb-monuments: Construction, Destruction, Reconstruction Low Countries in England, Paul Watkins Publishing by Phillip Lindley, published by Shaun Tyas/Paul Watkins Publishing A publication for the exhibition ‘Wunderkammer: The Artificial Kingdom’ Joseph Cornell: Opening the Box, contributors: Dawn Ades, Julia Kelly, Usher Gallery, Lincoln Anna Dezeuze, Jason Edwards, Stephanie Taylor, published by A publication documenting a series of installations by Richard Woods, Art Peter Lang AG, Oxford Works in Wimbledon Monograph on the sculptor Tim Scott, published by Salon Verlag, Köln A publication which was part of an exhibition by Anne Tallentire, Void Burlington Magazine, December 2006 issue on sculpture Gallery, Derry A publication accompanying a retrospective exhibition of Keith Arnatt’s Julia Kelly, Art, Ethnography and the Life of Objects, Paris c.1925–1935, photographs at the Photographers’ Gallery Manchester University Press ‘Talking Art’, Art Monthly interviews 1976–2006, co-published by Michael Gibbs, All or Nothing and Somevolumesfromthelibraryofbabel, Art Monthly and Ridinghouse, London Research Group for Artists’ Publications, Ripley A publication accompanying the ‘Richard Long: Retrospective’, Scottish Searching for the Spectator: Art for New Publics, Artists in the City, Reading National Gallery of Modern Art, Edinburgh Deposits, work produced by Uriel Orlow between 1996 and 2005, Eta, An anthology, ‘Depth of Field: Relief Sculpture in Renaissance Italy’, St Leonard’s on Sea published by Peter Lang AG, Oxford Projection Event: Three Conversations with Anthony McCall, book and A publication accompanying the exhibition ‘Comfort Zones’ at Oriel Davies DVD, published by Double Agents, Central St Martins College Gallery, Newtown* of Art & Design A publication accompanying the exhibition ‘Drawing Breath’ at Wimbledon School of Art*

Goshka Macuga, Sleep of Ulro: Element II 2006, commissioned by the A Foundation for the launch of ‘The Furnace’ at Greenland Street, Liverpool. Photo: Bob Meighen

Marijke van Warmerdam, Catch 1999 in First Drop at the Fruitmarket Gallery, Edinburgh. Courtesy the artist

David Tremlett, Drawing for Edges and Curves # 4 2005. Courtesy Galerie Marilena et Lorenzo Bonomo, Bari. © David Tremlett 17 Exhibitions £303,235 Birmingham, Ikon Gallery, Suchan Kinoshita – Das Fragment an Sich General funding for all aspects of exhibition making. The Foundation Bristol Museum & Art Gallery, Stephen Cox – Sculptor: Origins and supports the work of British artists and those who live and work in the Influences* UK wherever shown. We also support exhibitions in the UK of artists Bristol, Arnolfini Lois and Franziska Weinberger; Melanie Jackson* from overseas. Cambridge, Kettle’s Yard, Rodin: All About Eve Birmingham, Ikon Gallery, Simon Patterson: High Noon Dorchester Abbey, Bill Viola: The Messenger Bristol, Arnolfini, Starting at Zero – Black Mountain College 1933–1957 Dublin, Douglas Hyde Gallery, Paloma Varga Wiesz Cambridge, Kettle’s Yard, Fred Sandback Dundee Contemporary Arts, David Shrigley* Coventry, Mead Gallery, Liliane Lijn – Early Works 1959–80 Edinburgh, Fruitmarket Gallery Christine Borland Dublin, Douglas Hyde Gallery, Eva Rothschild Gateshead, BALTIC, Wang Du: The Space-Time Tunnel* Edinburgh, Fruitmarket Gallery, Cai Guo-Qiang: Life Beneath the Grenoble, Musée de Grenoble, David Tremlett Retrospective Shadow; Fred Sandback Leeds City Art Gallery, Paranoia (touring to Focal Point Gallery, Gateshead, BALTIC, KIENHOLZ Southend, and Freud Museum, London Hannover, Kunstverein Hannover Jonathan Monk: Yesterday Today Liverpool, Tate, Jake and Dinos Chapman: Bad Art for Bad People* Tomorrow etc Llandudno, Oriel Mostyn, Arthur Bispo Do Rosario Liverpool, Tate, Sarah Lucas London, Chisenhale Gallery, Valentin Carron VS Mai-Thu Perret: Solid Llandudno, Oriel Mostyn, Carlos Garaicoa – Because every city has the Objects right to be called Utopia London, South London Gallery, Chris Burden – The Flying Steamroller London, Ben Uri Gallery, Embracing the Exotic – Jacob Epstein and Dora London, Tate Modern, David Smith: Sculpture 1933–1965 Gordine Manchester, Cornerhouse, Nick Crowe: Commemorative Glass* London, Estorick Collection, Responding to Rome: Artists at the British Manchester, Whitworth Art Gallery, Concrete Thoughts School at Rome 1995–2005 München, Kunstverein München, Hilary Lloyd London, Hornsey School of Art, The Hornsey Project, by former students Nancy, Musée des Beaux-Arts, Barbara Hepworth of Hornsey School of Art Siegen, Museum für Gegenwartskunst, Stephen Willats London, Institute of Contemporary Art, Jonathan Monk: Continuous Southampton, John Hansard Gallery, John Latham: Time Base and Project Altered Daily the Universe (touring to PS1 New York) London, Matt’s Gallery, Jordan Baseman: Don’t Stop ’Til You Get Enough Wakefield, Yorkshire Sculpture Park, James Turrell London, Peer Gallery, Theresa Hak Kyung Cha: Passages Paysages York, The Yorkshire Museum, Constantine the Great, York’s Roman Emperor London, Serpentine Gallery, Rirkit Tiravanija – A Retrospective London, Whitechapel Art Gallery, Paul McCarthy: LaLa Land Parody Exhibitions – New Commissions £260,146 Paradise Argyll and Bute, Cove Park, Simon Starling: Autoxylopyrocycloboros London, MOT, Dennis Oppenheim: Recall (a collaborative project with Bexhill-on-Sea, De La Warr Pavilion, Variety the Whitechapel Art Gallery, London) Berlin, 4th Biennial for Contemporary Art, Of Mice and Men Milton Keynes Gallery, Pae White: In no particular order Birmingham, Ikon Gallery, Ayfle Erkmen; Juneau/Projects: The Black München, Kunstverein München, Jeremy Deller Retrospective Moss; Olafur Eliasson: Colour Laboratory* Norwich Gallery, EAST International 2005 Birmingham, Vivid, Layla Curtis: Sky Drawings (Night, Day) Rome, British School at Rome, Mike Nelson: Agent Dickson at the Red Derry, Void Gallery, Simon Starling: C.A.M. Star Hotel Dundee Contemporary Art, City-Wide Project St. Ives, Tate, Richard Deacon; Tacita Dean Hannover, Kunstverein Hannover, Night Sights: Smith/Stewart Wakefield, Yorkshire Sculpture Park, William Turnbull; James Turrell Isle of Bute, Mount Stuart, Anya Gallaccio: Silver Seed Wales at the Venice Biennale, Bedwyr Williams Lancaster, Storey Gallery, Richard Wilson: Queen and Gantry Walsall, New Art Gallery, Hew Locke; Conrad Shawcross: The Steady States Liverpool, Foundation for Art & Creative Technology, Walid Raad: Belfast, Catalyst Arts Gallery, David Sherry Funny How Thin the Line Is – documents from the Atlas Group archive Bern, Kunsthalle Bern, Pavel Büchler London, Camden Arts Centre, Urs Fischer

John Latham, Philosophy & the Practice Of 1960 in Time-Base and the Universe at the John Hansard Gallery, University of Southampton. Courtesy Nicholas Logsdail, London. Photo: Steve Shrimpton

Tania Kovats, MEADOW, Head of Constantine from the Kennet and fourth century, found in York and Avon Canal, included in the exhibition Constantine Wiltshire the Great,York’s Roman Emperor. 2006. © York Museums Trust (Yorkshire Photo:Tania Museum). Kovats London, Chisenhale Gallery, Olaf Breuning: Oh yes…It is a garden! London, Café Gallery Projects, Michael Cross: Invisible Bridge London, City Projects, Graham Fagen: True Love (Butterfly Bush) London, Chisenhale, Bernd Behr: House Without a Door* London, Cubitt Gallery, Gustav Metzger: Eichmann and the Angel, London, Cubitt Gallery, Matthew Day Jackson London, Gasworks, Damien Roach: the deepness of puddles London, Drawing Room, Katja Davar; The Secret Theory of Drawing London, Matt’s Gallery, Brian Catlin: Antix; Anne Bean: Autobituary London, ICA, Around the World in Eighty Days (in collaboration with London, Pump House, Thomas Kilpper: Pigisback South London Gallery) London, Royal Academy, A film on Rodin and Sculpture by Jake Auerbach London, Illuminate Productions, CORE at Union Works, New Globe Films, to accompany the Rodin exhibition at the Royal Academy Walk London, Serpentine Gallery, Ilya and Emilia Kabakov: The House of Dreams London, inIVA, Meschac Gaba London, South London Gallery, Saskia Olde Wolbers: Trailer; Mark Dion: London, Matt’s Gallery Mike Nelson: Amnesiac Shrine; Jimmie Durham: Microcosmographia; Daniel Roth: The Well; Hayley Newman: Miniature Building a Nation Fluxus, commissioned by Electra (part of the exhibition Her Noise) London, Peer Gallery, Anthony McCall: Between You and I*; John London, The Drawing Room, Sounds Like Drawing Frankland: Volume; Bob and Roberta Smith: Shop Local Margate, Turner Contemporary, Mike Nelson London, Photographers’ Gallery, Zenib Sedire: Saphir (Film & Video Marfa, Texas, Chinati Foundation, a permanent installation by Robert Irwin Umbrella project) Nottingham, Angel Row Gallery, James Ireland: This is a Test London, Serpentine Gallery, China Power Station (at Battersea Power Oxford, Modern Art Oxford, Angela Bulloch Station) Penzance, Tremenheere Sculpture Garden, New work by David Nash London, Studio Voltaire, Elizabeth Price: A Public Lecture and Exhumation Pittsburgh, PA, Mattress Factory, Jonathan Callan: Messages and London, Whitechapel Art Gallery, Ugo Rondinone – zero built a nest in Communications my navel Sheffield Contemporary Art Forum, Art Sheffield 05: Spectator T Margate, Turner Contemporary, Jeremy Deller and Alan Kane*; UNITÉ Southampton, John Hansard Gallery, Ergin Çavuşog˘ lu: Point of Departure Milton Keynes Gallery, Rose Finn-Kelcey* (a Film & Video Umbrella project) München, Kunstverein München, SECRET PUBLIC The last days of St Albans, Margaret Harvey Gallery, Annelies Aberdanner the British Underground 1978–88 Bath Spa University College, Tania Kovats MEADOW Northampton, Royal & Derngate, John Frankland: ‘A Small Door’ and Brighton Photo Biennial, Fabrica, Alfredo Jaar: The Sound of Silence ‘Spot’ Callock, Stour Valley Arts, Jem Finer: A Score for a Hole in the Ground* Potsdam, European Art Projects, Ideal City/Invisible City Cardiff Bay, CBAT Marjetica Potrã at Urban Legacies II conference Southampton, John Hansard Gallery, Slow Life Coventry, Mead Gallery, Tomoko Takahashi: Crash Course Toshima City, Ropongi, 7 Samurai Edinburgh, Fruitmarket Gallery, Marijke van Warmerdam: First Drop Victoria, Australia Centre for Contemporary Art, Mike Nelson Folkestone Coastal Park, Jeremy Millar-Zugzwang Glasgow, Hunterian Gallery, Jacqueline Donachie: Tomorrow Belongs to Me Capital Grants £27,000 Glasgow, Kelvingrove New Century Project, Dalziel + Scullion and Apart from the Artists General Benevolent Institution, we do not fund Craig Armstrong: ONCE other grant distributing bodies. It is also not the Foundation’s policy to Haworth, Brontë Parsonage, Cornelia Parker at the Brontë Parsonage give capital grants. The grant to Toronto to refurbish the space created Museum for Henry Moore’s large gift of work has been seen as a special case. Liverpool, A Foundation, Goshka Macuga, first annual commission for AGBI, annual grant ‘The Furnace’ at Greenland Street Arts Council of England – contribution towards an Exhibition and Liverpool, Liverpool Biennial – International 06* Outreach Assistant at Longside, Yorkshire Sculpture Park London, Artsadmin, Graeme Miller – HELD Bristol, Arnolfini Gallery, refurbishment costs – instalment of a grant London, Arts Catalyst at the Roundhouse, Aleksandra Mir: Gravity paid over a number of years London, Barbican, Richard Wilson Toronto, Art Gallery of Ontario, refurbishment of the Henry Moore London, British Film Institute, Jennifer and Kevin McCoy Sculpture Center

James Turrell, Wedgework V 1974 in the Underground Gallery at Yorkshire Sculpture Park. Photo: Jonty Wilde

Anthony McCall, Between You and I 2006, presented by Peer at The Round Chapel, London. Photo: Hugo Glendinning

19 Publications Henry Moore Institute Catalogues of exhibitions held at the Institute discussed in the Curator’s Report, pp.12–14

New in 2006

The Foundation publishes in a number of different ways. Catalogues are produced in house at Perry Green and Leeds, while many books are co-published with Ashgate / Lund Henry Moore: Sculptuur en architectuur Humphries. A full list of all publications in Kunsthal, Rotterdam print and details of how they may be purchased Softback | 132pp | 270 230mm | 231 illus. will be found at www.henry-moore-fdn.co.uk. (158 col.) | ISBN 90 5897 605 X | £29.50 The Foundation also gives financial support Espaço Aberto/Espaço Fechado to other publishers in the field (see p.17). Sites for Sculpture in Modern Brazil We show here this year’s new publications, Preface by Penelope Curtis. Introduction together with those of organisations with Books by Stephen Feeke. Essays by Michael Asbury, whom we have collaborated. New in paperback Cacilda Teixeira Da Costa and Felipe Chaimovich Espaço Aberto/Espaço Fechado (Open Space/ Henry Moore Closed Space) explores Brazilian Modernism – its new and old centres, its new and old There were a number of important exhibitions generations, its arriving and departing artists, of Henry Moore’s work held in 2006, and the and the importance of sculpture in official resulting catalogues are listed below. Some are spaces and in unofficial interventions. available for purchase from the Foundation Softback | 108pp | 225 225mm | 103 illus. (01279 843333 or info@henry-moore-fdn. (33 col.) | ISBN 1 900081 99 7 | £14 co.uk); prices do not include postage or packaging. Where the Foundation does not hold stocks for sale we have included details of where they may be obtained. Celebrating Moore Works from the Collection of the Henry Moore Foundation Exhibition catalogues Introductory essay by David Mitchinson Originally published in 1998 to celebrate the centenary of Moore’s birth, Celebrating Moore is the biggest single volume to be produced on Freud’s Sculpture the artist’s oeuvre, and presents a comprehensive Essays by Jon Wood, Michael Molnar and selection of works in all media – drawings, Ivan Ward graphics and sculpture – from the Foundation’s Freud’s Sculpture displays a sample of his Collection, with full catalogue information. favourite sculptures and considers their context. Extended captions have been contributed by In this catalogue, Jon Wood examines the a range of distinguished artists, art critics and presentation of the sculpture, Michael Molnar art historians – those who knew Moore or have revisits the etching made by Max Pollak in 1914 previously written about him. Their detailed of Freud sitting at his desk in the company of analysis of so many of Moore’s sculptures and some of his sculptures, and Ivan Ward addresses drawings adds significantly to the understanding the significance of Freud’s chair and desk. of his work. Softback | 48pp | 160 215mm | 30 illus. Henry Moore Lund Humphries, London (18 col.) | ISBN 1 905462 04 2 | £7 Fundació La Caixa, Barcelona Softback | 360pp | 305 265mm | 346 col. Softback 222pp | 296 x 240mm | 222 illus. illus. | ISBN 0 85331 944 8 | £25 (176 col.) ISBN 84 7664 906 1 | £30 Reprint

From Navels to Nipples Henry Moore This publication was conceived by Giorgio Sadotti. All source material derives from the Henry Moore: War and Utility library of the Henry Moore Institute and was Imperial War Museum, London Henry Moore: Complete Sculpture selected by the artist during 2005. Softback | 64pp | 246 210mm | 77 illus. Volume 3: 1955–64 Sadotti removed circles, spanning the navel (56 col.) | ISBN 1 904897 63 0 | £12.99 Lund Humphries, London to nipple area, from a series of images; the Hardback | 212pp | 295 240mm | 267 b&w remaining pictures, which ‘framed’ the hole, illus. | ISBN 0 85331 495 0 | £52.50 have been published in this book, while 20 the removed circles were on display in his Essays on Sculpture exhibition at the Henry Moore Institute, 3 May – 4 June 2006. This series forms a collection of occasional The range of Sadotti’s bibliography covers writings on sculpture, published by the Henry artists such as Jeff Wall, Yves Klein, Man Ray, Moore Institute, in many cases accompanying Hans Bellmer, Vanessa Beecroft, Auguste exhibitions. Six new essays have been published Rodin, Oleg Kulik, Alan Jones, Constantin since last year’s Review. A ring binder is Brancusi and more. available to keep the series together. Please Softback | 32pp | 330 240mm | 61 illus. visit www.henry-moore-fdn.co.uk for full (18 col.) | ISBN 1 900081 84 9 | £12.50 details of the series.

Imi Knoebel Primary Structures 1966/2006 Text in English and German by Penelope Curtis This special outsize catalogue takes a close look at the development of Imi Knoebel’s work 1966–75, and features Hélène Binet’s remarkable close-up photographs of the artist’s revisiting of his primary vocabulary. Softback | 50pp | 355 263 mm | 63 illus. (22 col.) | ISBN 1 905462 09 03 | £15 49. Thomas Woolner: Seeing Sculpture Through Photography Antinous: the face of the Antique Text by Joanne Lukitsh. Edited by Martina Introduction by Penelope Curtis. Essay Droth and catalogue of exhibits by Caroline Vout Published to accompany the exhibition (Nottingham University), who selected organised by the Henry Moore Institute, the pieces 5 November 2005 – 5 February 2006, which Drawing together loans from all over Europe, was a result of a Henry Moore Institute this is the first exhibition dedicated to Antique Fellowship completed by Joanne Lukitsh sculpture to be held at the Institute, and the (Massachusetts College of Art). first in Britain to explore the mythical image Softback | 16pp | 295 210mm | 14 illus. of Antinous. As a subject, Antinous works not ISBN 1 900081 94 6 | £3.50 only to provide a very human way into looking at Antique sculpture, but also as an introduction to some of the thorniest issues surrounding Leeds Sculpture Collections Illustrated work of this period. Questions of recognition, Concise Catalogue restoration and re-naming are all present, and Compiled by Matthew Withey. Co-ordinated to a degree we can deal with these by simply by Jackie Howson and Sophie Raikes asking: does it look like him? This catalogue documents the sculpture col- Hardback | 104pp | 285 195mm | 88 illus. lections which are owned by Leeds Museums (17 col.) | ISBN 1 905462 02 6 | £25 & Galleries and curated by the Henry Moore Institute. In the ten years since the publication of the last catalogue, approximately 200 sculp- tures have been added to the collection, including historical works by Alexander Calder, Phillip King, Helen Chadwick and William 50. The Sculpture of Stephen Gilbert and Turnbull, contemporary pieces by Eva Jocelyn Chewett in Post-War Paris Rothschild, Alison Wilding and Keith Wilson, Text by Jon Wood, Hester R Westley and and models and maquettes by Kenneth Catherine Coughlan Armitage and William Hamo Thornycroft. Published to accompany the exhibition in the Softback | 80pp | 297 209mm | 541 illus. Sculpture Study Galleries of Leeds City Art ISBN 1 905462 03 4 | £ 8.00 Gallery, 5 February – 16 April 2006. Softback | 20pp | 295 210mm | 18 illus. Modern Sculpture Reader (14 col.) | ISBN 1 905462 01 8 | £3.50 Selected and edited by David Hulks, Alex Potts The Notepiece: Charlotte von Poehl and Jon Wood. Introductory essay by Alex Potts Preface by Penelope Curtis and Martina Droth. This book offers a wide variety of different Essay by Pontus Kyander modes of writing on sculpture, from the rigor- Published to accompany the exhibition ously theoretical to the experimental and the Charlotte von Poehl: Notepiece, Gallery 4, Henry poetic, by critics and artists, as well as writers Moore Institute, (26 August – 19 November). and poets, who had an ongoing experience of This publication reproduces the artist’s notes the production, dissemination and reception from her Henry Moore Institute fellowship of sculpture. Seventy texts that have defined project on the serial note-taking of Sol sculpture’s radically changing status and func- LeWitt and Eva Hesse. tion since the end of the nineteenth century Softback | 126pp | 220 170mm | 114 illus. are presented chronologically, each introduced (52 col.) | ISBN 1 905462 10 7 | £10 by a critical commentary on its author and the context in which she or he was writing. Softback | 500pp | 240 165 mm ISBN 1 905462 00 X | £20.00

21 The British Sculptors and Sculpture Series Published in association with Lund Humphries

The history of British sculpture of the twentieth century has conventionally been rather narrowly conceived with a limited role-call of starring names. This series aims to increase that cast. It also provides opportunities for new scholars to work on archival resources 51. Sensing Sculpture at the time of the 54. Russian Berlin in the 1920s and to establish oeuvre catalogues for unjustly French Revolution Text by Michael White and Paul Paret, edited neglected figures. By making such material Texts by Valerie Mainz and Richard Williams. by Martina Droth available to a much wider audience in published Edited by Sophie Raikes This publication is the result of a study-day form the series helps to broaden the under- Published to accompany the exhibition Paper, with Michael White and Paul Paret, held standing of the practice of sculpture in Stone, Flesh and Blood: Transforming Views of at the Henry Moore Institute in 2003, to twentieth-century Britain. Sculpture in French Revolutionary Prints in the accompany the exhibition Refashioning the Study Galleries of Leeds City Art Gallery, Figure: The Sketchbooks of Archipenko. 25 May – 27 August 2006. Softback | 16pp | 295 210mm | 6 illus. Softback | 12pp | 295 210mm | 9 illus. ISBN 1 305462 08 5 | £3.50 ISBN 1 905462 07 7 | £3.50

Subject / Object – New Studies in Sculpture Series Series editor: Penelope Curtis Published by Ashgate This series provides a forum for the publication and stimulation of new research examining sculpture’s relationship with the world around it, with single-authored volumes as well as The Sculpture of Reg Butler collected conference papers. Details of current Margaret Garlake, September 2006 and projected works in the series are appended 52. Ian Breakwell’s UNWORD, 1969– 70: In the post-war period, Reg Butler (1913–81) to Martina Droth’s article in this Review, p.15. early performance art in Britain was one of the best known sculptors in the Text by Victoria Worsley. Edited by Penelope world. His Venice Biennale showing (1952) Curtis was followed in 1953 by his victory in the Published to mark the acquisition of international competition for a ‘Monument UNWORD for Leeds Museums & Galleries to the Unknown Political Prisoner’: defeating Collection and its display in Important Alexander Calder, Naum Gabo and Barbara Mischief: British Sculpture from the 1960s and Hepworth, among other established artists. ’70s in Leeds City Art Gallery, March – The monument was never built, but the November 2006. competition established Butler’s reputation Softback | 16pp | 295 210mm | 22 illus. internationally and as the leading sculptor of ISBN 1 905462 05 0 | £3.50 his generation. The private passions (and obsessions) which impelled Butler to stardom in the 50s seemed Sculpture and the Garden increasingly to isolate him in the 60s and 70s, Edited by Patrick Eyres and Fiona Russell when he spent more time developing his Although the integration of sculpture in highly personal and meticulous technical and gardens is part of a long tradition dating back iconographic language. Its final form – in at least to antiquity, the sculptures themselves terms of the late bronzes – proved unpalatable are often overlooked, both in the history of to contemporary critics, and is still controversial art and in the history of the garden. This today. collection of essays by various authors considers The Sculpture of Reg Butler is the first book- the changing relationship between sculpture length overview of Butler’s sculpture throughout and gardens over the last three centuries, his career until his death in 1981. It catalogues focusing on four British archetypes: the and illustrates virtually all extant works. 53. The Open Secret of Alfred Gilbert’s Georgian landscape garden, the Victorian urban Margaret Garlake analyses the development, Male Nudes park, the outdoor spaces of twentieth-century themes and visual and intellectual origins of Text by Jason Edwards. Edited by Stephen Feeke modernism and the late-twentieth-century the sculpture; considers why Butler has been Published to accompany the exhibition The sculpture park. Through a series of case studies largely ignored since the early 1960s; examines New Man: Alfred Gilbert’s Heroic Nudes at the exploring the contemporaneous audiences of his studio practice and sculptural techniques, Henry Moore Institute, 12 June – 6 August 2006. gardens, the book uncovers the social, political and assesses his work in the context of that of Softback | 12pp | 295 210mm | 12 illus. and gendered messages revealed by sculpture’s his contemporaries. (2 col.) | ISBN 1 905462 06 9 | £3.50 placement and suggests that the garden can Hardback | 176pp | 290 240mm | 280 illus. itself be read as a sculptural landscape. (12 col.) | ISBN 0 85331 914 6 | £45.00 Hardback | 196 pp | 101 illus. (16 col.) ISBN 0 7546 3030 7 | £60.00

Full details of all publications may be found Back Cover: The Mondragone Head of Antinous c.AD130– 8, in the exhibition Antinous: the face of at www.henry-moore-fdn.co.uk. Telephone the Antique at the Henry Moore Institute. Collection: Musée du Louvre, Paris. Photo: Miel Verhasselt enquiries and orders: 01279 843333

22 General Information The Henry Moore Foundation Trustees: Sir Ewen Fergusson GCMG GCVO (Chairman), Professor Dawn Ades FBA OBE, David Ansbro, Professor Malcolm Baker FSA, Dr Marianne Brouwer, Professor Andrew Causey, Laure Genillard, If you would like further information James Joll FSA, Simon Keswick, John Lewis OBE, Duncan Robinson, Greville Worthington about any of the items mentioned in Advisory Board: Sir Alan Bowness CBE, Patrick Gaynor, Sir Ernest Hall OBE DL, Margaret McLeod the Review, please visit our website, OBE, Peter Ohrenstein, Sir Rex Richards FBA FRS, Henry Wrong CBE where a full list of staff at both Perry Green and Leeds may also be found: Director: Tim Llewellyn (Perry Green) www.henry-moore-fdn.co.uk

Henry Moore, Perry Green Henry Moore Institute, Leeds David Mitchinson Dr Penelope Curtis Dane Tree House, Perry Green Head of Collections and Exhibitions Curator Much Hadham Anita Feldman Bennet Hertfordshire SG10 6EE Curator The Institute curates the [email protected] sculpture collections of Leeds Tel +44 (0) 1279 843333 The Henry Moore Foundation The Foundation is open by Museums & Galleries, and Fax +44 (0) 1279 843647 holds the world’s largest appointment from 3 April to houses an archive and library. collection of work by Moore, 14 October 2007. On Tuesday Temporary exhibitions, which Head of Finance and including sculpture, drawings, to Friday, guided tours of the link the collections with the Administration graphics, tapestries and textiles. gardens, studios and galleries research activities, are held at Charles M Joint This collection may be seen start at 2.30 pm and take just the Institute and in Leeds City Grants Programme by the public at Perry Green under two hours. On Saturday Art Gallery. Talks and seminars, Administrator Anne Unthank and through a programme of and Sunday, visits are unaccom- often held in conjunction with exhibitions mounted in collab- panied from 11 am until 5 pm, other organisations, take place Henry Moore Institute oration with institutions world- also by appointment. There is at the Institute and elsewhere. 74 The Headrow wide. Research facilities available a charge of £7.00 per person The Henry Moore Institute is Leeds LS13AH to scholars include a library, an (concessions £5.00, students open to visitors daily 10 am – [email protected] archive of original letters and and under-18s free). Morning 5.30 pm, Wednesday 10 am – Information line: an extensive photographic educational visits by arrange- 9 pm. The Sculpture and Study +44 (0) 113 234 3158 collection. Our database, ment. Closed Mondays, and Galleries in Leeds City Art Tel +44 (0) 113 246 7467 recording Moore’s complete Tuesdays following a Bank Gallery are normally open Fax +44 (0) 113 246 1481 oeuvre, supports continuing Holiday. From June 2007, Monday to Saturday 10 am – research on the catalogue Hoglands will be open to the 5 pm, Wednesday 10 am – 8 pm, Administrator raisonné. Conservation and public by appointment. Details Sunday 1 pm – 5 pm. However, Catherine Aldred installation advice is provided of admissions and charges will please note that Leeds City Art to museums and collectors by be available from spring 2007 Gallery is closed for restoration For press enquiries contact the sculpture conservators. on the website, or by telephone and development until May 2007 – Communications Officer on 01279 843333. reopening date to be announced. Sarah Cockburn (Leeds) Admission to both is free. [email protected]

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