Henry Moore Institute
Newsletter Newsletter 99 United Enemies: The Problem of Sculpture in Britain in the 1960s and 1970s opened this month in the Institute’s main galleries. The exhibition began with a conference in March 2009 that invited artists, scholars and curators to consider the ways in which artists addressed the problems of sculpture in the mid1960s to late-1970s in Britain. As with all of our activities at the Institute, the imperative of this day-long event was to initiate new thinking on sculpture rooted in rigorous consideration of the artwork. The conference concluded that this was the moment sculpture officially refused to be simply defined as an object. This provocation set in motion an investigation as to how an exhibition could track and explore the claims made for sculpture by artists working in Britain in these two decades. Much attention has been paid to an expanded notion of sculptural production in the 1960s and 1970s through exhibitions, journal articles, publications, not to mention the production of artwork in the last decade. The focus, though, has been on North America. United Enemies points to the production of sculpture in Britain, using as its armature three preoccupations that particularly bothered artists: the hand, the standing form and the ground. Indepth research was conducted within the sculpture collection and archive of Leeds Museums and Galleries, which, over the last decade, has actively collected this period. The Institute manages the collection in partnership with Leeds Art Gallery, a relationship that has built one of the strongest public collections of sculpture in Britain. Our intention with United Enemies is to bring new scholarship to these works in the collection, as well as to works loaned from a number of public and private collections, and from the artists themselves. To select a work for a collection is to mark an artwork as a subject of potential study; a collection must define specific parameters that enable limits to be developed. Any collection of sculpture must be predicated on it being seen – this is achieved through exhibition and scholarship. Our collection comprises just over one thousand works, including finished sculptural works that take the form of objects, prints, drawings, photographic material and film, with project-based and documentary material acquired for the archive. The priority of the collection is to represent the practice of sculpture in Britain from 1875 to the present day. Of course, to ‘represent’ is an impossible task. The curator Robert Storr, in an essay titled ‘To have and to hold’ in Bruce Altshuler’s 2007 edited publication Collecting the New, notes: ‘The criteria for judging a work’s value to a collection transcends taste and – in the case of much modern and contemporary art - it may wilfully violate prevailing tastes […] The fact that “art lovers” are repeatedly confronted by art that is unlovable is where the education process - the essence for institutions - begins’. A collection is there to challenge received ideas, setting its own terms through what it contains and requiring constant assessment. Every addition to a collection impacts on what is already in the holdings, likewise every display opens a set of engagements that reverberate through the collection.
December 2011/January 2012 Issue No. 99
United Enemies strives to shine a light on works by artists who might be unfamiliar and on works by familiar artists that might be unfamiliar. As with all of our exhibitions, we set out to learn from this exhibition – to find new connections, to develop primary research by talking to the artists who made the works on display some three or four decades ago, and to develop new thinking around these works by placing them within a critical discourse around sculpture. As a centre for the study of sculpture our task is, after all, to study sculpture. Lisa Le Feuvre, Head of Sculpture Studies
New Exhibitions Shelagh Cluett: Drawing in Space 1 December – 11 March 2012, Sculpture Study Galleries This exhibition celebrates the recent acquisition to the Leeds collection of the archive of Shelagh Cluett (1947-2007). Drawing upon the archive, with the additional loan of three-dimensional work from Cluett’s estate, Drawing in Space presents sculptures, drawings, sketchbooks and photographic documentation of Cluett’s work from the late 1960s to the early 1980s, when she was a student at Hornsey College of Art (1968-71) and Chelsea School of Art (1971-2) and first emerged on the London art scene. In this period, Cluett’s sculptures operated as three-dimensional drawings. From ambitious room-scale installations, assembled from textiles, metals, plastics and sand, to more delicate vertical constructions, made from wire, thin steel, aluminium, bamboo and wax, she used linear elements to mark out rhythms and currents in space. Cluett was one of the few female artists active in the 1970s whose work was exhibited and achieved critical recognition. From the mid-1970s to the mid-1980s, she worked in a studio at Wapping Wall, whose artist-led exhibitions were considered a showcase for new British art. She gained national recognition in 1979, appearing in New Sculpture at the Ikon Gallery, Birmingham (with Alison Wilding) and the opening show at the Nicola Jacobs Gallery, London; and in the following years exhibited widely in the UK and Europe. Cluett was the first woman to hold the position of Principal Lecturer in Sculpture at Chelsea School of Art, where she influenced generations of artists, leading the postgraduate sculpture programme from 1980 to 2007. Sophie Raikes, Curator, Shelagh Cluett: Drawing in Space
Nice Style: The World’s First Pose Band 14 December 2011 – 12 February 2012, Gallery 4 In 1970, artists Ron Carr, Gary Chitty, Robin Fletcher, Bruce McLean and Paul Richards founded Nice Style, a collaborative performance group, in the Sculpture Department at Maidstone College of Art. Nice Style: The World’s First Pose Band is the first presentation of the group since it disbanded in 1975. The exhibition presents photographs, drawings, posters, postcards and advertisements used by the group during their five-year existence, and focuses on ‘High Up On A Baroque Palazzo’ which took place at the Garage exhibition space in London in 1974. Our exhibition launches on 14 December with a lecture demonstration of this performance on the Institute steps.
Collections
New Publication
Recent Acquisitions
United Enemies: The Problem of Sculpture in Britain in the 1960s and 1970s
We are very pleased to announce the recent acquisition for the Leeds sculpture collection of works by Barry Martin and Roy Kitchin, which will be shown in Leeds for the first time in the exhibition, United Enemies: the Problem of Sculpture in Britain in the 1960s and 1970s. (Main Galleries, to 11 March 2012). ‘Programmed Shape Development’ (1968) by Barry Martin (b.1943) was acquired with the assistance of The Art Fund and the Henry Moore Institute Archive Fund. It is a wall-mounted sculpture, made in polished aluminium, with double axel discs mounted on metal rods projecting from the surface and four motors connecting to each quadrant of discs. The discs spin around, reflecting the light and the surrounding environment and creating complex optical effects in which the discs seem to share the same surface despite their staggered composition. Martin wrote at the time: ‘statically developed shapes generate new classes of shapes and forms in movement. Front and back shapes move independently from each other. The aluminium shapes were thought of as fragments of the space they inhabited’. The circular or rotary movement is typical of Martin’s work of the 1960s - in a contemporary interview, he described his interpersonal relationships in terms of a circular movement between himself and the outside world. Martin was selected for Young Contemporaries, ICA, London, 1966. He had his first solo show in Chelsea’s Oakley Street in 1968, as part of the Pavilions in the Park series, and was the youngest of ten British artists selected for Kinetics-International Survey at the Hayward Gallery in 1970, exhibiting alongside Kenneth Martin, Stephen Willats and William Pye. ‘Wedge and Columns’ (1967) by Roy Kitchin (1926-1997) was acquired with the assistance of the Henry Moore Institute Archive Fund. It appears as a miniature vice, with horizontal and vertical aluminium bars bolted together and an aluminium wedge gripped between and separating the upright components. Kitchin’s work draws upon the sculptural potential of machinery: he created finely balanced, expertly engineered constructions, which are usually stationary but suggest the potential for movement. Wedges, screws, rollers and springs are recurring themes. In addition to ‘Wedge and Columns’ (30 cm high), we have acquired two maquettes for public sculpture by Kitchin and a selection of drawings and photographs, spanning the mid-1960s to the mid1980s, which were definitive years for his practice. Maquette for ‘Steel Key’ (1984) appears as a massive weight resting on tubular rollers and Maquette for ‘3.B.S’ (1984) is composed of steel arches apparently held in tension. Final versions of these works are sited at the Landmark Sculpture Park in Scotland and Normanby Hall, Scunthorpe. Kitchin had solo exhibitions at Whitworth Art Gallery (1980), Yorkshire Sculpture Park (1983) and Sutton Park (1984). He founded the Museum of Steel Sculpture at Coalbrookdale, nr Telford in 1991, with his partner Pam Brown.
Talking Heads: Portraits from the Leeds Sculpture Collections From 1 December, Lower Sculpture Study Gallery This new display presents portrait busts and drawings from the sculpture and archive collections, including works by Jacob Epstein, Frank Dobson, Eric Kennington and Gertrude Hermes. As well as commissioned works, the display includes informal portraits of family, friends and lovers. Sophie Raikes, Assistant Curator (Collections)
Published to accompany the exhibition currently showing in the Institute’s main galleries, this fully illustrated catalogue includes essays by Jon Wood (Curator of the exhibition) and David Briers, along with writing – newly commissioned and existing by a number of the artists who feature in the show: Ivor Abrahams, Shirley Cameron, Brian Catling, John Cobb, David Dye, Garth Evans, Katherine Gili, Peter Hide, Roelof Louw, Barry Martin, Leonard McComb, Bruce McLean, Keith Milow, Paul de Monchaux, Paul Neagu, Nicholas Pope, Jim Rogers, Stepen Willats and Bill Woodrow. Copies cost £20, and are available from the Institute bookshop or our website.
Library On Display Sculpture and Art Magazines of the 1960s and 1970s From 1 December 2011 The current Library display has been curated by David Briers whose essay ‘Nearly Sculpture, Not Quite an Art Magazine’ appears in the United Enemies catalogue. The display is a personal selection of some of the less well-known art magazines of the1960s and 1970s and includes examples of ‘magazine art’, i.e., art conceived specifically for a magazine context, along with marginal publications such as Control Magazine published by Stephen Willats. The majority of the magazines on display are from David’s own collection, while the Library’s copies can be consulted in the reading rooms. David Briers will be giving a talk at the Institute on the subject on 18 February.
New Acquisitions Silâns 1964-1965 The recently published facsimile edition of Silâns magazine coedited by Barry Flanagan, Alistair Jackson and Rudy Leenders is now available in the Library. The magazine was produced at St Martin’s College of Art and Design in the 1960s as a vehicle to circulate concrete poetry. Sixteen issues were produced between 1964-1965 with contributions by Philip King, John Latham, David Bainbridge, Shirley Cameron, Wendy Taylor, Bruce Lacey and Georges Vantongerloo amongst others. Poetry and art sit alongside each other in many of the journals of the period such as Poor. Old. Tired. Horse., Ambit and the news bulletin produced by Signals Gallery. The overlap between visual practices, language and concrete poetry is topical and the reprinting of Silâns is a valuable addition to the available research material.
Audio-Visual Material on British Artists of the 1960s and 1970s To accompany the United Enemies exhibition, the Library has compiled a listing of the audio-visual material held in the collection on artists whose work is on display. The Library has a growing collection of audio-visual material, much of which is produced by the Institute or kindly donated by artists. Highlights include a film made by Laurence Burt during his exhibition at the Howard Roberts Gallery in Cardiff (1967), Garth Evans and Liliane Lijn discussing their work in the collection of Leeds Museums and Galleries, and a film of Ian Breakwell’s and John Hilliard’s Unsculpt, made by Mike Leggett in 1970.
A number of the exhibiting artists have also been interviewed as part of the National Life Stories Artists’ Lives series; the audiovisual library holds interviews with Ivor Abrahams, Stuart Brisley, Laurence Burt, John Hilliard, John Latham, Liliane Lijn, Paul Neagu and Nicholas Pope. All our audio-visual resources are available to view in the research library and no appointment is necessary. For further information please contact our Assistant Librarian, Karen Atkinson, karen@henry-moore.org Ann Sproat, Librarian
Forthcoming Events Book launch: Sculpture and Archaeology 7 December, 6-7pm, Henry Moore Institute Reception The result of a 2004 conference at the Henry Moore Institute whose theme was the historic and ongoing dialogue between sculpture and archaeology. Includes an introductory talk by editor Andrew Jones and a wine reception. Copies available to purchase on the night at a 50% discounted price of £25. All welcome.
Nice Style: ‘High Up On A Baroque Palazzo: A Lecture Demonstration’ 14 December, 6-6.30pm, Henry Moore Institute steps A one-off event which will see the Nice Style artists – Ron Carr, Gary Chitty, Robin Fletcher, Bruce Mclean and Paul Richards return to their final 1974 performance. In their original performance of High Up On A Baroque Palazzo the group performed at Garage Gallery in London, donning dinner suits and striking exaggerated poses on and below a makeshift scaffolding palazzo. Their costumes were aided by posing poles and other props that highlighted particular postures. Their performances explored the language of pose and gesture, drawing on the traditions of figurative sculpture. Nice Style also borrowed from the artistic self-fashioning found in the mass media, as well as in contemporary art magazines, to present a striking, visual image of themselves as a performance group. Booking not necessary.
United Enemies Gallery Discussion
United Enemies Film Screening 1: ‘Manual Thinking’ 1 February, 6-8.15pm, Leeds Art Gallery Lecture Theatre Talk by David Dye and films by John Blake, Shirley Cameron and Roland Miller, David Crosswaite, David Dye, Peter Gidal, John Hilliard, Derek Jarman, David Lamelas, Liliane Lijn, Barry Martin, Paul Neagu and William Raban.
United Enemies Film Screening 2: ‘Standing’ 8 February, 6-8.15 pm, Leeds Art Gallery Lecture Theatre Talk by Malcolm Le Grice and films by Jill Bruce & Bruce Lacey, Gilbert and George, Marilyn Halford, ‘Footsteps’, David Hall, David Hall and Tony Sinden, Malcolm Le Grice, Bruce McLean, Paul Neagu, Anne Rees-Mogg and Guy Sherwin.
United Enemies Film Screening 3: ‘Groundwork’ 15 February, 6-8.15 pm , Leeds Art Gallery Lecture Theatre Talk by Sebastian Boyle and films by Ivor Abrahams, Boyle Family, Ian Breakwell and Mike Leggett, Gill Eatherley, Derek Jarman, Bruce Lacey, Malcolm Le Grice, Anthony McCall, William Raban, Chris Welsby and Bill Woodrow.
Shelagh Cluett Gallery Discussion 22 February, 6-7.30pm, Sculpture Study Galleries Jo Stockham, artist and Professor of Print Making at the Royal College of Art leads a discussion on the work of Shelagh Cluett.
United Enemies Library Discussion 29 February, 6-7.30pm, Henry Moore Institute Library With David Briers, Anthony Davies and Jo Melvin Booking essential for all events unless otherwise stated. Contact Kirstie Gregory: kirstie@henry-moore.org / 0113 2467467 Tickets for film screenings cost £5. Payment can be made in advance or on the night. The Henry Moore Institute galleries are open until 9pm on Wednesdays.
18 January, 2-4pm, Henry Moore Institute Including Shirley Cameron, Garth Evans, Barry Martin, Leonard McComb, Paul de Monchaux and Stephen Willats.
Christmas Hours
‘This Is Performance Art – Part 3: The Conceptual Burlesque of Nice Style: The World’s First Pose Band’
Saturday 24 December: closing at 1pm Sunday 25 – Tuesday 27 December inclusive: closed Saturday 31 December: closing at 4pm Sunday 1 and Monday 2 January: closed From Tuesday 3 January: open as normal
25 January, 6-7pm, Henry Moore Institute For this performative lecture, artist Mel Brimfield will be joined by her regular collaborator, award-winning cultural commentator, raconteur and bon viveur, Sir Francis Spalding, who will deliver the third in his ongoing lecture series exploring the impact and legacy of performance art from the 1940s to today, searching through the hitherto unexplored nooks and crannies of theatre, activism, comedy, music and sport for the very seeds of its inception and for evidence of its continued importance. Spalding will consider the extraordinary influence of ‘Nice Style: The World’s First Post Band’, focusing on their radical incorporation of reappraised vaudeville and burlesque techniques into the lexicon of performed sculpture.
Henry Moore Institute Galleries and Library:
Henry Moore Institute Archive: Friday 23 – Tuesday 27 December inclusive: closed Wednesday 28, Thursday 29 December and from Tuesday 3 January: open as normal
Research
Our Archive is open by appointment, and to see the artists represented in our collection, visit our website.
Henry Moore Institute Dissertation and Essay Prizes 2011
Henry Moore Institute Collections Essay Prize: £350
As part of the Institute’s Research Programme, each year we award prizes for extended pieces of writing that contribute to the study of sculpture. We are delighted to announce the 2011 prizewinners, which have been awarded for dissertations completed this year and to new scholarship on our collections. We received an unprecedented amount of submissions. The winners impressed each member of the judging panel with their quality of writing, comprehension of art historical and contemporary sculptural discourse and, most importantly, through original research and contribution to the scholarship on sculpture. MA Collections Essay winner Liz Stainforth, University of Leeds A ‘revelation of unexpected associations’: J.G. Ballard, Eduardo Paolozzi and Helen Chadwick in Ambit MA Dissertation Prize winner Meghan Goodeve, Courtauld Institute of Art In Some Ways Mother, In Some Ways Communist: Maternity in the Sculpture of Betty Rea BA Dissertation Prize winner Amy Berkhout, University of Bristol A third alternative: the peculiar case of Grūtas Sculpture Park Copies of the winning essays are available to read in the Henry Moore Institute Library.
Henry Moore Institute Dissertation and Essay Prizes 2012 The deadline for the 2012 prize is 30 November 2012. It will be awarded to MA and BA dissertations completed in 2012 and to new writing on our collections. The latter prize is open to submissions from all researchers. Entries for both categories should be the result of original research. A coursework essay can be submitted. Essays should be sent by email to Kirstie Gregory, together with a cover letter indicating the applicant’s academic institution and course of study, where relevant, stating which prize is being applied for. kirstie@henry-moore.org / 0113 246 7467 Henry Moore Institute Collections Essay An award to an essay of 2,500-5,000 words written on our collections. The Henry Moore Institute manages the sculpture collection and archive of Leeds Museums and Galleries, a partnership which has built one of the strongest public collections of sculpture in Britain. The Collections Essay specifically invites submissions of original writing on material from the Leeds Museums and Galleries collections of sculpture, works on paper and archive of sculptors’ papers. Over the last decade we have used the core of the collection, which is twentieth-century British (though we hold sculpture and archive material from the eighteenth and particularly nineteenth centuries), as a platform on which to build up a broader-based collection, representative of the practice of sculpture in Britain over the last century, including work by neglected practitioners, as well as those more widely known.
Throughout the Institute’s activities ‘sculpture’ is understood as a complex and contested subject for enquiry rather than a settled, resolved or easily defined art form, medium or genre. Our study of sculpture embraces the historic, modern and contemporary, with our research charged by a willingness to learn from the present, the past and speculations on the future. Henry Moore Institute Dissertation Prize An award to a dissertation submitted in the 2011-12 academic year. Dissertation prizes are open to students of all disciplines whose work focuses on any aspect of sculpture in its broadest sense. MA Dissertation Prize: £250 BA Dissertation Prize: £150
Conference Report: Exhibiting Merz 19 October 2011, Henry Moore Institute Exhibiting Merz looked at the exhibition Mario Merz: What Is to Be Done? The curator, Lisa Le Feuvre, drew a tentative parallel between the politics of the 1960s and the anti-capitalist movement of today. Le Feuvre went on to raise the issue of curating an artist who is no longer alive. Dieter Schwarz from Kunstmuseum Winterthur discussed early Merz, a painter of the informale, referencing Bacon, de Kooning and Dubuffet. Marlis Grüterich, Harald Szeeman’s assistant at Documenta 5, argued ‘Citta Irreale’ (1969) was ‘the creative secret’ behind all the work; Merz’s work was based on anthropology, he was an ‘organic intellectual’ and his drawings were anthropomorphic. Merz led a gypsy life as a citizen of the world. Grüterich travelled to all his exhibitions to see what he did with each new combination of the elements over thirty years. This took us back to the problem of curating a Merz exhibition when Merz is no longer alive. Bettina Della Casa from Museo Cantonale d’Arte, Lugano, looked at Merz’s February 1969 exhibition at Galleria L’Attico, Rome, including the Simca 1000 - 'Automobile Pierced by Neon' - that was shown in Leeds. The poster showed the neon ‘Che fare?’ (‘What is to be done?’), a quote from Lenin in 1911. Mariano Boggia, Merz’s long term assistant, discussed the exhibition at Françoise Lambert, Milan in October 1970. Opposite the photographs and the Fibonacci, Merz installed four neon phrases: ‘Sciopero generale azione politica relativa proclamata relativamente all’arte’ (‘General strike political action relative proclaimed relatively to art’). Finally younger art historians had their say. Alistair Rider from St Andrews University looked at Merz’s 1970 book Fibonacci 1202, Sperone, Turin. He showed that the division of ever decreasing squares, each filled by a quarter circle, gives us a spiral, a shell or a pine cone. This drawing was for an exhibition at the Haus Lange, Krefeld that never took place. Lara Ponti, Pisa University gave a paper on Arte Povera Azioni Povere in Amalfi in 1968-9, curated by Celant but ‘where the artists were in (chaotic) control’. The international artists included Richard Long, Jan Dibbets and Ger van Elk. It followed Prospect 68, Düsseldorf and preceded When Attitudes Become Form. As the chair, Martin Holman concluded, we know so little about Italian art of this period. Lynda Morris, Norwich University College of the Arts
Noticeboard
Henry Moore Institute
Ken Russell 1927-2011
The Headrow Leeds LS1 3AH
We were saddened to hear of the death of Ken Russell on 27 November. On 22 June, during our Gallery 4 show Savage Messiah: The Creation of Henri Gaudier-Brzeska, Leeds’ Hyde Park Picture House hosted a rare screening of Ken Russell's film, Savage Messiah, based on the life and work of Gaudier-Brzeska. Ken Russell had intended to introduce the film himself, but unfortunately ill health prevented him from doing so. Instead, he wrote a letter to the Henry Moore Institute from his bed at Lymington Hospital, Hampshire, which was read out on the night by Mike Bradsell, the Film Editor of Savage Messiah. Ken and Mike kindly gave us permission to reproduce this letter online: www.henry-moore.org/hmi/events/multimedia-recordings/savagemessiah-film-screening
Open daily 10am-5.30pm Library 1-5pm Sundays Wednesdays until 9pm Closed Bank Holidays Enquiries/recorded information: +44 (0) 113 246 7467 www.henry-moore.org/hmi www.twitter.com/hmileeds
Located in the centre of Leeds adjacent to Leeds Art Gallery, five minutes walk from the rail station.
Exhibitions
Mircea Cantor
Guided Tours
10 December, 3-5 pm, The Hepworth Wakefield Romanian artist Mircea Cantor makes films and sculptural installations that often elaborate on uncertainty and the end of transparency in art; countering the prevailing expectation that everything can be known or predicted. His works offer a subtle and poignant commentary on the inherent contradictions of globalization and the resultant erosion and reinforcement of cultural boundaries and traditions. Through a special presentation devised for the series, Cantor will reflect on the contradictions of the human condition and test how different fields of knowledge might make sense from the new perspective of the contemporary world.
Free guided tours of the current Henry Moore Institute exhibitions are available on Wednesdays at 7.30pm and on Saturdays at 2.30pm. It is not necessary to book in advance; enquire on the day at gallery reception. To book a tailor-made tour of any part of the Institute’s activities contact us on 0113 246 7467.
Tickets: £4.50/ £3.50 (concessions). To book: 01924 247 360 / events@hepworthwakefield.org
Gallery 4
The event is the third in a series programmed by Leeds visual arts organisation Pavilion and The Hepworth Wakefield.
The Burlington Contemporary Writing Prize 2012 The Burlington Contemporary Writing Prize, to be awarded annually, seeks to discover talented young writers on contemporary art, with the winner receiving £1,000 and the opportunity to publish a review of a contemporary art exhibition in The Burlington Magazine. Since its founding in 1903, The Burlington Magazine has always considered the art of the present to be just as worthy of study as the art of the past. The Burlington Contemporary Writing Prize advances the Magazine’s commitment to the study of contemporary art by encouraging aspiring young writers to engage critically with its forms and ideas. The judges of the inaugural Burlington Contemporary Writing Prize are Dr Nicholas Cullinan (Curator of International Modern Art, Tate) and Dr Anna Lovatt (Lecturer in Art History, University of Nottingham), assisted by Christopher Griffin (Ridinghouse Contributing Editor at The Burlington Magazine). Each applicant will be offered a specially reduced online subscription to The Burlington Magazine, providing digital access to all the latest articles and reviews. Applicants must submit one unpublished review of a contemporary art exhibition of no more than 1,000 words in length to editorial@burlington.org.uk by 31 January 2012. The Prize winner will be announced in April 2012. For full details visit www.burlington.org.uk/art-world/the-burlington-contemporary-wr
Main Galleries 1 December 2011-11 March 2012 United Enemies: The Problem of Sculpture in Britain in the 1960s and 1970s
To 4 December 2011 Tacita Dean: Mario Merz 14 December 2011-12 February 2012 Nice Style: The World’s First Pose Band
Leeds Art Gallery Sculpture Study Galleries: Mezzanine 1 December 2011-11 March 2012 Shelagh Cluett: Drawing in Space
Sculpture Galleries The Practice and Profession of Sculpture: Objects from the Leeds Collection Talking Heads: Portraits from the Leeds Sculpture Collections Leeds Art Gallery is open daily 10.00am – 5.00pm Wednesday 12.00pm – 5.00pm, Sunday 1.00pm – 5.00pm
The Henry Moore Foundation in partnership with Leeds City Council
www.henry-moore.org ISSN 1363-1152 Newsletter co-ordinated by Gill Armstrong (gill@henry-moore.org)