H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:39 Page 1

Issue Number Sixteen Winter 2007 The Henry Moore Foundation Review H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:39 Page 2

Contents

3 Chairman’s Introduction Sir Ewen Fergusson

4 Director’s Report Richard Calvocoressi

6 Financial Statement 2006 – 2007 Charles M Joint

7 Henry Moore, Perry Green David Mitchinson

10 Henry Moore in Public Nick Bullions

11 Henry Moore Institute, Leeds Penelope Curtis

14 Why Sculpture, Why Here? Stephen Feeke

16 Publications

18 Grants Programme

22 Looking Ahead

23 General Information Henry and Irina Moore, Hoglands c.1968. Photo: John Hedgecoe

Front cover: Installation view of Rote Girlande (Red Garland) 1980 and Kollektion (Collection) 1980 in Fake/Function Thomas Schütte: Early Work, Henry Moore Institute, Leeds. Photo: Jerry Hardman-Jones Back cover: Detail of Figure in a Shelter cast 1983 (LH 652a) seen beside Bourdelle’s plaster Penelope 1912, Henry Moore et la Mythologie, Musée Bourdelle, Paris. Photo: David Mitchinson H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:39 Page 3

Chairman’s Introduction

The Review for Winter 2001 was my first. I had been Chairman for barely a month, after three years learning about the Foundation under Sir Rex Richards. I blush now at reading ‘It is too soon to suggest how I shall want to impose my stamp’. My seventh and last introduction needs a more appropriate modesty – no one but Henry Moore has imposed a stamp on the Foundation. I hope, however, that Moore, whom I never had the good fortune to meet, would wholeheartedly approve of the way in which the Foundation is run, and would feel that his, his family’s and his friends’ early endeavours and aspirations are being fulfilled. If I have ‘imposed’ anything, it may have been to introduce a cut-off age of seventy-five for membership of the Board, with retiring members having the opportunity of moving to the newly-created Advisory Board. Despite the sadness which anyone leaving the Board must experience (I speak feelingly), this decision has allowed us to bring in new faces while main- taining the exceptional quality and dedication that the Board has so consistently shown. It is Sir Ewen Fergusson with very complete confidence that I hand over the Chairmanship of the Foundation to Duncan Robinson. He will have the knowledgeable support of John Lewis, who succeeds me as Chairman of the Finance Committee. Last year I also referred to the major contribution over thirteen years of Tim Llewellyn as Director. He left us at the end of May 2007. His successor, Richard Calvocoressi, started work in June. No one who knew Richard in his previous post in Edinburgh, or has met him since he joined the Foundation, can fail to recognise how fortunate the Foundation has been to recruit someone who combines a formidable expertise in contemporary sculpture and long experience of management with the sensitive personal skills so indispensable to running The Henry Moore Foundation today. I shall touch only briefly on the achievements of the year – the re-opening of Henry Moore’s house, Hoglands, the succession of distinguished exhibitions at home and abroad, the high intellectual calibre of the work of the Institute in Leeds, the extensive programme of grant-giving. Instead, I have a personal point to make. My introduction to the Foundation came through the major exhibition of Henry Moore’s work at the Bagatelle Gardens in Paris in 1992, at the time when I was Ambassador. It gives me very special pleasure that my depar- ture should coincide with another exceptional open-air exhibition, this time at Kew Gardens, of twenty-eight major sculptures by Moore. Since Moore’s death, there has seemed to be a somewhat fallow period in the British public’s feelings for his work, especially at the level of expert opinion. This has been strikingly in contrast to the ever-growing demand in the inter- national community to see all aspects of his work and to learn about him. The exhibition at Note Kew marks the return in the United Kingdom to a genuine appreciation and understanding This Review follows the of a major world artist. pattern of its predecessors What shall I miss most? Certainly the pride of being directly involved in an institution in giving a summary account that makes such an important contribution to sculpture and the arts in Britain today. But the in words and pictures of the correct answer is ‘people’. Within the Foun dation as a whole, I have had most to do with the Foundation’s activities during Management Committee – with the Director, with David Mitchinson, with Penelope Curtis the past year. All material in Leeds, with the indefatigable Charles Joint. But for their skills – and their patience – the published here relates to a Chairman’s task would be impossible. It is not just their talents, which can be seen mirrored much more extensive body throughout the staff of the Foundation, but the sheer pleasure, indeed the fun, of working of information on The Henry with them all. That is what they have ‘imposed’ on me. I want to say thank you to everyone. Moore Foundation website And I want to wish my successor, Duncan Robinson, and all who will be working with him, and associated links. For continuing good fortune for The Henry Moore Foundation. further coverage and images, please follow the relevant Ewen Fergusson weblinks appended to each article in the Review.

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sculptor and his family, and shows to what extent art and Director’s Report the creative imagination permeated their lives. Kew, by contrast, provides an ideal natural setting for the twenty- The 2006 Review was Timothy Llewellyn’s last, although eight large-scale sculptures from the last three decades of he continued as Director until the end of May 2007. I took the artist’s career installed there (until March 2008) – up the post in mid-June, inheriting from Tim an organisa- twenty-six of them from the Foundation’s collection. The tion that I soon realised was in unusually good health, dialogue which the sculptures seem to engage in with some structurally as well as financially. It also became clear that of the extraordinary tree and plant forms in the Royal Botanic he had nurtured and led a dedicated, talented and friendly Garden has been a revelation. The exhibition will travel in staff, at both Perry Green and Leeds. I arrived at one of an abbreviated form to the USA in May. Other Moore the busiest and most exciting moments in the Foundation’s exhibitions curated by the Foundation during 2006–07 are recent history: when Hoglands, the sculptor’s home at Perry covered in David Mitchinson’s report (see pp. 7–9). Green, opened its front door to the public for the first time, This year marks the thirtieth anniversary of The Henry and just as preparations for the installation of the big out- Moore Foundation. When Moore established it, he gifted door exhibition at Kew began – the first such show in to it a large body of his own work, in addition to property, London for nearly thirty years. Both events, initiated by my investments and other assets. Income from the investments predecessor, have contributed substantially to the promotion is used to further the aims of the Foundation. From Perry and understanding of Henry Moore’s work – one of the Green issues forth a constant flow of loans to exhibitions stated aims of the Foundation. In the first month of the of Moore’s work all over the world, publications, guided exhibition, visitor figures at Kew were up by over 50% on tours, conservation and cataloguing work. Two hundred the same period in 2006; and at Perry Green, our figures miles to the north in Leeds, where Moore was at art college also saw a 40% increase over the 2006 season. from 1919–21, the Henry Moore Institute, through its The restoration of Hoglands, carried out in close innovative series of exhibitions, conferences, publications consultation with Mary Moore, the artist’s daughter, gives and fellowships, studies sculpture from a broader perspective, a deep and intimate insight into the domestic life of the not confined to any one culture or historical period. Last

Two Piece Reclining Figure: Points 1969–70 (LH 606) on exhibition in Kew Gardens. Photo: Malcolm Woodward

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Draped Reclining Woman 1957–58 (LH 431), on loan from Tate, in Kew Gardens. Photo: Malcolm Woodward

year the programme ranged from an examination of the at is how we communicate to the outside world the activities impact of the Laocoon of antiquity on succeeding genera- of a geographically split organisation, and whether there tions of artists to the early work of German artist Thomas are aspects of our work that need clarification: for example, Schütte. The third and final ‘arm’ of the Foundation is the relationship between the Henry Moore Institute and Grants, so ably administered for the last two decades by neighbouring Leeds Art Gallery, whose sculpture collection Anne Unthank, who retires in March 2008, having worked the Institute’s curators look after and actively develop. Last for the Foundation since the beginning and to whom we owe year, Leeds Art Gallery underwent the first stage of refur- a profound debt of gratitude. The Foundation supports a bishment of its galleries and a redisplay of its collections. wide range of projects in the visual arts, giving money to Could our Grants programme be more effective? Are there museums and galleries, art colleges, universities and pub- ways of increasing the amount of money we dispense lishers. Last year we helped fund exhibitions of Antony (currently about £1 million annually)? How can we ensure Gormley, Matthew Barney, Louise Bourgeois and Andy that Moore remains relevant to a younger generation of Goldsworthy, among others. But these are the well-known, scholars, artists and the general public not always familiar international names; many of our grants go to smaller with his work? These are just a few of the questions we institutions struggling against a background of declining shall be asking ourselves over the coming months. I look public funding to mount shows of work by less well- forward to exploring them with an immensely talented established artists. team, and with my new PA Alice O’Connor who will also It is worth reiterating these facts because traditionally take on the Grants programme. the Foundation has tended to keep a low profile, to the extent that many people are unaware of the impressive Richard Calvocoressi diversity of its pursuits. One of the areas we shall be looking

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Financial Statement 2006–2007 2006 –2007 2005–2006

The growth in the reserves during 2005 enabled EXPENDITURE Trustees to allocate more revenue to fund the Foundation’s Henry Moore, Perry Green activities during 2006–07. The Grants programme was a Perry Green estate 468,818 260,307 major beneficiary of this extra revenue, and details of the Exhibition support 452,151 326,600 range and scope of grants awarded during the year are Works of art acquired 0 121,795 18 21 covered elsewhere in the Review (see pp. – ). Trustees, Insurance 243,327 49,906 keeping a weather eye on the performance of fund managers Library, archive, conservation 32,186 35,102 and the state of the economy, broadened the range of Exhibitions & projects 1,213,036 692,264 investments during the year, reducing potential volatility Total 2,409,518 1,485,974 whilst maintaining steady capital growth. This is considered particularly important while the Foundation continues to Publications 23,653 48,855 use a ‘total return’ basis for funding its activities. These unaudited summary accounts reflect the require- Henry Moore Institute ments of SORP 2005, but have been adjusted in places to Exhibition support 242,577 332,150 show more clearly how the Foundation disburses its money. Administration 117,894 94,674 Readers wishing to see the more detailed audited Consoli - Research costs 267,572 484,367 dated Financial Statement of the Foundation can download Exhibitions & projects 695,662 579,2286 it from the Charity Commission website or contact the Head Dean Clough costs 22,453 37,628 of Finance and Administration at Perry Green. 1,528,047 The substantial increases in Perry Green Estate and Total 1,346,158 Insurance expenditure are a direct result of the theft in December 2005 reported in last year’s Review, which also 1,079,116 led to significant security enhancements at Perry Green. The Grants 1,281,955 increase in Perry Green exhibitions and projects reflects the major building and refurbishment work at Hoglands Other expenditure throughout the year. The various differences in Institute Review, calendar, website, PR 40,495 47,163 expenditure are due to changes in allocation. Our presence Management & administration 107,247 93,574 in Dean Clough and the associated expenditure came to an Depreciation 219,129 220,227 end in January 2007, releasing funds to support the core Professional fees 77,279 58,323 programmes. Total 444,150 419,287 Finally the apparent oddity in the income reflects the way SORP required the insurance money paid on the theft of the sculpture to be dealt with. The reality is that the amount Total expenditure 5,505,434 4,561,279 taken from capital in 2006–07 was about one million pounds more than in 2005–06, and this additional sum, as well as meeting the raised insurance premiums, has greatly FUNDED BY contributed to the wider activities of the Foundation. Investments 246,484 168,372 Sale of artworks 101,763 3,089,4551 Charles M Joint 53,570 Head of Finance and Administration Sale of publications 30,550 Rental income 48,118 47,730 Bank interest 124,938 240,066 Leeds City Council 140,247 137,490 Allocation from capital 4,813,335 824,596

Total 5,505,434 4,561,279

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Henry Moore, Perry Green

The first half of 2007 was dominated by the restoration of Hoglands – the home of Henry and Irina Moore from 1940 until their respective deaths in 1986 and 1989 – in readiness for its opening to the public in June. Following major building work during 2005–06, the ground floor rooms were reinstated to appear as they had in the early 1970s, a moment when the Moores’ alterations to the house were complete and their collections of art and ethnography fully formed. In addition to the house, two adjacent studios have been brought back into use, and the greenhouses and surrounding garden restored and replanted. In readiness for the refurbishment, over 4000 objects were cleaned, pho to - graphed and recorded on a new database; furniture was restored, fabrics rewoven or reprinted, art works conserved. Missing items were recorded on a separate database to provide information for possible future acquisitions. For the first season the reinstallation included over fifty works by Moore from the Foundation’s collection, twenty-five art items on loan from the Henry Moore Family Collection, including significant paintings and ethnographic objects, plus similar items from the Foundation. Coinciding with the restoration process was the prepa- ration of Hoglands: The Home of Henry and Irina Moore, a comprehensive documentation of the history of the house, the Moores’ residency, the collections and the restoration process. Many previously unknown archival photographs were sourced and new photographs commissioned. This year also saw the publication of Moore, by Jeremy Lewison in Taschen’s Basic Art Series.

From the top: In the garden at Hoglands, Perry Green 2007. Photo: Jennifer Harwood Hoglands entrance hall in 2007. Photo: Steve Gorton Luba mask from the Democratic Republic of Congo, on loan from the Henry Moore Family Collection, Hoglands sitting room. Photo: Steve Gorton Hoglands and Moore’s original studios after restoration. Photo: Ben Stower 7 H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:40 Page 8

Following the death of Margaret McLeod in December 2006, the Trustees purchased from her Estate a cast of Recumbent Figure 1938 (LH 184), the maquette for the brown Hornton stone carving in the Tate. On sorting the archive of Atelier Lacourière et Frélaut in Paris, Denise Frélaut discovered seventy-five proofs of Moore’s etchings made by Jacques Frélaut in London, Perry Green and Paris between 1966 and 1974. These have been presented to the Foundation and include thirty-one prints from the Elephant Skull Album (CGM 109-146) of which twenty-five are marked bon à tirer by the artist. Recumbent Figure 1938 (LH 184) bequeathed by Margaret McLeod. Photo: Michael Furze The exhibitions programme at Perry Green continued with Moore and Mythology. The exhibition was based on Moore’s post-war illustrations for The Rescue, a play con- ceived by Edward Sackville-West as a melodrama for radio with an orchestral score by Benjamin Britten, and Prométhée, André Gide’s translation of Goethe’s Prometheus, a dramatic fragment from 1773 inspired by Æschylus’ Prometheus Bound. The exhibition examined Moore’s drawings, litho- graphs and sculpture by exploring the relationship between the two literary projects and their influence on other works being made at the same time. Planned since 2004 as a joint exhibition between the Foundation and the Musée Bourdelle, Paris, its private view on 30 May – coinciding with the Elephant Skull Plate IX 1969 (CGM 122). opening of Hoglands and the retirement party for Tim Photo: The Henry Moore Llewellyn – was attended by some 520 guests, many of Foundation archive whom spent much of the day at Perry Green despite rain and low temperatures. The exhibition moved on to Paris in October, where it can be seen until the end of February. Away from Perry Green, the second half of the year was dominated by the installation of twenty-eight outdoor works in the spectacular setting of the Royal Botanic Garden, Kew, and preparations for sending the exhibition

Large Upright Internal/External Form 1953–54 (LH 297a), Kew Gardens. Photo: Malcolm Woodward

Installation of Large Upright Internal/External Form 1953–54 (LH 297a), Kew Gardens. Photo: Charlotte Booth 8 H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:40 Page 9

on to the United States in 2008. Elsewhere, Henry Moore and the Challenge of Architecture, at the Kunsthal, Rotterdam, attracted 80,000 visitors, double the estimated audience, and sold out of catalogues, while Henry Moore und die Landschaft was shown at the Haus am Waldsee, Berlin, during the summer and at the Opelvillen, Rüsselsheim, from November. Other exhibitions curated at Perry Green included Henry Moore Unseen, forty-four previously unexhibited drawings originally selected for Wakefield Art Gallery, which went on to Letchworth Museum and Art Gallery. Elsewhere, Henry Moore: War and Utility, closed at the Imperial War Museum, London, in February; and works were lent to Surreal Things (Victoria and Albert Museum, London), Outside Inside (Gibberd Gallery, Harlow), Figuring Space: Sculpture/Furniture from Mies to Moore (Henry Moore Institute, Leeds), 1937: Perfection and Destruction (Kunsthalle, Bielefeld) and Un cos sense limits/Un corps inattendu (Fundació Joan Miró, Barcelona). Aside from exhibitions, 2007 saw many advances in the Foundation’s archival department: Jenny Harwood created a new listing of Moore’s textiles; Martin Davis recorded all the books in Hoglands; Mike Phipps documented all the Moores’ collections, and Nick Bullions began researching Moore’s work in the public domain for a new section on ‘Henry Moore in Public’ to appear on the Foundation’s website. Future curatorial projects involved staff members making site visits to museums, galleries and parks in Canada, Finland, France, Germany, Greece, Netherlands, Russia, Spain, Turkey, USA and the UK. In particular, much prepara- tion work has taken place for the forthcoming exhibitions of Henry Moore: Textiles, at Perry Green, and its accompanying book due for publication in March; a new exhibition with an architectural theme for the Didrichsen Museum, Helsinki; the outdoor show for the botanical gardens in New York and Atlanta, and a retrospective for the Sabanci Museum, Istanbul.

David Mitchinson To p : Head of Collections and Exhibitions Two Piece Reclining Figure No.2 1960 (LH 458) at www.henry-moore-fdn.co.uk/pg Opelvillen Rüsselsheim, for Henry Moore und die Landschaft, autumn 2007. Photo: Suzanne Eustace

Moore and Mythology, Sheep Field Barn, Perry Green From left: Warrior with Shield 1953–54 (LH 360); Falling Warrior 1956–57 (LH 405); King and Queen 1952–53 (LH 350). Photo: Steve Gorton

Henry Moore et la Mythologie, Musée Bourdelle, Paris 2007–08, Draped Reclining Figure 1952–53 (LH 336) seen amongst works from the permanent collection. Photo: David Mitchinson

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Henry Moore in Public www.henry-moore-fdn.co.uk/hmworksinpublic

A new section of the Foundation’s website is being created website, and is aware that works are often removed at short to list all Moore’s sculpture in the public domain. This will notice for exhibitions, loans or conservation, contact infor- go live at the beginning of 2008 with works in UK collec- mation has been given for each listing. Prospective callers tions, and will then be enlarged one country at a time. It wishing to see specific works are advised to make contact will not include sculptures that are inaccessible, or drawings with the organisation responsible prior to making a visit. and graphic work, nor will it include works sited as part of While every effort has been made to make sure details a temporary display. Each entry will have catalogue details of venues, collections and individual works are correct, of the piece and, wherever possible, an image of the work information on errors or omissions is always welcome. It is in situ. Where a site-specific image is unavailable, an alter- hoped that by the end of 2008 this new facility will prove a native of the same sculpture will be used. useful tool for the researcher and art enthusiast. As The Henry Moore Foundation is not the owner, nor monitors the whereabouts, of every sculpture listed on this Nick Bullions

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Henry Moore Institute, Leeds

Experimental Photography from the Bauhaus Sculpture Workshop opened a season devoted to exploring the threshold between sculpture and design. This exhibition attracted a great deal of attention, despite its modest size, partly because it showcased vintage prints never previously exhibited. But its appeal went deeper than this: the selection, by Paul Paret, got to the heart of the sculpture/design dilemma by revealing that the Bauhaus itself didn’t know how to teach sculpture, but that sculptural thinking was incorporated into other, more functional, disciplines. Installation view of Experimental Photography from the Bauhaus Sculpture Workshop, Gallery 4. Photo: Jerry Hardman-Jones

Mies van der Rohe was the last director of the Bauhaus, and our next exhibition took the argument one stage further: how and why does an architect known for his furniture design (and especially his chairs) use sculpture in his buildings? Figuring Space showed the sculptures which Mies particularly loved – by Maillol, Kolbe and Lehmbruck – amongst the drawings and photographs of the buildings in which they stood. It then moved on to compare two ceremonial couples – Mies’ Barcelona chairs and Moore’s King & Queen – in a setting which echoed that of the Barcelona pavilion. The final room, with sculptural chairs by the Eames and by Arne Jacobsen, asked to what extent post-war organic furniture came to replace sculpture in the interior space.

Installation view of Figuring Space: Sculpture/Furniture from Mies to Moore, Main Galleries. Photo: Jerry Hardman-Jones

Mies van der Rohe’s early interior installations were shaped by the colours and textures chosen by his collaborator Lilly Reich. The project by artist Sadie Murdoch paid attention to another (lost) collaborator, in singling out Charlotte Perriand’s role in the design and promotion of the chaise longue which is often attributed simply to Le Corbusier. Murdoch’s painstaking recreation of Perriand’s staged image led to her literally assuming the full disguise of the historical model. Her beautiful and evocative photo- graphs – with and without model – showed the chaise longue as a kind of glittering chimera, haunting the ruins Sadie Murdoch, Mirrored Photomontage, Part Two 2007, Gallery 4 of modernism.

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Installation view of Towards a New Laocoon, showing: Tony Cragg, Kahzernarbeit 1985, Scottish National Gallery of Modern Art; Anonymous, Installation view of kissingcousins: a Fellowship Project by Jane Simpson and Wax model of the Laocoon late 17th–early 18th century, French?, Sarah Staton, Gallery 4. Photo: Jerry Hardman-Jones The British Museum, and (reflected in glass case), Richard Deacon, Laocoon 1996, Private Collection, Main Galleries. Photo: Dave Morgan The autumn brought us back to sculpture and design with the exhibitions of Jane Simpson and Sarah Staton, of Bernard Schottlander and of Thomas Schütte. Simpson and Last year we showed the sculpted images of Antinous in Staton made a highly personal selection from our collections our first exhibition about classical sculpture. This year we for both their show and their publication, which they entitled returned to the Roman era, but also to the very subject of kissingcousins to reflect its uneasy and familiar mix. While sculpture, by examining the appeal of the Laocoon for Simpson’s role in the publication highlighted the less subsequent generations. The focus was less on mapping frequented byways of twentieth-century British sculpture – the many sources and variations than on understanding the and drew on printed, drawn and recorded material from formal fascination of the work’s serpentine lines and sense of the library and archive – Staton’s designs for the plinths drama.Two ‘British’ moments – comprising the Enlighten - transformed the motley nature of a municipal collection into ment’s emulation and more recent re-interpretation – showed something highly pleasing to the eye. a figurative sculpture become abstract, and allowed our galleries to be uniquely devoted to the three-dimensional ‘experience’.

Hew Locke, Asia 2005, from the series ‘Natives and Colonials, London’, in Drawing on Sculpture: Graphic Interventions on the Photographic Surface, Mezzanine. Collection: Leeds Museums and Installation view of Indoors and Out: The Sculpture and Design of Bernard Galleries (Art Gallery) Schottlander, Mezzanine. Photo: Jerry Hardman-Jones

The study exhibition which accompanied Towards a New Bernard Schottlander’s archives were divided between Laocoon picked up on its animating and encircling lines to Leeds and Brighton after his death. Sculpture and design examine the ways in which sculptors draw on photographs, have been re-united in Indoors and Out, the exhibition curated by themselves and others, of their own work, or of other jointly by the two archivists Catherine Moriarty and Victoria sculptures. A nicely modulated selection led us from the Worsley, which proposes that Schottlander thought of all more simple devices of tinting and squaring up, to alteration his work, small or large, indoors or out, as furniture for a and correction, through the energetic overdrawing of Tony stage. Additional loans – and notably the Ashanti gold weights Cragg or Paul Neagu, to the more assertive interventions from the Pitt Rivers Museum – clarify Schottlander’s sources, of Hew Locke or of Ed Allington, who placed his own forms and the ensemble admirably conveys the monochrome into the sculptural spaces of others, including Henry Moore’s. structures underlying the colourful surfaces.

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Installation view of Kleine Mauer (Small Bricks) 1976 –77 (detail), in Fake/Function Thomas Schütte: Early Work, Main Galleries. Photo: Jerry Hardman-Jones

Thomas Schütte was recently in the news with his model Still from the film Franks International 2006. for the fourth plinth in Trafalgar Square. Thirty years ago Courtesy Franka Hörnschemeyer he was making very different work, and it is our privilege to have been able to show for the first time the whole body of Alongside the exhibition programme, the team at the work from the late 1970s, beautifully installed by Matthew Institute has been quite heavily involved in externally funded Crawley and his team. Schütte named the exhibition Fake/ projects, including the AHRC funded projects for a collabora- Function, which demonstrates his interest in taking real and tive doctorate on the Helen Chadwick archive, and for Mapping functional elements (bricks, cornices, doors, wallpaper) while the Practice of British Sculpture 1850–1950. Our archivist underlying their illusory character within his installations. Victoria Worsley and research coordinator Jon Wood are His hand-painted wallpaper is as close to colour-field taking these projects forward at the Institute, and both painting as it is to wall-hangings; his bricks are as close to the have been notably in demand this year as their respective canvases of his teacher Richter as to the courses and bonds specialisms – the archive and the studio – are very much in found in the built environment. As a whole, the exhibition – the air. Stephen Feeke and Martina Droth have both put a which was almost entirely wall-based – showed Schütte mov- lot of energy into extending and diversifying the range of ing from painting towards sculpture, and from minimalism our audience; their striking selection of artists for the into a more reflective and sobering post-modernism. debate on the international language of sculpture is described by Stephen overleaf. Just as we work to improve our geographical reach, librarians Ann Sproat and Karen Atkinson, have reorganised the library so as to give greater emphasis to the excellence of our British collections, without foregoing the wider international holdings. The library has hosted fellows from Britain (artists Mark Wilsher and Andrew Eduardo Paolozzi, AG5 1958, in The Wonder and the Horror of the Bick) and from abroad (artist Falke Pisano and historian Human Head, Leeds Art Gallery Courtney Martin). These fellows, and other visiting scholars, Sculpture Display. Collection: including Sandra Kisters and Mari Dumett, have accompanied Leeds Museums and Galleries (Art Gallery). us in our programme of activities, and have responded to Photo: Jerry Hardman-Jones the staging of projects by previous fellows, which include In June, Leeds Art Gallery re-opened after a six-month the kissingcousins debate and Franka Hörnschemeyer’s refurbishment. The sculpture galleries were re-installed by remarkable exploration of an abandoned hairdresser’s in Sophie Raikes with three striking thematic displays. The the centre of Leeds. The latter was the crowning event in Wonder and the Horror of the Human Head used Leeds’ post- our recent Open Day/Light Night, which brought over 600 war collections to highlight the influence of war and nuclear visitors (not a few of them hairdressers) to the Henry Moore imagery in the representation of the human head; Ordinary Institute. In all our programmes – of exhibitions, collec- People showcases two recent bequests of Kenneth Armitage tions and research – we are supported by Gill Armstrong, and Peter Peri; Sculpture and its Writers uses our pre-war Jackie Howson, Ian Kaye and Ellen Tait. carvings alongside studies of the critics who shaped their interpretation, many of whom are included in our new Penelope Curtis, Curator Modern Sculpture Reader. www.henry-moore-fdn.co.uk/hmi

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The galvanising moment, and the one which gave us our title Why Sculpture, Why Here? for the day, came from looking at Dilomprizulike’s uncom- promisingly ‘awkward’ works – in particular Journey out of This event was organised with Iniva (The Institute of Inter- Africa, in which a beaten-up car filled with detritus sits in a national Visual Arts) and brought together the artists Abel garden, and The Face of the City, in which scarecrow-like Barroso, Maria Magdalena Campos Pons, Dilomprizulike, figures are assembled with a rusty bike-frame and other junk Subodh Gupta, Huang Yong Ping and Mamiko Otsubo at material, including empty water bottles, on soft sand. Put very Tate Modern to talk about their work. Why? Well, the Henry bluntly, the works seemed to ask: why make sculptures like Moore Institute was established with the aim of developing that and then place them there? In addition, to what extent knowledge and appreciation of sculpture from all periods and could such work in those materials emanate only from Africa? countries; in practice, we have been unable to show work As we later learned during his presentation on the day, from outside the parameters of Europe and North America making sculpture is like vomiting for him, in that it is as often as we should have liked. A special event seemed the spontaneous, can happen anywhere and immediately makes best way of beginning to redress the balance. We recognised him feel better. that inviting a range of artists to talk about their respective Why Sculpture, Why Here? was formulated as an attempt practices could potentially raise more ideas about sculpture to understand why one idiom might be more appropriate in on the global stage, and have more immediate impact than a a given context than any other, and to what extent interna- series of exhibitions that might take years to complete. tional imperatives shape the choices being made by artists in Sculpture is our specialism; place is Iniva’s; and so Iniva a global age. From the outset, we knew the event could not be seemed an ideal partner in an exploration of new territories. exhaustive, but felt it should be as diverse as possible. Hence It was during an initial discussion between staff here and artists were considered not only for their age, nationality or Iniva’s Cylena Simonds that the event began to take shape. gender, but because of the expanded notion of sculpture that

Dilomprizulike, Journey out of Africa 2005. Courtesy the artist

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Subodh Gupta, I Go Home Every Single Day 2004. Courtesy the Mamiko Otsubo, Untitled 2007 (detail). Courtesy the artist and Galerie artist and The Showroom, London. Photo: Daniel Brook Mark Müller

their work suggested. With this all-encompassing remit, the that he is known in Havana for being a printmaker, but he event was in danger of being huge, but after a rigorous selec- constructs objects out of wood with surfaces like inked tion process involving Institute and Iniva staff, we approached woodblocks; many of them involve the viewer in ‘low-tech’ just the six artists listed above. Luckily, each said yes. reflections on the limitations of new technologies in Cuba. Countries ‘represented’ on the day included China, Cuba, Dilomprizulike explained how he earned the epithet ‘thejunk- Nigeria, India and Japan; ideas about ‘home’ therefore manfromafrika’ from his uncompromising use of rubbish as resonated, as each artist’s sense of place and culture had clearly source material for work in which he established ideas about shaped their work, though to greater or lesser degrees. Some Africa’s present, before his temporary stay in New York to of them have (perhaps inevitably, perhaps regrettably) moved find inspiration in Manhattan’s junk. to established international art centres such as Paris or New Maria Magdalena Campos Pons explores her Afro- York, while others have opted to pursue their careers in the Caribbean heritage from the perspective of her base in country of their birth. With enhanced communications, ease Boston, combining objects, film and performance in nuanced of travel (though, as we discovered, visas can still prove prob- installations that present abstract concepts of time, place lematic) and the circuit of biennials, residencies, exhibitions and memory. Whilst Huang Yong Ping has lived in Paris and art fairs, there should be less pressing need for artists to since 1989 and has explored issues surrounding national relocate from one country to another as it is relatively easy identity and cultural difference, his work is as likely to draw to foster an international reputation. However, either for on the Chinese horoscope as make comment on American reasons of freedom of expression or finance, some still feel global domination or the colonialism of old Europe. Mamiko the compulsion to move. Otsubo, having lived in the States since childhood, is reticent Importantly, the six artists also represented different ways about any trace of Japan in her work – indeed the hand- of working sculpturally today, from installation and perform- made and machine-made elements combined in her stylised, ance to making discrete objects, in which they use a variety reductive landscape-furniture hybrids are universal and of materials from trash or cast elephant dung to live insects could come from anywhere in the world. Yet she did admit or taxidermy. One surprising revelation was how many of the her work possessed a kind of violence – an almost painful artists had worked in other art forms or disciplines, such as tension from her severely restrained approach – that could printmaking or design (even economics, in Otsubo’s case) and only be Japanese. especially painting, before they turned their attention to Ultimately, what to make and where to show it are questions three dimensions. And whilst different kinds of objects might that matter to all artists, but only in the sense that they involve now figure strongly in their work, none actually like the idea choices they might make among any number of others, of being described as a sculptor – most probably because they perhaps equally decisive. However, for the artists who do not want to limit or label their practice with any designation. participated in Why Sculpture, Why Here?, considerations of At the event, we asked each artist to show images and to material and place carry a very special resonance. talk briefly about their work. Subodh Gupta described his use of readymade and found objects associated with his home Stephen Feeke in India – some of which are already shiny or, if not, then he Assistant Curator (exhibitions) casts them in metal – to create glittering forms redolent of Henry Moore Institute the drama and excess of Bollywood. Abel Barroso revealed www.henry-moore-fdn.co.uk/hmi

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key themes central to each decade of the life Publications of the house. Lund Humphries, London Hardback | 224pp | 305 245mm | 269 illus 176 978 0 85331 961 0 35 New in 2007 ( col.) | ISBN - - - - | £

The Foundation publishes in several different Henry Moore et la Mythologie ways. Catalogues are produced in house at Musée Bourdelle, Paris Perry Green and Leeds, while many books are Texts by David Mitchinson and Anita co-published with Ashgate / Lund Humphries. Feldman of The Henry Moore Foundation A full list of all publications in print and and Thierry Dufrène of the Musée Bourdelle details of how they may be purchased will be Published by Les Musées de la Ville de Paris found at www.henry-moore-fdn.co.uk. The Hardback | 192pp | 257 190mm | 201 illus Foundation also gives financial support to (139 col.) | ISBN 9-782759-600137 | €39 ( . 19). text in French other publishers in the field see p Moore We show here this year’s new publications, By Jeremy Lewison together with those of organisations with This book gives a detailed chronological whom we have collaborated. Prices do not summary, covering the cultural and historical include postage or packaging. importance of the artist, with a concise biography. Taschen Basic Art Series Softback | 96pp | 230 186mm | 100 illus (70 col.) | ISBN 978-3-8228-5330-6 | £5.99 Henry Moore

Catalogues of exhibitions discussed in the Curator’s Report, pp. 7–9 Henry Moore und die Landschaft Haus am Waldsee, Berlin; Opelvillen, Rüsselsheim Catalogue to accompany a selection of Moore’s work focusing on the harmony between sculpture and landscape – the elemental bond between man and nature. However, the rela- tionship Moore uncovers between figure and Reprint landscape is not always a nurturing one. There Moore: The Graphics is also a tendency for the figure to be fragmented, The Henry Moore Foundation, Perry Green twisted, or even consumed by the forces of Moore at Kew This selection of fifty graphics, spanning half nature, suggesting our own transitory presence, Welcome by Professor Stephen Hopper, a century of work, was published to coincide in contrast with more enduring forms. foreword by Richard Calvocoressi, introductory with an exhibition shown around the UK in DuMont Literatur, Köln essay by Anita Feldman. 2003–04. Moore’s exploration in printmaking 28 Hardback | 128pp | 255 243mm | 86 illus This book marks the exhibition of large techniques can be traced from woodblock prints 300 (63 col.) | ISBN 978-3-8321-7785-0 | €24 sculptures placed throughout Kew’s -acre of 1931 through vividly coloured collographs and text in German World Heritage Site and is extensively major graphic albums including the ‘Elephant illustrated. It includes a chronology of Moore’s Skull’ etchings and ‘Stonehenge’ lithographs. life and work as well as a bibliography. 32 296 200 98 Books Softback | pp | mm | illus Kew Publishing, Royal Botanic Gardens, Kew (53 col.) | ISBN 0-906909-26-0 | £8 Softback | 96pp | 280 240mm | 112 illus (87 col.) | ISBN 978-1-84246-214-0 | £13.99 Henry Moore Institute

Catalogues of exhibitions held at the Institute discussed in the Curator’s Report, pp. 11–13

Hoglands: The Home of Henry and Irina Moore Contributing authors: David Mitchinson, Moore and Mythology Anita Feldman Bennet, Andrew Causey, Sheep Field Barn, Perry Green Martin Davis, Ann Garrould, Mary Moore, Text by David Mitchinson Michael Phipps Henry Moore’s fascination with the Greek This book traces the development of the house, legends of Odysseus and Prometheus came Figuring Space: Sculpture/Furniture from Moore’s studio, Irina’s garden and their art through two literary works brought to his Mies to Moore collections from the early 1940s to the late attention towards the end of the Second World Essays by Penelope Curtis, Catherine Moriarty 1980s, placing the history of the house within War and during its aftermath. Based on Andre and Joseph Giovannini the broader context of Moore’s life and work. Gidé’s Le Prométhée mal enchaîné (1899) and The exhibition considers the roles of sculpture The book combines architecture, period The Rescue, conceived by Edward Sackville-West and furniture over the years, and to what degree interior design and working practices with as a melodrama for radio and first published in they can occupy the same space in architecture. illustrations of the Moores’ diverse personal 1945, Moore created in two and three dimen- Mies van der Rohe’s use of sculpture in his projects art collection, their guests and their domestic sions a group of works expressing both the is looked at extensively, as are the techniques routine. Archival photographs of Hoglands at optimism and the fragility of human existence. and influences of post-war furniture design. different periods are reproduced alongside 80 227 227 76 Softback | 32pp | 296 220mm | 70 illus Hardback | pp | mm | illus quotations from those who visited the Moores 8 978 1 905462 11 7 15 00 (55 col.) | ISBN 0 906909 30 9 | £8 ( col.) | ISBN - - - - | £ . at home, and individual chapters focus on

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Essays on Sculpture Subject/Object: New Studies in Sculpture Series This series forms a collection of occasional Published by Ashgate in association with the writings on sculpture, published by the Henry Henry Moore Institute Moore Institute, in many cases accompanying This series provides a forum for new research exhibitions. A ring binder is available to keep examining sculpture’s relationship with the the series together. world around it. Towards a New Laocoon Introduction by Stephen Feeke, with essays by Ian Balfour, Brigitte Bourgeois, Viccy Coltman, Penelope Curtis, Jens Daehner, Daniel Herrmann, Madeleine Viljoen and Jon Wood The antique group depicting the Trojan priest Laocoon and his two sons being attacked by snakes has fascinated artists and writers ever since it was excavated in Rome in 1506. This 55. Drawing on Sculpture: Graphic Iconoclasm: Contested Objects, publication reveals the Laocoon’s appeal for Interventions on the Photographic Surface Contested Terms recent British sculptors – Paolozzi, Cragg Text by Jon Wood Edited by Stacy Boldrick and Richard Clay and Deacon – and examines other moments of This essay uses works from the collections This book brings together a collection of historical interaction. as well as on loan to reveal how sculptors essays each of which examines the impact of Hardback | 76pp | 215 292mm | 47 illus since Rodin have used photographs as a way iconoclastic acts on different representational (7 col.) | ISBN 978-1-905462-13-1 | £15.00 of understanding their own works or those forms, and assesses the development and his- of others. torical implications of these various destructive 12 298 210 11 Softback | pp | mm | illus and transformative behaviours. 7 978 1 905462 14 8 3 50 ( col.) | ISBN - - - - | £ . Hardback | 294 pp | 234 156mm | 62 b/w illus | ISBN 978-0-7546-5421-6 | £55.00 Available only through Ashgate Publishing www.ashgate.com

The British Sculptors and kissingcousins Sculpture Series Compiled and designed by joint Fellowship artists Sarah Staton and Jane Simpson. Artists’ interview by Sophie Raikes Series editor: Penelope Curtis kissingcousins takes its title from the Elvis Presley 56. Indoors and Out: The Sculpture and Published in association with Lund Humphries film of 1964, and reflects the artists’ interest Design of Bernard Schottlander in the genealogies and family groups in which Text by Victoria Worsley and Catherine artists find their place. The interview text is Moriarty interwoven with images and extracts from Schottlander fled to England from Germany 1939 1950 material in the Institute library and archive. in . In the s, his distinctive lamps, Softback | 34pp | 298 210mm | 38 illus chairs and ashtrays were promoted by the (5 col.) | ISBN 978-1-905462-15-5 £8.50 Council for Industrial Design. From the 1960s, he began making public sculptures, which inhabit the outdoor space like a kind of urban furniture. The Sculpture of William Tucker 16 298 210 18 Softback | pp | mm | illus | By Joy Sleeman 978 1 905462 16 2 3 50 ISBN - - - - | £ . This first major monograph on the sculptor includes a complete catalogue of his work to 57. A Kick in the Teeth. The equestrian date. Sleeman’s text situates Tucker’s career – monument to ‘Field Marshal Earl Haig, from the 1950s in Britain, and from 1976 in Commander-in-Chief of the British Armies North America – in a broad interpretative in France 1915–1918’ by Alfred Hardiman framework, and explores its wider implications Text by Nicholas Watkins Thomas Schütte: Early Work for the recent history, theory and practice of This essay focuses on archive material from Collated by Penelope Curtis sculpture. the Hardiman Papers at the Henry Moore Using the techniques of both traditional stage Lund Humphries in association with The Institute and Public Records from the National design and of contemporary conceptual art, Henry Moore Foundation Archive, detailing the series of hotly contested 192 290 240 Schütte deployed multiple components – Hardback | pages | mm issues raised by this controversial monument 272 12 0 85331 926 wallpapers, bricks, tiles and rings – across the illus ( col.) | ISBN X and which surround the construction of public 45 00 90 00 wall’s surface. Alongside these illusory façades, £ . $ . memory. he used other classic decorative techniques to Softback | 16 pp | 298 210mm | 11 illus. probe the nature of art and illusion. This ISBN 978-1-905462-17-9 | £3.50 picture book uses a range of material – much of it unpublished – from the artist’s own archives to illustrate his process c.1975–1980. Hardback | 135pp | 227 170mm | 110 illus (60 col.) | ISBN 978-1-905462-12-4 | £20

www.henry-moore-fdn.co.uk/bookshop

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Research Projects £31,802 Grants Programme FELSSO: 3D scanning of The Arch (LH 513b) National Life Stories: artists’ lives recordings Werk: ‘Art is not Enough’, workshop with Carlos Garaicoa’s studio at University of Liverpool School of Architecture Funding given by Ashmolean Museum, Oxford: a three-year fellowship to research the 2006/7 documentation of the Chantrey Gift and its subsequent history The Henry Moore Foundation during Camberwell College of Art: research and documentation of the estate of John Latham The figures after each category are the total grants paid in that cate- Royal Collection Trust: scientific examination of bronze and terracotta gory during the financial year to 31 March 2007. All grants are listed, sculptures and the aggregate is included in the financial summary on p.6. As the Scottish National Gallery of Modern Art: research and cataloguing of Review is published nine months after the end of the financial year, Paolozzi Collection at SNGMA some grants allocated since 1 April 2007 are included. These appear in blue in the second section of each category. Support for Post-Graduate Students £1,541 Bursaries of between £500 and £1,500 are offered to post-graduate Fellowships for Artists £12,000 students at British institutions to help fund special research or creative The Foundation considers applications throughout the year jointly projects. from an artist and institution for a six-month fellowship worth Mair Hughes, Glasgow School of Art £12,000. Rodney Johnstone, Goldsmiths’ College, London Suzanne Lacy, Robert Gordon University, Aberdeen Samuel Dowd, Dartington College of Art Jim Aitchison, Royal Academy of Music/Birkbeck College, University Christine Maddern, York University of London Conferences and Lectures £13,722 Post-Doctoral Research Fellowships £42,500 Art Spaces, British School at Rome, contemporary architecture programme Fellowships to develop publications are awarded each spring for one Artist-culture and the spirit of Capitalism, 2006 conference at year to scholars who have recently completed PhD degrees. The Showroom, London Dr Anna Dezeuze, Manchester University: The ‘Almost Nothing’: Back to the Future, MA Creative Students at Goldsmiths’ College, London Dematerialisation and the Politics of Precariousness Curating Architecture, Goldsmiths’ College, London Dr Marika Leino, Oxford University: Italian Renaissance Plaquettes in Space Soon, Arts Catalyst at the Roundhouse, London Context Collecting and Dynastic Ambition, Institute of Historical Research, London Dr Anna Lovatt, Courtauld Institute: The Role of Drawing in New York- CIMAM Conference 2006 – Contemporary Institutions: Between Public and based Sculptural Practices of the late 1960s and early 1970s Private, Tate Modern, London Dr Alistair Rider, York University: Base Measure: Andre’s Sculptures and Artist Workshop led by Maria Fusco, Matt’s Gallery, London Politics 1959–1976 Canova Study Day, English Heritage Dr Vicky Greenaway, Royal Holloway, University of London: The Collecting and the Princely Apartment, at Ottobeuren, Bavaria, organised Romantic Poet as Sculptor/Sculptress: a theoretical study in the gendering by Andrea Gáldy of idealist aesthetics In Conversation with Lawrence Weiner and Liam Gillick, ProjectBase, Dr Rachel Wells, Courtauld Institute: Scale in Contemporary Sculpture: Falmouth The Enlargement, the Life-size, the Miniaturisation Lecture Programme for the Kirkcudbright International Arts Festival 2007 Qui.Enter Atlas, International Symposium of Young Curators, GAMeC, Bergamo World Art: Ways Forward, University of East Anglia, Norwich

Installation view of Antony Gormley: Bodies in Space, Georg- Kolbe-Museum, Berlin. Photo: Michael Lüder

Louise Bourgeois, Red Room (Child) 1994 installed at Tate Modern, London. Collection Musée d’art contemporain de Montreal. Copyright: Louise Bourgeois Henri Gaudier-Brzeska, Birds Erect 1914, included in WE the Moderns. © Kettle’s Yard, University of Cambridge. Photo: Paul Allitt 18 H Moore Review p16-23 2007 DEC 18:H Moore Review p16-23 2006 21/12/07 06:30 Page 19

Publications £71,800 A publication to accompany the Richard Long Retrospective at the Scottish Applications especially for documenting contemporary work are National Gallery of Modern Art, Edinburgh considered throughout the year and must come from the publisher ‘Depth of Field: Relief Sculpture in Renaissance Italy’, an anthology of the proposed volume. published by Peter Lang AG Deposits, work produced by Uriel Orlow between 1996 and 2005, Eta, A publication to accompany the exhibition ‘Comfort Zones’ at Oriel Davies St Leonard’s on Sea Gallery Projection Event: Three Conversations with Anthony McCall, book and A publication to accompany the exhibition ‘Drawing Breath’ at Wimbledon DVD published by Double Agents, Central St Martins College of School of Art Art & Design Photographs for a publication on memorials in Leeds Parish Church, the Certain Trees: The Constructed Book 1964–2006, to accompany an Thoresby Society exhibition at Centre des Livres d’Artistes, Saint-Yrieix-la Perche in A publication to accompany an exhibition of work by Michael Pennie, Black June 2006 and touring to the V&A Swan Arts, Frome A publication accompanying the exhibition ‘Roger Hiorns’ at Milton Keynes ‘Reading as Art’ by Simon Morris, Information as Material, York Gallery A publication relating to the role of drawing in producing works from the A book of essays on the writings and artistic patronage of Lady Anne Clifford Cast Iron Sculpture Workshop, Ironbridge Open Air Museum of Steel (1590–1676), Yorkshire Archaeological Society, Leeds Sculpture, Telford ‘Bent Aura’, a publication about fictional sculpture parks, an element of an A publication documenting the exhibition ‘Sleep of Ulro’ by Goshka Macuga, exhibition by Chris Evans at Studio Voltaire, London aFoundation, Liverpool A publication accompanying an exhibition of work by Alice Mayer at Oratorio Illustration for ‘Classical Sculpture and the Culture of Collecting’ by Viccy di San Ludovico, Venice Coltman, Oxford University Press The Sculpture Journal Volume XV Nos 1 and 2 The Sculpture Journal, Volume XVI Nos 1 and 2 Writings on Carl Andre since 1965, an anthology compiled by Alistair A book of critical essays on Herbert Read, published by Freedom Press, Rider, Paula Feldman and Karsten Schubert, published by London Ridinghouse, London A film on the ideas and work of Stephen Willats, Control Magazine, London A publication to accompany the exhibition ‘Armour Boys’ by Laura Ford at Volumes: ‘Some Forms of Availability’ by Simon Cutts; ‘Awayday in the Royal Scottish Academy Paradise’ by Ian Breakwell, Research Group for Artists’ Publications, A publication to accompany the exhibition ‘A Secret Service: Art Compulsion Ripley Concealment’ at Hatton Gallery, Newcastle A publication on the artist Bill Culbert, by Ian Wedde, published by Auckland A publication to accompany the exhibition ‘Stephen Cox: Sculptor – Origins University Press & Influences’, Bristol City Museum & Art Gallery A publication ‘Patio and Pavilion: the place of sculpture in modern architecture’ Monograph on the work of Layla Curtis by Matthew Hart and Sally by Penelope Curtis, published by Ridinghouse, London O’Reilly, co-published by Locus+ Publishing and The New Art ‘Implicasphere’, a serial broadsheet published by Implicasphere, London Gallery, Walsall A publication to accompany ‘Bibliomania’, a series of libraries, Guestroom, English Medieval Tomb-monuments: Construction, Destruction, Reconstruction London by Phillip Lindley, published by Shaun Tyas/Paul Watkins Publishing A catalogue to accompany an exhibition by Cathy Wilkes, Milton Keynes Joseph Cornell: Opening the Box, contributors: Dawn Ades, Julia Kelly, Gallery Anna Dezeuze, Jason Edwards, Stephanie Taylor. Published by Burlington Magazine, December 2007 issue on sculpture Peter Lang AG A catalogue to accompany an exhibition by David Batchelor, Talbot Rice Monograph on the sculptor Tim Scott, published by Salon Verlag, Köln Gallery, Edinburgh Burlington Magazine, December 2006 issue on sculpture A publication to accompany a retrospective exhibition of Keith Arnatt’s photographs at the Photographers’ Gallery, London ‘Talking Art’ Art Monthly interviews from 1976 to 2006

Richard Long, Cairngorm Line 2007, installed at the Scottish National Gallery of Modern Art, Edinburgh. © The Artist. Photo: Michael Wolchover

Cornelia Parker, Subconscious of a Monument 2003, soil excavated from beneath the Roman Signer, Office chair (Bürostuhl) 2006, DVD, Leaning Tower of at the Fruitmarket Gallery, Edinburgh. Courtesy the artist Pisa, and wire. Installation view, Ikon Gallery, Birmingham 2007 19 H Moore Review p16-23 2007 DEC 18:H Moore Review p16-23 2006 21/12/07 06:30 Page 20

Exhibitions £380,832 Bristol, Arnolfini: Brian Griffiths: the Man who loved Islands General funding for all aspects of exhibition making. The Foundation Cardiff, Chapter Gallery: Flashes from the Archive of Oblivion supports the work of British artists and those who live and work in the Dortmund, Hartware MedienKunstVerein: History Will Repeat Itself UK wherever shown. It also supports exhibitions in the UK of artists Dublin, Douglas Hyde Gallery: Martin Creed from overseas. Edinburgh, Fruitmarket Gallery: Alex Hartley; Roman Signer Belfast, Catalyst Arts Gallery: David Sherry Istanbul 10th International Biennial: Ian Kiaer Bern, Kunsthalle Bern: Pavel Büchler Lewes Town Hall: David Nash – A Sculptor’s Development Birmingham, Ikon Gallery: Suchan Kinoshita; Richard Deacon: Personals Ludlow, Meadow Gallery: Still Life Brighton Museum & Art Gallery: Alice Mayer London, Camden Arts Centre: The Constructed Art of Kenneth & Mary Bristol Museum & Art Gallery: Stephen Cox: Origins and Influences Martin Bristol, Arnolfini: Lois and Franziska Weinberger; Melanie Jackson London, Pump House Gallery: Dallas Seitz: The Hunter/Cannibal Cambridge, Kettle’s Yard: Rodin: All About Eve; WE the Moderns: London, Serpentine Gallery: Matthew Barney Henri Gaudier Brzeska and his European Counterparts London, Tate Modern: Louise Bourgeois Dorchester Abbey: Bill Viola: The Messenger Ludlow Castle: Michael Sandle Dublin, Douglas Hyde Gallery: Paloma Varga Wiesz Manchester International Festival: Il Tempo del Postino Dundee Contemporary Arts: David Shrigley Münster, Stadt Münster: Phil Collins Edinburgh, Fruitmarket Gallery: Christine Borland Powys, Oriel Davies Gallery: Comfort Zones Gateshead, Baltic: Wang Du: The Space-Time Tunnel Grenoble, Musée de Grenoble: David Tremlett Retrospective Exhibitions – New Commissions £392,423 Huddersfield Art Gallery: Beyond Appearances: Carl Plackman Bath Spa University College: Tania Kovats: MEADOW Leeds Art Gallery: Paranoia (touring to Focal Point Gallery, Southend, Birmingham, Ikon Gallery: Olafur Eliasson and Freud Museum, London) Brighton Photo Biennial, Fabrica: Alfredo Jaar: The Sound of Silence Liverpool, Tate: Jake and Dinos Chapman: Bad Art for Bad People Callock, Stour Valley Arts: Jem Finer: A Score for a Hole in the Ground Llandudno, Oriel Mostyn: Arthur Bispo Do Rosario Cardiff Bay, CBAT: Marjetica Potrˇc at Urban Legacies II conference London, Chisenhale Gallery: Valentin Carron vs Mai-Thu Perret: Solid Coventry, Mead Gallery: Tomoko Takahashi: Crash Course Objects Edinburgh, Fruitmarket Gallery: Marijke van Warmerdam: First Drop London, Royal Academy of Arts: Citizens and Kings: Portraits in the Age Folkestone Coastal Park: Jeremy Millar-Zugzwang of Revolution 1760–1830 Glasgow, Hunterian Gallery: Jacqueline Donachie: Tomorrow Belongs to Me London, South London Gallery: Chris Burden – The Flying Steamroller Glasgow, Kelvingrove New Century Project: Dalziel + Scullion and London, Tate Modern: David Smith: Sculpture 1933–1965 Craig Armstrong: ONCE Manchester, Cornerhouse: Nick Crowe: Commemorative Glass Hastings Museum & Art Gallery: Yes, Yes, Y’all Manchester, Whitworth Art Gallery: Concrete Thoughts Haworth, Brontë Parsonage: Cornelia Parker at the Brontë Parsonage Munich, Kunstverein Munich: Hilary Lloyd Museum Rome, British School at Rome: Douglas Gordon retrospective Huntly, Deveron Arts: David Blyth: Knocturne Siegen, Museum für Gegenwartskunst: Stephen Willats Liverpool, aFoundation: Goshka Macuga: The Furnace Southampton, John Hansard Gallery: John Latham: Time Base and the Liverpool, Liverpool Biennial – International 06 Universe Liverpool, Tate: Chinese Contemporary Art Wakefield, Yorkshire Sculpture Park: James Turrell London, Artsadmin: Graeme Miller – HELD York, The Yorkshire Museum: Constantine the Great: York’s Roman London, Arts Catalyst at the Roundhouse: Aleksandra Mir: Gravity Emperor London, Barbican: Richard Wilson Athens Biennial: How to Endure London, British Film Institute: Jennifer and Kevin McCoy Birmingham, Ikon Gallery: Cornelia Parker; Damian Ortega London, Café Gallery Projects: Michael Cross: Invisible Bridge Braunschweig, Kunstverein Braunschweig: Mark Wallinger London, Chisenhale: Bernd Behr: House Without a Door

Front to back: Meschac Gaba, Rivington Place, The ‘Gherkin’ and The GLA Building 2006, part of the Tresses series, commissioned by Iniva with the support of the Foundation. Photo: Thierry Bal Installation view of Keith Wilson & Richard Woods, the inaugural exhibition at P3, London. Photo: Andy Keate 20 H Moore Review p16-23 2007 DEC 18:H Moore Review p16-23 2006 21/12/07 06:30 Page 21

London, Cubitt: Matthew Day Jackson:Paradise Now! (Limbo) Liverpool, aFoundation: Catherine Sullivan: Triangle of Need London, Drawing Room: Katja Davar: The Secret Theory of Drawing Liverpool, Work in Progress: Terry Smith: Broken Voices (shown at London, ICA: Around the World in Eighty Days (in collaboration with aFoundation, Liverpool; Prince Charles Theatre, London, and South London Gallery) De La Warr Pavilion, Bexhill) London, Illuminate Productions: CORE at Union Works, New Globe London, Barbican Centre: Marjetica Potrˇc: Forest Rising Walk London, Beaconsfield: London Fieldworks: Hibernator London, Iniva: Meschac Gaba London, Camden Arts Centre: David Thorpe London, Matt’s Gallery: Mike Nelson: Amnesiac Shrine; Jimmie London, Chisenhale Gallery: Rosalind Nashashibi: Bachelor Machines; Durham: Building a Nation Hiraki Sawa London, National Maritime Museum: Lawrence Weiner: Inherent in the London, Coleman Project: Jonathan Scott: Dead Planetarium Rhumb Line London, P3, University of Westminter: Keith Wilson & Richard Woods London, Peer: Anthony McCall: Between You and I; John Frankland: London, Hayward Gallery: Antony Gormley: Blind Light Volume; Bob and Roberta Smith: Shop Local London, Horniman Museum: Religion, Slavery and Diaspora London, Photographers’ Gallery: Zenib Sedire: Saphir (Film & Video London, ICA: Memorial to the Iraq War Umbrella Project) London, IMT: Maria Von Köhler: Ahora en Español London, Serpentine Gallery: China Power Station London, Peer: Tania Kovats: Small Finds London, Studio Voltaire: Elizabeth Price: A Public Lecture and Exhumation London, Pump House Gallery: Richard Dedomenici: Normalisation of London, Whitechapel Art Gallery: Ugo Rondinone – zero built a nest in Deviance my navel London, South London Gallery: Stay Forever and Ever and Ever Margate, Turner Contemporary: Jeremy Deller and Alan Kane: UNITÉ London, Studio Voltaire: Thea Djordjadze: Possibility, Nansen Milton Keynes Gallery: Rose Finn-Kelcey Massachusetts, University of Massachusetts: Bethan Huws Munich, Kunstverein Munich: SECRET PUBLIC, The Last Days of the Münster, Westfalisches Landesmuseum: Sculpture Projects Münster 07 British Underground 1978–88 New York, Creative Time: Mike Nelson Northampton, Royal & Derngate: John Frankland – public art commis- Rome, British School at Rome: Live Life: an event about performance sion: ‘A small door’ and ‘Spot’ Sheffield S1 Artspace: George Henry Longly: a new commission Norwich, Castle Museum: Waterlog (Film & Video Umbrella project) Wakefield, Yorkshire Sculpture Park: Andy Goldsworthy Potsdam, European Art Projects: Ideal City/Invisible City Wales at the Venice Biennale: Heather and Ivan Morrison Preston, Harris Museum & Art Gallery: Kutlug Ataman:‘Paradise’ Waltham Abbey, Arts Catalyst: Artists Airshow 2 Redruth, Projectbase: Developing new art commissions Southampton, John Hansard Gallery: Slow Life Capital Grants £120,000 Toshima City, Ropongi: 7 Samurai Apart from the Artists General Benevolent Institution, funding is not Victoria, Australia Centre for Contemporary Art: Mike Nelson given to other grant distributing bodies. It is also not the Foundation’s Belgium, Fonds Regional d’Art Contemporain: Graham Fagen: Shadows policy to give capital grants, except in exceptional circumstances. The in Paradise grant to Toronto to refurbish the space created for Henry Moore’s Berlin, Georg-Kolbe-Museum: Antony Gormley large gift of work has been seen as a special case. Bexhill, De La Warr Pavilion: Sophy Rickett: Auditorium (part of the AGBI annual grant Triple Echo Exhibition) Leeds Art Gallery: floor refurbishment Bristol Museum & Art Gallery: Mariele Neudecker Leeds Art Gallery: conservation of the statue of Circe Bristol, Spike Island: Working Things Out Toronto, Art Gallery of Ontario: refurbishment of the Henry Moore Coventry, Mead Gallery: João Penalva Sculpture Center Derry, Void Gallery: Cathy Wilkes Egremont, Grizedale Arts: Jeremy Deller and Alan Kane: The Greasy Pole Exeter, Spacex Gallery: Peter J Evans: Feedbacker www.henry-moore-fdn.co.uk/grants

Rose Finn-Kelcey, Sad and Lonely 2006. © Chris Webb, courtesy Milton Keynes Gallery

Kenneth Martin, Screw Mobile (Multiple) Version II 1969, includ- ed in The Constructed Art of Kenneth & Mary Andy Goldsworthy, Woodroom, Yorkshire Sculpture Park 2007. Martin at Camden Arts Photo: Jonty Wilde Centre, London. Estate of Kenneth Martin, courtesy Annely Juda Fine Art, London 21 H Moore Review p16-23 2007 DEC 18:H Moore Review p16-23 2006 21/12/07 06:30 Page 22

Looking Ahead

Selected Highlights from the 2008 Exhibitions Programme

Henry Moore, Perry Green The landmark exhibition Moore at Kew will doubtless continue to inspire visitors until it closes at the end of March. Other continuing exhibitions, described and listed elsewhere in this Review, will be touring throughout Europe, highlighting different areas of the artist’s oeuvre from literary illustration to his exploration of sculpture’s interaction with natural and urban landscapes. From spring 2008, visitors to Perry Green will be able to see Moore’s work in textiles, a fascinating and little-known area of interest; while on the other side of the Atlantic a selection of his monumental works will grace New York’s extraordinary Botanical Garden.

Continuing into 2008 Moore at Kew Royal Botanic Gardens, Kew Maria Martins, The Impossible III 1946, to be seen in Against Nature: Until 30 March The hybrid forms of modern sculpture at the Henry Moore Institute. © 2007 The Museum of Modern Art, New York/Scala, Florence Henry Moore et la Mythologie Musée Bourdelle, Paris Until 28 February Henry Moore Institute, Leeds The programme for 2008 at the Henry Moore Institute falls into three Henry Moore und die Landschaft seasons. This spring the focus is on the darker side of nature – its uncanny Opelvillen, Rüsselsheim and surrealised aspects, its source of extraordinary forms, and its use as Until 30 March a raw material. In the summer we look at the link between geo-political and artistic space, linking the body’s action on the ground with that in New for 2008 the space of the artwork. In the autumn we return to an earlier fascination, Henry Moore and the Challenge of Architecture with the links between sculpture and the decorative arts, as combined Didrichsen Art Museum, Helsinki within the domestic space. 7 February – 28 September 2008 Ways in which Henry Moore approached problems of placing sculpture New for 2008 in an architectural context Against Nature: The hybrid forms of modern sculpture 7 February – 4 May 2008 in the main galleries Henry Moore: Textiles Touring to Scheveningen and Bremen Sheep Field Barn, Perry Green Ways in which the human form has been combined with those of the 1 April – 19 October 2008 animal, vegetable and mechanical worlds over the last 100 years

Moore in America: Monumental Sculpture at the Heart of Darkness: Ivory carving and Belgian colonialism New York Botanical Garden 5 April – 29 June 2008 in Gallery 4 24 May – 2 November 2008 The amazing compositions Belgian sculptors were encouraged to craft The first major outdoor Henry Moore exhibition to be shown to promote the bloody trade in ivory in America The Object Quality of the Problem: The space of Israel/Palestine 1 June – 27 July 2008 in the main galleries A thought-provoking exploration of the representation in film and photography of the spatial experience of living in Israel and Palestine.

Taking Shape: Finding sculpture in the decorative arts 2 October 2008 – 4 January 2009 in the main galleries Drawing on two outstanding collections – from Temple Newsam House in Leeds, and the J Paul Getty Museum in Los Angeles – of Baroque and Rococo ornamentation

Dalou in Britain: Portraits of womanhood (1871–79) 22 November 2008 – 22 February 2009 in Gallery 4 The motif of the seated woman found in the work of Jules Dalou, while he was in exile in Britain

To keep in touch with The Henry Moore Foundation and learn of up and coming exhibitions and events at Perry Green and the Henry Moore Institute as well as our world wide exhibition programme, subscribe to our e-bulletin by visiting www.henry-moore-fdn.co.uk

Henry Moore, Fern Leaves and Palm Branches c.1946 (TEX 18), to be included in Henry Moore: Textiles in the Sheep Field Barn at Perry Green. Photo: Matt Pia H Moore Review p16-23 2007 DEC 18:H Moore Review p16-23 2006 21/12/07 06:30 Page 23

General Information The Henry Moore Foundation Trustees: Sir Ewen Fergusson GCMG GCVO (Chairman), Professor Dawn Ades FBA OBE, David www.henry-moore-fdn.co.uk Ansbro, Professor Malcolm Baker FSA, Dr Marianne Brouwer, Professor Andrew Causey, Laure Genillard, James Joll FSA, Simon Keswick, John Lewis OBE, Duncan Robinson, (Chairman, from Perry Green 2007) November , Greville Worthington Hertfordshire SG10 6EE Advisory Board: Sir Alan Bowness CBE, Patrick Gaynor, Sir Ernest Hall OBE DL, Tim Lewellyn OBE, [email protected] Peter Ohrenstein, Sir Rex Richards FBA FRS, Henry Wrong CBE Te l + 44 (0) 1279 843333 Fax +44 (0) 1279 843647 Director: Richard Calvocoressi

Head of Finance and Administration Henry Moore, Perry Green Henry Moore Institute, Leeds Charles M Joint David Mitchinson, Head of Collections and Exhibitions Dr Penelope Curtis, Curator Anita Feldman, Curator Henry Moore Institute The Henry Moore Foundation the sculpture conservators. The Institute presents approxi- 74 The Headrow holds the world’s largest The Foundation and Hoglands, mately ten new exhibitions Leeds LS13AH collection of work by Moore, the artist’s home for over every year; it also curates the [email protected] including sculpture, drawings, 40 years, are open to the public sculpture collections of Leeds Information line: graphics, tapestries and textiles. by appointment from 1 April to Museums & Galleries, and +44 (0) 113 234 3158 This collection may be seen by 19 October 2008. On Tuesday houses an archive and library. Te l + 44 (0) 113 246 7467 the public at Perry Green and to Friday, guided tours of the Temporary exhibitions link the Fax +44 (0) 113 246 1481 through a programme of exhi- gardens, studios and galleries collections with research activi- bitions mounted in collaboration start at 2.30pm and take just ties. Talks and seminars, often For a full list of staff at both with institutions worldwide. under two hours. On Saturday held in conjunction with other Perry Green and Leeds visit Research facilities available to and Sunday, visits are unaccom- organisations, take place at the www.henry-moore-fdn.co.uk/ scholars include a library, an panied from 11am until 5pm, Institute and elsewhere. The staff archive of original letters and also by appointment. Morning Henry Moore Institute is open an extensive photographic educational visits by arrange- to visitors daily 10am–5.30pm, For all press enquiries please collection. The database, ment. Closed Mondays, and Wednesday 10am–9pm. contact recording Moore’s complete on Tuesdays following a Bank The Sculpture and Study Communications Officer oeuvre, supports continuing Holiday. For details of admissions Galleries in Leeds Art Gallery Sarah Cockburn research on the catalogue and charges please visit are open Monday and [email protected] raisonné. Conservation and www.henry-moore-fdn.co.uk Tuesday 10am–8pm, installation advice is provided or telephone 01279 843333. Wednesday 12–8pm, to museums and collectors by Thursday to Saturday 10am– 5pm, Sunday 1–5 pm. Admission to both is free.

© 2007 The Henry Moore Foundation All rights reserved Henry Moore is a Registered Trade Mark of The Henry Moore Foundation

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Copy-editor: Linda Saunders Designer: Herman Lelie Typeset by Stefania Bonelli Printed in England by FS Moore

Published by: The fibreglass Large Reclining Figure 1983 (LH 192b) in front of the Palm House, Kew Gardens 2007. The Henry Moore Foundation Photo: Malcolm Woodward ISSN 1363-352X

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