THE HEPWORTH

MEDIA KIT

MEDIA CONTACT: IMAGE REQUESTS:

Naomi Roberts, PR and Media Manager High resolution images & credits are available from T: +44 (0)1924 247 392 the Media Centre: www.hepworthwakefield.org/press M: +44 (0)7717 807 512 E: [email protected] For further assistance with images and credits contact: Lauren Fox, Development & Communications Assistant Twitter: www.twitter.com/HepworthGallery Facebook: www.facebook.com/TheHepworthWakefield T: +44 (0)1924 247395 E: [email protected]

The Hepworth Wakefield is a registered charity, no 1138117.

INTRODUCTION

The Hepworth Wakefield is at the heart of Wakefield’s regeneration. Designed by the internationally acclaimed practice, Architects, it measures 5,000 square metres and is the UK’s largest purpose-built gallery since The Hayward in London was built in 1968.

The Hepworth Wakefield takes its name from the internationally acclaimed sculptor, , who was born in Wakefield in 1903. It showcases Wakefield’s nationally important collection, which includes major works by Barbara Hepworth and her contemporary , born nearby in in 1898. The Wakefield Permanent Art Collection also holds key works by other leading British artists including Ben Nicholson, Jacob Epstein, Ivon Hitchens, Graham Sutherland, John Piper, Paul Nash, Patrick Heron, L.S. Lowry and Lucie Rie. The displays are enhanced by loans from the collections of Tate, the Arts Council, the British Council and private lenders.

The gallery has 650 square metres of temporary exhibition space, making The Hepworth Wakefield one of largest contemporary art spaces outside London, described by The Times as ‘one of the world’s Top 50 art galleries’. Equipped with state-of-the-art learning spaces and a flexible auditorium, The Hepworth Wakefield offers an expansive programme of learning projects for all ages. This includes regular talks, lectures, performances, meetings and screenings, along with a welcoming café bar and a shop located on the ground floor.

The Hepworth Wakefield is a major cultural asset for Yorkshire, enhancing the region’s reputation as one of the world’s leading centres for the exhibition and appreciation of sculpture.

The £35 million development of The Hepworth Wakefield site is at the heart of Wakefield’s regeneration. It acts is as a catalyst for tourism and has attracted in excess of £350 million inward investment into the historically important Waterfront area of the city, with its listed mills and warehouses. The on-going development in Wakefield city centre includes a new retail projects Trinity Walk and a new market hall designed by David Adjaye. The £140 million transformation of Wakefield Merchant Gate has created a new business quarter for Wakefield and an £8.1m development of Wakefield Westgate train station opened in 2013 with the nearby Wakefield Kirkgate train station reopening in 2015 after a £5.6m redevelopment.

The Hepworth Wakefield is funded by Wakefield Council and Arts Council England with additional funding from a number of charitable trusts and private individuals.

THE HEPWORTH WAKEFIELD OPENING TIMES Tuesday – Sunday 10am – 5pm Closed Mondays (except Bank and local school holidays) Visit hepworthwakefield.org for details of late night openings Admission to the gallery is free

2 THE COLLECTION

Wakefield’s art collection consists of over 5,500 works. At the core of the collection is a significant group of works by modern British artists including Barbara Hepworth and Henry Moore, who were both born in the Wakefield District.

Established in 1934, the original Wakefield Art Gallery adopted an ambitious collecting policy with a core aim of nurturing an understanding of contemporary art. Works by the leading artists of the time, who have now become synonymous with shaping Modern British art, were acquired for the collection. They include Hepworth’s Mother and Child, 1934, and Moore’s Reclining Figure, 1936, representing an important period in the history of British art during which many artists such as Ivon Hitchens, Paul Nash and John Piper began to experiment with abstraction. Other leading British artists are represented in the collection: David Bomberg, Roger Fry, Harold Gilman, Duncan Grant, Ben Nicholson, Patrick Heron, Lucie Rie &William Scott.

Since it opened in May 2011 The Hepworth Wakefield has significantly grown Wakefield’s art collection with works of art valued at approximately £7million. This has been achieved through seeking grants from Trusts and Foundations and actively cultivating philanthropic generosity from individual collectors and artists. Key acquisitions include works by recent Turner Prize nominee Anthea Hamilton, Frank Auerbach, Clare Woods, Eva Rothschild and, of course, Barbara Hepworth and now several hundred works from the recent Tim Sayer Bequest.

THE HEPWORTH FAMILY GIFT

The Hepworth Family Gift is a remarkable collection that is central to the gallery’s permanent collection. It consists of 44 of Hepworth’s surviving working models for her bronze sculptures, the majority of which were made in plaster. The Gift also includes a group of works by Hepworth’s artist friends, including paintings by John Wells and Breon O’Casey, and ceramics by Janet Leach.

The collection reflects the variety of ways in which Hepworth used plaster and aluminium as part of her working process. She preferred to make prototypes on the same scale as the finished sculptures and would have worked directly on the majority of these models. The centrepiece of the Gift is the aluminium prototype for , 1961, the sculpture commissioned by John Lewis for their flagship store on Oxford Street. At nearly six metres high, this is the only working model to survive for the monumental commissions Hepworth received in later life.

This generous gift was made by the Hepworth Family through the Art Fund and was one of the key reasons for building a new gallery for Wakefield, connecting Hepworth’s name with the city in which she was born and grew up. The Hepworth Estate has worked throughout with David Chipperfield Architects on the design of the two purpose-built gallery spaces devoted to The Hepworth Family Gift.

THE GOTT COLLECTION

An important attraction for visitors is the Gott Collection, gifted to the City’s art collection in 1930 and rarely seen prior to the opening of The Hepworth Wakefield. Through funding by the Esmée Fairbairn Foundation this unique resource of 1,200 works on paper, including maps, topographical drawings and watercolours, depicting over 200 Yorkshire towns and villages and famous Yorkshire landmarks has been made publicly accessible via a digital database in May 2013. Collectively they show how Yorkshire has long been a place of artistic inspiration.

Located opposite The Hepworth Wakefield, the Chantry Chapel is a major city landmark that can be viewed from the gallery. It proved to be a popular subject for a number of 18th and 19th century artists and was depicted by J.M.W Turner in 1797-8. In addition, the collection includes a group of work by regional artists such as John Buckler (1770-1851), John Coney (1786-1833), Rev. Thomas Kilby (1794-1868) and Louisa Fennell (1847-1930) that provide a comprehensive visual history of the development of Wakefield and the surrounding area.

Until The Hepworth Wakefield opened in May 2011, the Gott Collection has largely been in storage. However, a conservation and digitisation project supported by the Esmée Fairburn Foundation has made it possible to display volumes from the collection and make this unique historical, artistic and educational resource more accessible through an online catalogue on The Hepworth Wakefield’s website.

3 THE CALDER

The Calder is an ambitious project to re-purpose and re-invigorate Caddies Wainwright Mill, a 19th century former textiles mill on the River Calder, began in spring 2013. The ground floor of this historic building has been transformed into a new art space presenting an exciting programme of world-renowned contemporary artists, artist projects, performance and other events as well as continuing our award-winning learning activities.

Opened to the public on 30 August 2013, The Calder celebrates the heritage of the waterfront site. This new space presents a great opportunity to attract even more visitors to this conservation area, providing a rich cultural context in which to see art, engage with artists and to explore the waterfront.

The development of Wakefield over the centuries has been mostly due to its location on the banks of the river Calder and the ease of navigation from east to west. Across much of its length, the Calder is canalised and becomes the Calder and Hebble Navigation, forming part of the Aire and Calder Navigation, before it merges into the River Aire and joins the River Humber and the North Sea. The river was vital to the success of the textile industries in the local area and many major mills were constructed along its banks, particularly at Halifax, Huddersfield, Dewsbury and Wakefield. By the 19th century the area now known as Wakefield Waterfront was a thriving industrial area with around 35 mills established on this site as well as the boatyard which in still in operation today. Over the years the mills have had a variety of uses including corn merchants, textiles, wool processing and spinning.

The Calder capital project is funded by Wakefield Council, who are the principal proprietor of the waterfront site adjacent to The Hepworth Wakefield. The exhibition and event programme will be funded from a number of charitable trusts, corporates and private individuals and will be match-funded in part through the Arts Council England Catalyst Arts programme.

The Calder, Gallery Walk, , WF1 5AW www.hepworthwakefield.org 01924 247360 Twitter: @HepworthGallery #TheCalder

4 LEARNING

The Hepworth Wakefield is located in one of the 70 most disadvantaged areas in England, and over one quarter of the surrounding district’s population live in areas that are amongst the most deprived nationally (The Index of Multiple Deprivation 2010). The Hepworth Wakefield is providing the people of the region, including hard-to-reach groups, with access to inspiring, world-class art, while creating a home for Wakefield’s significant art collection. As an important resource for the area, we are helping to reinvigorate civic pride and inspire young people to broaden their horizons and achieve their potential.

CLORE LEARNING AWARD 2013

In June 2013 The Hepworth Wakefield won the coveted £10,000 Clore Learning Award as part of the Art Fund Prize for Museum of the Year Awards 2013.

The award recognises the achievements and celebrates the quality in museum and gallery learning programmes. These programmes develop the skills, knowledge, values and enjoyment with children and young people (from early years up to the age of 25). The winners were chosen by an independent panel of judges chaired by Art Fund Director, Stephen Deuchar. The judges were Daily Telegraph’s Arts Editor in Chief Sarah Crompton, writer and broadcaster Bettany Hughes, Tristram Hunt MP and the artist Bob and Roberta Smith.

Stephen Deuchar, Director of the Art Fund and chair of the judges, said: “The integration of curatorial and learning programmes – which so many museums attempt – has rarely been achieved so completely and impressively as at The Hepworth Wakefield. It is educational, aspirational, and inspirational to the core.”

5 THE BUILDING & AWARDS

The Hepworth Wakefield designed by David Chipperfield Architects is situated in the conservation area at the headland of the River Calder. The gallery building is formed from a conglomeration of 10 individually sized trapezoidal blocks that respond to the scale and rooflines of the surrounding historical, industrial buildings. With water on two sides and visibility from all directions, the building has no front or back elevation.

The galleries are all located on the upper floor and are characterised by a wealth of natural light from the ceiling lights slots and windows, ideal for the display of sculpture. The ground floor contains rooms which perform primarily front-of- house functions to offer a performance space, learning studios, public facilities, as well as a shop, café bar and reception. Also situated on this level are the administration, back of house areas and an archive. The art collection is also stored on this level.

RIVERSIDE PLAY AREA

The riverside play area in the gallery garden creates an inclusive and fun, play opportunity for children of various ages and abilities. The bespoke design features a rock stack, wooden play ship, an aerial cableway and with play towers, slides, bridges and climbing nets. The play area is part of the Three Area’s Project into Change4Life, funded by NHS Wakefield District and Wakefield Council, as well as allocated funds via the Governments Playbuilder Capital Programme.

AWARDS & NOMINATIONS

Order of the British Empire 2015 Simon Wallis, Services to the Arts National Lottery 2014 Finalist, England’s National Treasure Lonely Planet 2014 Best in Travel White Rose Awards 2013 Finalist, Large Visitor Attraction Museum of the Year 2013 Winner of the Clore Award for Learning Art Fund Prize 2013 Finalist, Museum of the Year Award & Clore Learning Prize RIBA Stirling Prize 2012 Shortlisted for the Stirling Prize for architecture White Rose Awards 2012 Arts and Culture Award Art Fund Prize 2012 Finalist, Museum of the Year Award RICS Pro Yorkshire Awards Commercial, Tourism & Leisure, Design & Innovation South Bank Sky Arts Awards 2012 Nominated in the visual art category (David Chipperfield) Wakefield Civic Society Design Awards 2012 Best New Building The Civic Trust National Panel Special Award 2012 The Wallpaper* Design Awards 2012 Best New Public Building The British Design Awards 2011 Best Architectural Achievement Condé Nast Traveller Award 2011 Innovation and Design Award (culture)

CREDITS Client: Wakefield Council Architect: David Chipperfield Architects Principal: David Chipperfield Director: Oliver Ulmer Project architect: Nick Hill, Kelvin Jones, Demian Erbar

6 WAKEFIELD REGENERATION

Since the gallery opened on 21 May 2011 it has been at the heart of Wakefield’s regeneration. The gallery has helped to secure significant private sector investment to restore the listed mills and warehouses in this important conservation area. The positive ripple effect is already being felt in the communities surrounding the gallery, with private sector investment in the district totalling up to £1 billion.

More than 1.5 million visitors have been welcomed since the gallery opened helping to contribute over £20 million to the local economy.

Visiting cultural attractions is West Yorkshire’s main appeal to visitors and The Hepworth Wakefield plays a vital role in increasing not only regional tourism, but also in attracting visitors from across the UK and internationally to Yorkshire.

The reputation and success of The Hepworth Wakefield has shown the value of culture-led regeneration. The gallery’s vision for the transformation of the wider site around the gallery and Wakefield waterfront are progressing further with a developer now secured for the Rutland Mills complex and the Hepworth Riverside Garden project underway, to create one of the country’s largest free public gardens in Wakefield.

Across Wakefield tourism contributes £323 million to the local economy and generates 9,000 jobs and across the Yorkshire and Humber region heritage tourism generates £2.1billion visitor expenditure a year.

With ‘Yorkshire Sculpture Triangle’ partners – Yorkshire Sculpture Park (YSP) at West Bretton, the Henry Moore Institute (HMI) in Leeds and , The Hepworth Wakefield is helping to create an exciting and unique cultural offer, confirming Yorkshire as a new world centre for sculpture.

7 TRUSTEES & EXECUTIVE STAFF

The Hepworth Wakefield is a registered charity. The gallery’s governance consists of an appointed board of Trustees and an operational senior management team.

The Hepworth Wakefield Board of Trustees

o David Liddiment – Chair o Dr Sophie Bowness o John Holden o Tom Wilcox o Linda Bennett o Michael Ziff o Andy Wallhead o Les Shaw o Diane Howse o David Roberts o Neil Wenman o Jane Mee o Brian Garrison o Joanne Lake

Senior Management Team

o Simon Wallis, Director o Jane Marriot, Managing Director o Olivia Colling, Director of Communications and Development o Rachel Crewes, Head of Business Development o Kath Knight, Head of Operations o Victoria Boome, Head of Learning o Louisa Wood, Senior Development Manager o Andrew Bonacina, Chief Curator

8 BIOGRAPHIES

DAVID LIDDIMENT, CHAIR, THE HEPWORTH WAKEFIELD

David Liddiment, ex-Director of ITV Programmes, BBC Trustee and co-founder of Britain’s biggest Independent producer, All3media was appointed Chair of The Hepworth Wakefield in August 2010. He was educated at Huddersfield New College and Liverpool University and became well known for his role as Executive Producer of Coronation Street, nurturing a new generation of TV dramatists including Paul Abbott, Kay Mellor and Russell T Davies. In 1997 David was appointed Director of Programmes at ITV, where he led the channel through a period of creative renewal and commercial success, launching shows like Who Wants To Be A Millionaire?, Pop Idol and Cold Feet.

In 2006 David was appointed as one of the founding members of the BBC Trust and chairs the Trust’s Audiences and Performance Committee, which monitors the performance of all of the BBC’s public services. David is co-founder and non- executive director of the independent production company All3Media, now the largest independent production house in the UK. He is an associate of The Old Vic Theatre Company, having co-founded the company with Kevin Spacey in 2003.

SIMON WALLIS, DIRECTOR, THE HEPWORTH WAKEFIELD

Simon Wallis was appointed Director of The Hepworth Wakefield in July 2008. He was previously Director of Chisenhale Gallery in East London, Senior Exhibitions Organiser at the ICA, London; Curator at Tate Liverpool; and Curator at Kettle’s Yard, University of Cambridge. He studied painting at Chelsea School of Art and subsequently at the School of the Art Institute of Chicago, USA and gained an MA in Art Gallery and Museum Studies at Manchester University.

DAVID CHIPPERFIELD CBE, RA, RDI, RIBA, ARCHITECT

David Chipperfield studied at Kingston School of Art and the Architectural Association in London. After graduating he worked at the practices of Douglas Stephen, Richard Rogers and Norman Foster.

David Chipperfield Architects was established in 1984 and the practice currently has over 180 staff at its offices in London, Berlin, Milan and Shanghai. The practice has won over 50 national and international competitions and many international awards and citations for design excellence, including RIBA, RFAC and AIA awards and the Stirling Prize 2007.

In 1993 David Chipperfield was awarded the Andrea Palladio Prize and in 1999, the Heinrich Tessenow Gold Medal. In 2004 he was made an Honorary Member of the Florence Academy of Art and Design, and was appointed Commander of the Order of the British Empire (CBE) for services to architecture. He was appointed Royal Designer for Industry (RDI) in 2006, and in 2007 he was made an Honorary Fellow of the American Institute of Architects (AIA) and an Honorary Member of the Bund Deutscher Architekten (BDA). He was elected a Royal Academician (RA) in 2008 and awarded an Honorary Doctorate from Kingston University.

In 2009 David Chipperfield was awarded the Order of Merit of the Federal Republic of Germany – the highest tribute that can be paid to individuals for service to the nation – and in the UK New Year Honours 2010 was named Knight Bachelor for services to architecture in the UK and Germany. In late 2010 the Royal Institute of British Architects announced that David Chipperfield would be the recipient of the Royal Gold Medal for Architecture 2011. Given in recognition of a lifetime’s work, the Royal Gold Medal is approved personally by Her Majesty the Queen.

David Chipperfield has taught and lectured worldwide. He has been Professor of Architecture at the Staatliche Akademie der Bildenden Künste, Stuttgart, and Visiting Professor at several schools of architecture in Austria, Italy, Switzerland, the United Kingdom and the United States, and is an Honorary Professor at the University of the Arts London.

BARBARA HEPWORTH Written by Matthew Gale

Barbara Hepworth (1903-75) was born in Wakefield on 10 January 1903. Her father, Herbert Hepworth, would become County Surveyor and an Alderman. She trained at Leeds School of Art (1920-1) and while on a county scholarship at the (1921-4) she met the painters Raymond Coxon and Edna Ginesi and sculptor Henry Moore. Hepworth was runner-up to John Skeaping for the 1924 Prix de Rome, but travelled to Florence on a West Riding Travel Scholarship. After visiting Rome and Siena with Skeaping, they were married in Florence on 13 May 1925 and moved to Rome, where both began carving stone. In November 1926, they returned to London. Links forged through the British School at Rome 9 with the sculptor Richard Bedford (a curator at the Victoria and Albert Museum), ensured that the collector George Eumorfopoulos visited their studio show in 1927 and bought two works by Hepworth. The couple moved to 7 The Mall Studios in Hampstead in 1928 (where Hepworth remained until 1939).

With Bedford and Moore, Hepworth and Skeaping became leading figures in the ‘new movement’ associated with direct carving. Successful joint exhibitions in 1928 (Beaux Arts Gallery, London and Alex. Reid and Lefevre, Glasgow) and 1930 (Tooth’s) consisted of animal and figure sculptures in stone and wood. They joined the London Group and the 7 & 5 Society in 1930-1. A son, Paul, was born in August 1929, but the marriage was deteriorating and in 1931 Hepworth met Ben Nicholson (then married to Winifred Nicholson), who joined her on holiday at Happisburgh, Norfolk. She and Skeaping were amicably divorced in 1933. In 1934 Hepworth gave birth to triplets and Hepworth married Nicholson four years later.

Hepworth and Nicholson revealed their move towards abstraction in joint exhibitions in 1932 (Tooth’s) and 1933 (Lefevre). This became the abiding direction of her work, epitomised by the pioneering piercing of the block, which coincided with experiments in collage, photograms and prints. Establishing links with the continental avant-garde, the couple visited the Parisian studios of Arp, Brancusi, Mondrian, Braque and Picasso. They joined Abstraction-Création, and were major figures in Paul Nash’s Unit One grouping and the associated publication edited by Herbert Read (1934). In 1935 they were instrumental in restricting the 7&5 to abstract work, thus paving the way for a fertile period of constructivism enhanced by artist refugees from totalitarian Europe (Gropius, Moholy-Nagy, Breuer, Gabo). This culminated in the publication of Circle: International Survey of Constructive Art (1937), edited by Nicholson, Gabo and the architect Leslie Martin, designed by Hepworth and Sadie Martin.

Such utopianism was curtailed by the war and Hepworth with Nicholson moved to St Ives, Cornwall where they stayed with friends, Margaret Mellis and Adrian Stokes at Little Park Owles, Carbis Bay. Domestic demands and a lack of space restricted Hepworth to small sculpture and painting until, on moving to Chy-an-Kerris, Carbis Bay in 1942, she secured a studio. Her first major solo exhibition in 1943 (Temple Newsam, Leeds) was followed by a monograph by William Gibson (Barbara Hepworth: Sculptress, 1946). Hepworth became prominent amongst St Ives artists, forming a focus in 1949 for the establishment of the Penwith Society of Artists with Nicholson, Peter Lanyon and others, and helping to attract international attention to the group’s exhibitions. Although Hepworth’s contribution to the 1950 Venice Biennale was dogged by comparisons with Moore, two retrospectives - in Wakefield (1951) and London (Whitechapel 1954) - and Read’s monograph (1952) confirmed her post-war reputation. She bought Trewyn Studio, St Ives in 1949, where she lived after her divorce from Nicholson two years later. She visited Greece in 1954 in an effort to recover from the sudden death of Paul Skeaping (1953).

Hepworth was especially active within, and on behalf of, the modernist artistic community in St Ives during its period of post-war international prominence. Her experience of the Cornish landscape was acknowledged in the choice of titles for her works. In a wider context, Hepworth also represented a link with pre-war ideals in a climate of social and physical reconstruction, exemplified by her two sculptures for the South Bank site of the Festival of Britain (1951). Public commissions and greater demand encouraged her to employ assistants for preliminary work (including Denis Mitchell and Dicon Nance) and to produce bronze editions.

Hepworth’s international eminence was confirmed by the Grand Prix of the 1959 São Paolo Bienal, which came amid honorary degrees, the CBE (1958) and the DBE (1965), and a second Whitechapel exhibition (1962) and a European tour (1964). In 1964, was erected outside the United Nations building in New York as a memorial to the Secretary- General, Dag Hammarskjöld. Hepworth served as a Tate trustee (1965-72), donating six works in 1964 and a further nine in 1967, prior to her 1968 retrospective at the Gallery. The catalogue raisonné by Alan Bowness (the sculptor’s son-in-law) included in J.P. Hodin’s 1961 monograph was extended in 1971. With her long-standing friend the potter Bernard Leach, she was awarded the Freedom of St Ives in 1968 as an acknowledgement of her importance to the town.

After her death in 1975, the studio was designated the in the following year and, on coming under the Tate’s aegis in 1980, secured an unrivalled collection of her work for the gallery. Since then, scholarly interest has focused on her status as one of the few women artists to achieve international prominence.

10 FUNDING

As a registered charity The Hepworth Wakefield is increasingly dependent on support from individuals, Trusts and Foundations and businesses to enable us to continue to provide our acclaimed exhibitions, engaging and award-winning Learning programme and to care for the Wakefield Permanent Collection. We are extremely grateful for the generosity and support we have received from the following supporters.

PARTNERS: Wakefield Council Arts Council England

MAJOR DONORS: The Audrey & Stanley Burton 1960 Charitable Trust Burberry Foundation Clore Duffield Foundation Eric and Jean Cass Esmée Fairbairn Foundation The Liz & Terry Bramall Foundation The Monument Trust Paul Hamlyn Foundation Sir Siegmund Warburg's Voluntary Settlement

SUPPORTERS: The Art Fund British Land Contemporary Art Society The D’Oyly Carte Charitable Trust Friends of Wakefield Art Galleries & Museums Jordans Solicitors The Marjorie and Arnold Ziff Charitable Foundation Ofenheim Charitable Trust Orion Capital Managers Pelham Communications The Rowland St Oswald 1984 Charitable Trust South West Yorkshire Partnership NHS Foundation Trust The University of Sheffield

EXHIBITION SUPPORTERS: Annely Juda Fine Art The Approach Cheim & Reid Collezione Maramotti David Liddiment David Roberts The Embassy of the Netherlands Gagosian Gallery The Henry Moore Foundation Linda Bennett Litestructures Michael Werner Gallery The Mondriaan Fund Sandretto Re Rebaudengo SculptureCenter Thomas Dane Gallery Westfälischer Kunstverein

CORPORATE PARTNERS: Bonhams EY Phillips

CORPORATE SUPPORTERS: DoubleTree by Hilton Hotel Leeds City Centre Grand Central Rail 11 Wakefield first Bondholder Scheme

EXHIBITION CIRCLE SUPPORTERS: David and Rose Cholmondeley Nicoletta Fiorucci Silvia Fiorucci Roman Paul and Susie Kempe Irene Panagopoulos Mariela Pissioti Cathy Wills Peter Woods and Francis Bacon

PATRONS: Lady Madeleine Bessborough Dr Sophie Bowness Paul Crilley and Deborah Crilley Ronnie Duncan Lady Polly Feversham Norman Eastwood Colin Fine Jane Foale Andrew and Stephanie Hale Christopher John Kneale Emily Lawson Virginia and Clive Lloyd Debbie Melton John Oldham and Terry Bacon Emily Thomas and those who wish to remain anonymous.

12 PARTNERSHIPS

YORKSHIRE SCULPTURE TRIANGLE (YST)

The Hepworth Wakefield, Yorkshire Sculpture Park, Henry Moore Institute and Leeds Art Gallery are four of the UK’s leading visual art organisations, situated within 30 minutes-drive or train ride from one another. They build on West Yorkshire’s unique artistic legacy as the birthplace of two of the most important 20th Century artists, Barbara Hepworth and Henry Moore.

The Henry Moore Institute (HMI) is a world-recognised centre for the study of sculpture in the heart of Leeds. An award- winning exhibitions venue, research centre, library and sculpture archive, the Institute hosts a year-round programme of exhibitions, conferences and lectures, as well as developing research and publications, to expand the understanding and scholarship of historical and contemporary sculpture.

Yorkshire Sculpture Park (YSP) is an international centre for modern and contemporary art. Set within 500 acres of 18th century parkland, woods and lakes, YSP has a changing international collection of open-air sculpture, a beautiful chapel and four stunning galleries that present exhibitions of emerging and world-renowned artists.

Leeds Art Gallery has been described as ‘Probably the best collection of twentieth century British art outside London’ (The Times). Situated in the heart of Leeds, on The Headrow in the city’s Cultural Quarter, the gallery has recently undergone a £1.5m investment and refurbishment programme. Visitors can enjoy nationally acclaimed and Yorkshire artists, such as Henry Moore, Barbara Hepworth, Atkinson Grimshaw, Jacob Kramer, as well as work by a range of contemporary artists including Paula Rego, Bridget Riley, Georgina Starr, Tony Cragg, Antony Gormley, Francis Bacon.

Visitor research shows that we all share audiences from Yorkshire and beyond and together, we are a world-class destination for art-lovers. This long term partnership aims to promote contemporary art and sculpture as inspirational settings to grow visitor numbers to all four institutions and to raise the profile of West Yorkshire as the birthplace of Modern British sculpture. www.ysculpture.co.uk #ysculpture

PLUS TATE

Plus Tate aims to support the development of the visual arts across the UK, and to foster a climate where exchange and partnership can flourish. Tate's resources are used to contribute to a network of organisations and individuals for the benefit of the wider public, expanding Tate's reach, and increasing public access to the national collection of British and international modern and contemporary art. Joining together to exchange ideas, knowledge, skills and resources, as well as programmes and collections, the Plus Tate partners, along with and facilitated by Tate, will broaden and deepen engagement in modern and contemporary art across the country.

LEEDS UNIVERSITY

In 2014 The Hepworth Wakefield signed a Memorandum of Understanding with the University of Leeds. The aim of the Memorandum is to mark commitment to a partnership that, over the next three years, will encourage cross departmental research. Key gallery staff will be working not only with the Fine Art Department, but with colleagues in the School of Business, Technology and engineering to enhance technological advancements and to develop new artistic outcomes. The partnership will build this research base with the intention of developing an innovation hub for students, artists, businesses and technology.

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