Moore/Hepworth

Total Page:16

File Type:pdf, Size:1020Kb

Moore/Hepworth MOORE/HEPWORTH A Collaborative Conference Friday 3 & Saturday 4 June 2011 HENRY MOORE INSTITUTE · LEEDS ART GALLERY · YORKSHIRE SCULPTURE PARK THE HEPWORTH WAKEFIELD · ARTS COUNCIL COLLECTION 2011 sees focused attention being given to the work of Henry Moore and Barbara Hepworth in Yorkshire. The opening of The Hepworth Wakefield (21 May 2011), with inaugural collections displays including a previously unknown and unique collection of forty Hepworth sculptures, the retrospective exhibition of Moore’s work at Leeds Art Gallery , and the prominent inclusion of the two artists’ work at the Henry Moore Institute, Longside Gallery and Yorkshire Sculpture Park provide the perfect opportunity to consider the relationships between these two artists in the county of their birth. Five arts organisations in the region have worked together to stage a conference that considers the local, geographical, social and political contexts for the artistic development and subsequent critical reception of Henry Moore and Barbara Hepworth. This multi-site two-day conference includes papers and presentations that consider Moore and Hepworth in relation to their connections with the region. Moore/Hepworth critically examines the relationship between these artists and Yorkshire, exploring the specificity of place, re-examining the imagery of landscape and exploring the approaches to display, both indoor and outdoor, that have been adopted for these artist’s sculptures. These dialogues focus on three main areas of critical enquiry: art education, tutors and Leeds College of Art curricula in the pre- and post-1945 period; British landscape, archaeology and the construction of person/place/art object identities and the ways that these two artists’ Yorkshire ‘roots’ played an important part in the critical reception of their work; collections, exhibitions, acquisition and display in the region - indoor and outdoor - since the early twentieth century During the conference exhibitions at the five organisations are open. For full conference programme visit Henry Moore Institute website www.henry-moore.org/hmi Tickets: £20/£10 concessions. For more information or to make a booking please contact Kirstie Gregory, Research Programme Assistant at the Henry Moore Institute: [email protected] . FRIDAY 3 rd JUNE, 10am-7pm Registration from 10am at Henry Moore Institute Reception, followed by a chance to see Leeds Art Gallery Henry Moore exhibition with Sarah Brown (Leeds Art Gallery) and Chris Stephens (Tate Britain). Lunch and evening wine reception included. Speakers/papers: Ben Read (University of Leeds) Moore, Hepworth, and the ‘Yorkshire Mafia’ Michael Paraskos (Cyprus College of Art) Finding Yourself in ‘Henry Mooreshire’ Christa Lichtenstern (Independent) Concrete and Imagination. Reflections on the similarities and differences in the way Hepworth and Moore respond to landscape Catherine Jolivette (Missouri State University) The Embodied Landscape: Place, Body and identity in the work of Henry Moore & Barbara Hepworth Christine Finn (JB Priestley Library, Bradford University) ‘Figures in a Landscape’: Jaquetta Hawkes, Henry Moore and Barbara Hepworth John Wyver (Illuminations/University of Westminster) Sculptures in a landscape: works by Henry Moore and Barbara Hepworth in two films by John Read SATURDAY 4 th JUNE, 9am-7pm Coaches leave Henry Moore Institute (Cookridge St) for Yorkshire Sculpture Park and Longside Gallery at 9am. At YSP there will be presentations on Moore and Hepworth’s work from the curators as well as an opportunity to view the YSP art education archive in the company of Chris Bailey (Leeds Metropolitan University) and curator-led tours of the current exhibitions. Coaches will leave for The Hepworth Wakefield at 2pm where there will be tours with THW curators, followed by a film screening introduced by Penelope Curtis (Tate Britain) and Chris Stephens (Tate Britain). Lunch will be provided and the day will end with a wine reception at 5.30pm. Coaches will take delegates back to Wakefield and Leeds at 7pm. -------------------------------------------------------------------------------------------------------------------------------------- SUNDAY 5 th JUNE As an addition to the conference, the Friends of YSP have planned a full day trip to Adel Crag, Brimham Rocks and Methley Church, all places that Moore frequently cited as sources of inspiration. The coach will leave from YSP and also pick up in Leeds. Separate charge of £25. For more information and a booking form contact Kay Ratcliffe, 01924 832632, [email protected] . .
Recommended publications
  • KAWS Media Release
    KAWS Media release 6 February–12 June 2016 Longside Gallery and open air Yorkshire Sculpture Park (YSP) presents the first UK museum exhibition by KAWS, the renowned American artist, whose practice includes painting, sculpture, printmaking and design. The exhibition, in the expansive Longside Gallery and open air, features over 20 works: commanding sculptures in bronze, fibreglass, aluminium and wood alongside large, bright canvases immaculately rendered in acrylic paint – some created especially for the exhibition. The Park’s historically designed landscape becomes home to a series of monumental and imposing sculptures, including a new six-metre-tall work, which take KAWS’s idiosyncratic form of almost-recognisable characters in the process of growing up. Brooklyn-based KAWS is considered one of the most relevant artists of his generation. His influential work engages people across the generations with contemporary art and especially opens popular culture to young and diverse audiences. A dynamic cultural force across art, music and fashion, KAWS’s work possesses a wry humour with a singular vernacular marked by bold gestures and fastidious production. In the 1990s, KAWS conceived the soft skull with crossbones and crossed-out eyes which would become his signature iconography, subverting and abstracting cartoon figures. He stands within an art historical trajectory that includes artists such as Claes Oldenburg and Jeff Koons, developing a practice that merges fine art and merchandising with a desire to communicate within the public realm. Initially through collaborations with global brands, and then in his own right, KAWS has moved beyond the sphere of the art market to occupy a unique position of international appeal.
    [Show full text]
  • Sculpting Lives S1E1, Barbara Hepworth
    Sculpting Lives podcast transcript Series 1, Episode 1: Barbara Hepworth This document is an accessible transcript of the podcast audio. Subscribe and listen: https://audioboom.com/posts/7525504-sculpting-lives-barbara-hepworth [music] Sara Matson: She managed her brand, fair play. Eleanor Clayton: A normal person from Wakefield; A remarkable artist but a remarkable woman. Stephen Feeke: Hepworth was odd because she didn't see herself as a feminist at all and didn't see herself as “I'm a pioneering woman”. She just felt she was a pioneering sculptor. Barbara Hepworth: I was born with the ideas of certain shapes in my mind. At least I remember as far back as seven. The whole time one's been working at it and working, trying to simplify and make more mature, get the right scale, and develop it according to the development of society. [music] Jo Baring: Hello, and welcome to Sculpting Lives the podcast by me, Jo Baring. Sarah Victoria Turner: And me, Sarah Turner. Jo, this is our first podcast and episode. Why are we doing this? Jo Baring: We met in our professional lives. You are Deputy Director of the Paul Mellon Centre, and I am Director of the Ingram Collection. We have a shared interest in art, but we realised when we met that we are really fascinated by sculpture in particular. Also, during the course of our discussions, we realised that women artists and women sculptors, in general, are less commercially successful than men, less represented in national institutions, museums, possibly have less gallery shows and we really wanted to unpick why that happens.
    [Show full text]
  • The Sculpture of the Écorché (Leeds, 7 Jun 14)
    The Sculpture of the Écorché (Leeds, 7 Jun 14) Henry Moore Institute, Leeds, UK, Jun 7, 2014 Dr Rebecca Wade Henry Moore Institute, Leeds, June 7, 2014 The Sculpture of the Écorché Conference Saturday 7 June 2014 Henry Moore Institute, 10.30am-5.30pm This one-day conference takes the écorché as its subject, reconsidering the many ways that mod- els of the flayed figure have been understood from the sixteenth century to the present day. Across seven papers, the conference addresses the écorché variously as a teaching object for the education of sculptors, as a scientific model crucial to the understanding of anatomy, as a sculptu- ral process and as a sculptural object in its own right. The écorché has frequently operated across disciplinary boundaries and registers of respectabili- ty. Makers of wax écorchés in the eighteenth century, such as the Florentine Clemente Susini (1754-1814), were highly acclaimed during their lifetimes, with their work sought by prestigious collectors. By the nineteenth century, however, wax had come to be seen as a merely preparatory, or even a disreputable, medium for sculpture with its capacity for forensic detail and mimetic reproduction of bone, muscle and skin operating against the prevailing neoclassical tendency towards ideal form. As a result of this change in taste, the écorché in plaster of Paris became the primary teaching object for anatomical studies in European Academies and Schools of Art into the twentieth century. 10.30-11.00 Registration 11.00-11.10 Introduction 11.10-12.30 Panel one: Cigoli
    [Show full text]
  • Towards an Understanding of the Contemporary Artist-Led Collective
    The Ecology of Cultural Space: Towards an Understanding of the Contemporary Artist-led Collective John David Wright University of Leeds School of Fine Art, History of Art and Cultural Studies Submitted in accordance with the requirements for the degree of Doctor of Philosophy December 2019 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of John David Wright to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. 1 Acknowledgments Thank you to my supervisors, Professor Abigail Harrison Moore and Professor Chris Taylor, for being both critical and constructive throughout. Thank you to members of Assemble and the team at The Baltic Street Playground for being incredibly welcoming, even when I asked strange questions. I would like to especially acknowledge Fran Edgerley for agreeing to help build a Yarn Community dialogue and showing me Sugarhouse Studios. A big thank you to The Cool Couple for engaging in construcutive debate on wide-ranging subject matter. A special mention for all those involved in the mapping study, you all responded promptly to my updates. Thank you to the members of the Retro Bar at the End of the Universe, you are my friends and fellow artivists! I would like to acknowledge the continued support I have received from the academic community in the School of Fine Art, History of Art and Cultural Studies.
    [Show full text]
  • Learning Resources for Home and School Sculpture Can Be Found Anywhere; You Just Have to Look for It!
    Learning Resources for Home and School Sculpture can be found anywhere; you just have to look for it! Focus on: Barbara Hepworth Barbara Hepworth, ‘The Family of Man’ (three pieces from a series of nine), 1970. © AC Manley/Shutterstock.com ​ ​ ​ ​ Barbara Hepworth, ‘Summer Dance’, 1972 © the artist and courtesy New Art Centre, Roche Court Sculpture Park ​ About the Artist: The sculptor Barbara Hepworth is considered by many to be the most influential female British artist of the 20th century. Born in Yorkshire in 1903, Hepworth left London at the outbreak of the Second World War and established herself in St Ives, Cornwall. Many of the simplified, organic, abstract forms and themes found in Hepworth's work can be linked to the Cornish landscape and coastline, and to journeys through the Yorkshire landscape with her father when she was a child. These experiences of sculptural forms in the landscape around her were a source of inspiration throughout her life. The Roche Court Educational Trust is based at the New Art Centre in Salisbury, which represents the Barbara Hepworth Estate. The New Art Centre has worked closely with Barbara Hepworth’s family on a global exhibitions and sales programme for over two decades. Hepworth's work is in many of the major museum collections throughout the world. Her studio in St Ives is now a museum dedicated to her work, owned and run by the Tate Gallery. Further to this, The Hepworth, a gallery in her home city of Wakefield, was named after her and opened in 2011. This resource is intended to encourage all ages, from early years to adults, to look, think and make in ways that are influenced by Hepworth’s iconic themes, style and methods.
    [Show full text]
  • Henry Moore's Bronze Form and Large Figure in a Shelter
    Article: Henry Moore’s Bronze Form and Large Figure in a Shelter: Interpreting the original surface Author(s): Katrina Posner Source: Objects Specialty Group Postprints, Volume Seventeen, 2010 Pages: 83-93 Compilers: Carolyn Riccardelli and Christine Del Re © 2010 by The American Institute for Conservation of Historic & Artistic Works, 1156 15th Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Seventeen, 2010 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. HENRY MOORE’S BRONZE FORM AND LARGE FIGURE IN A SHELTER: INTERPRETING THE ORIGINAL SURFACE KATRINA POSNER ABSTRACT Henry Moore's final two sculptural series—Bronze Form and Large Figure in a Shelter—were fabricated in 1985-6 by welding together cast-bronze elements.
    [Show full text]
  • Press Release Yorkshire Sculpture Park Set to Welcome Visitors Back This Spring
    Press Release Yorkshire Sculpture Park set to welcome visitors back this spring As spring brings the promise of brighter days ahead, Yorkshire Sculpture Park (YSP) has unveiled its plans to continue its phased reopening in line with the government roadmap, and welcome visitors back to appreciate and enjoy a remarkable collection in an exceptional landscape. YSP is a unique cultural destination, museum and registered charity in Wakefield, welcoming diverse audiences across its 500 acres where around 100 sculptures are sited in formal gardens, parkland, woods and around two lakes. Serving ongoing cultural learning, physical activity and mental wellbeing, throughout 2021, new exhibitions and artist projects will be launched, with narratives of identities and histories, and a material focus on textiles, photography, ceramics and the natural world. From 12 April, the shop in the YSP Centre will reopen, displaying a stunning collection of ceramic tiles and prints as part of Alison Milner’s new exhibition, Decorative Minimalist, inspired by YSP. After more than a year of closure due to COVID-19, The Weston will begin to reopen its doors. From 27 April, The Weston shop will welcome customers back to browse an exciting new range of products, and The Restaurant will open for outdoor dining on the same day. Indoor restaurant seating will follow on 18 May, complete with a revamped menu for spring. Booking is advised and reservations will be taken from 12 April. Please phone +44 (0)1924 930004 or email [email protected] to reserve a table. The Weston will be open Tuesday to Sunday and Bank Holidays.
    [Show full text]
  • Barbara Hepworth Selected One-Artist Exhibitions Dates
    BARBARA HEPWORTH SELECTED ONE-ARTIST EXHIBITIONS DATES Born 1903, Yorkshire, England Died 1975, St. Ives, England EDUCATION 1921, Royal College of Art, London, England 2019 Barbara Hepworth, Museé Rodin, Paris, October 2019–March 2020. Barbara Hepworth and Ben Nicholson in the 1930s, Hazlitt Holland-Hibbert, London, May 22–July 12, 2019. Barbara Hepworth: Artist in Society, 1948–53, St. Albans Museum, United Kingdom, March 23–September 8, 2019. 2018 Barbara Hepworth: Artist in Society 1948–53, St. Albans Museum + Art gallery, England, March 23– September 8, 2018. Barbara Hepworth: A Matter of Form, Pace Gallery, 537 West 24th Street, New York, March 9–April 21, 2018. (Catalogue) Barbara Hepworth: Selected One-Artist Exhibitions 2 2015 Barbara Hepworth: Sculpture for a Modern World, Tate Britain, Westminster, June 24–October 25, 2015. Traveled to: Kröller-Müller Museum, Otterlo, Netherlands, November 28, 2015–April 17, 2016; Arp Museum, Rolandseck, Germany, May 22–August 28, 2016. (Catalogue) Barbara Hepworth: Form and Theatre, Artists House, New Art Centre, May 23–July 26, 2015. Hepworth in Yorkshire, The Hepworth Wakefield, West Yorkshire, May 16, 2015–March 13, 2016. A Greater Freedom: Barbara Hepworth 1965–1975, The Hepworth Wakefield, West Yorkshire, April 18, 2015–April 24, 2016. 2013 Barbara Hepworth: Graphic Works, The Hepworth Wakefield, West Yorkshire, April 26, 2013–February 7, 2014. 2012 Barbara Hepworth: The Hospital Drawings, The Hepworth Wakefield, West Yorkshire, October 27, 2012– February 3, 2013. Traveled to Pallant House Gallery, Chichester, February 16–June 2, 2013; Mascalls Gallery, Paddocks Wood, England, June 14–August 24, 2013. (Catalogue) 2011 Barbara Hepworth: The Plasters, The Hepworth Wakefield, West Yorkshire, opened on May 21, 2011.
    [Show full text]
  • KAWS Media Release
    KAWS Media release OPEn-AIR KAWS SCULPTURES TO REMAIN AT YORksHIRE SCULPTURE PARK Yorkshire Sculpture Park (YSP) is pleased to announce that six sculptures by the renowned American artist KAWS will remain on display until December 2016 giving visitors to the Park a further six months to enjoy the monumental works in the open air. Following the success of the artist’s first UK museum exhibition in YSP’s Longside Gallery and the open air, the six sculptures – SMALL LIE (2013), GOOD INTENTIONS (2015), AT THIS TIME (2013), BETTER KNOWING (2013), FINAL DAYS (2013) and ALONG THE WAY (2013) – will continue to be seen in the Lower Park, beyond the exhibition’s official end date of 12 June 2016. Outdoors, with their outsize and monumental proportions, KAWS’s sculptures bring to mind dystopian cartoon characters; recognisable personalities from childhood who appear to have lost their innocence. Against the Park’s tree line, the group of six works in natural and black-stained wood, measuring between three and 10 metres in height, are simultaneously spectacular and plaintive. Once bright, iconic characters are rendered in disheartened, world-weary Images, left to right: poses; imposing yet full of pathos, they point to an array of psychological SMALL LIE (2013) courtesy the artist, narratives, suggesting compassion, surprise and despair. YSP and Galerie Perrotin. Wood, H1000cm x W464cm x D427.2cm; Brooklyn-based KAWS is considered one of the most relevant artists of his time. GOOD INTENTIONS (2015) Courtesy His influential work engages people across the generations with contemporary the artist and More Gallery. Wood, art and especially opens popular culture to young and diverse audiences.
    [Show full text]
  • Economic Value and Impact of Yorkshire Sculpture Park
    Economic Value and Impact of Yorkshire Sculpture Park Final Report October 2011 Carlisle Leicester Suite 7 (Second Floor) 1 Hewett Close Carlyle’s Court Great Glen 1 St Mary’s Gate Leicester Carlisle CA3 8RY LE8 9DW t: 01228 402 320 t: 0116 259 2390 m: 07501 725 114 m: 07501 725115 e: [email protected] e: [email protected] www.dcresearch.co.uk Economic Value and Impact of Yorkshire Sculpture Park: Final Report CONTENTS KEY FINDINGS...........................................................................................1 1. INTRODUCTION AND BACKGROUND ....................................................2 2. KEY QUANTITATIVE ECONOMIC IMPACTS .............................................4 Visitor Impacts .................................................................................4 Employment and Procurement Impacts................................................7 3. ADDITIONAL AND CATALYTIC IMPACTS, AND ADDED VALUE...................9 Education and Learning .....................................................................9 Supporting Local Priorities................................................................ 10 Profile Impacts ............................................................................... 12 Summary and Future Impacts .......................................................... 13 APPENDIX 1: CONSULTEES ....................................................................... 15 APPENDIX 2: GLOSSARY OF KEY TERMS ..................................................... 16 Economic Value and Impact of Yorkshire
    [Show full text]
  • CFP: 5Th Annual Multi-Disciplinary Conference on Medieval, Renaissance and Early Modern Studies
    H-EarlySlavic CFP: 5th Annual Multi-Disciplinary Conference on Medieval, Renaissance and Early Modern Studies Discussion published by Clare Griffin on Friday, August 12, 2016 Forwarded CFP: CALL FOR PAPERS 5th Annual Multi-Disciplinary Conference on Medieval, Renaissance and Early Modern Studies We wish to invite you, your colleagues and your research students to submit proposals for papers to present at the 5th Annual Multi-Disciplinary Conference on Medieval, Renaissance and Early Modern Studies, taking place in Nicosia, Cyprus, next April (2017). The deadline for proposals is 31 December 2016. Officially entitled "Othello's Island", the conference is a truely multi-disciplinary event, looking at all aspects of the Medieval, Renaissance and Early Modern periods, including art, literature, history, culture etc. Beging located in Nicosia, our delegates also have an opportunity to explore the medieval sites of this fascinating city, from the stunning Byzantine Museum to the richly carved sculptures of the French gothic cathedral, and we will also be taking a trip out of town to visit other medieval and renaissance sites of beauty and interest in Cyprus. The conference is held at the Centre for Visual Arts and Research (CVAR) in the heart of Nicosia's medieval Old Town, and is organised as a collaboration between academics from CVAR, Northern Arizona University, Sheffield Hallam University, SOAS University of London, the University of Kent, and the University of Leeds. For research students and early career academics, we are able to offer a limited amount of free accommodation for the duration of the conference to speakers aged 35 or under.
    [Show full text]
  • World-Famous Artist Swapping New York for Wakefield
    Release date: Tuesday May 14 WORLD-FAMOUS ARTIST SWAPPING NEW YORK FOR WAKEFIELD A world-famous artist will be swapping New York for Wakefield city centre as part of a major sculpture festival this summer. Huma Bhabha (b.1962 Karachi, Pakistan, lives in Poughkeepsie, New York, USA) is creating a new sculpture which will be installed outside Wakefield Council’s County Hall near Wakefield College for three months. It’s all part of the free to see Yorkshire Sculpture International – the UK’s biggest sculpture festival this year – and backed by Wakefield Council, Wakefield College, Arts Council England and Leeds 2023. In 2018, the artist installed "We Come in Peace" on the roof of New York's Metropolitan Museum of Art, overlooking the famous Manhattan skyline and her new sculpture for Wakefield will go on display from 22 June to late September this year. This summer’s event is being presented by four world-class art galleries which make up the Yorkshire Sculpture Triangle - The Hepworth Wakefield, Yorkshire Sculpture Park, The Henry Moore Institute and Leeds Art Gallery – who are collaborating to present a sculpture festival featuring major new commissions and exhibitions at each of the four partner venues and sculpture outdoors in Leeds and Wakefield. Huma Bhabha said: “It’s always exciting to create something new for a landscape I have never worked in before. I approach all my work with the intention of making it intense, and everything else will fall into place.” Cast in bronze to stand outdoors ‘Receiver’ 2019 is a human like form which began as a sculpture carved from everyday materials including Styrofoam and cork.
    [Show full text]