Henry Moore Institute
Newsletter Newsletter 97 The summer issue of the Henry Moore Institute's Newsletter coincides with the opening of two exhibitions – Mario Merz: What Is to Be Done? and Darrell Viner: Early Work. Both exhibitions question the possibilities of how sculpture might be understood the driving force of all of our work at the Institute. Mario Merz (1925–2003) rethought the possibilities of sculpture by observing the world around him. What Is to Be Done? presents twelve works made between 1966 and 1977 that explore Merz’s interest in process and proliferation. Displayed in our Main Galleries, the selection of sculptures pays particular attention to the Italian artist’s use of neon: a car is shot through with an arrow of light, one of his signature igloo forms is circled by cursive light-writing, a bottle is pierced with neon and the question ‘what is to be done?’ pulses on the wall. The sixty-third issue of our Essays on Sculpture, redesigned in a new journal format, accompanies this exhibition. Our exhibition of Darrell Viner’s (1946 - 2001) work in the Sculpture Study Galleries centres on a series of the artist’s computer drawings recently acquired for the Leeds Sculpture Collection. These are shown alongside a kinetic sculpture, ‘Grind’ from 1984, where a set of four stone plates rotate against each other, as well as an animation, archival material, and works on paper grappling with sculptural forms. The programme in the Sculpture Study Galleries focuses on recent acquisitions to the Leeds Sculpture Collection and Archive. The Institute works with Leeds Museums and Galleries to develop, care for and display the collections, a partnership that has built one of the strongest collections of sculpture in Britain. New acquisitions are made accessible as soon as they have found their place in the collections through displays and through the Archive. Our starting point at the Institute for all of our work is the art object. Collections are one of the key ways in which sculptures can be researched and studied. Our own Library Collection is very active: in this issue Ann Sproat highlights some of our rare exhibition catalogues that relate to Mario Merz: What Is to be Done? Both the Library and our partnership with Leeds Museums and Galleries seek to tell the story of sculpture in Britain. We look at artists whose work has been overlooked as much as at the familiar names, as we constantly aim to question assumptions of sculpture. As well as developing collections, at the Institute we are always hoping to learn from others. The ways in which sculpture is displayed forms the very definition of sculpture itself – indeed, this is the topic of a session we are convening at the 2012 Association of Art Historians conference; see below for call for papers. In this Newsletter Sophie Raikes, Assistant Curator (Collections), begins a regular column looking at collections elsewhere – in this first entry, the displays at the Neue Nationalgalerie in Berlin.
August/September 2011 Issue No. 97
As a part of The Henry Moore Foundation, the Institute is tasked with the responsibility to study sculpture. Our role is to make a significant impact on the future of art history, placing sculpture right at its centre. Our exhibitions and collections are a key part of this, as is our research programme that develops communities of research. Following are updates, announcements, news and reflections looking at our work and our networks locally, nationally and internally. Lisa Le Feuvre, Head of Sculpture Studies
Call for Papers Sculpture and its Exhibition Histories Association of Art Historians Conference, 29-31 March 2012 It is a commonplace that sculpture is best encountered to be appreciated and that its forms and meanings are inadequately captured by the photographic image. This session takes up this familiar complaint, arguing that over the last hundred years or so it has been through sculpture's exhibition that it has been most articulately staged. Presented in the art gallery and museum, sculpture's complex meanings and its histories have been most sensitively presented. Unlike published accounts of sculpture, its exhibitions have been strikingly successfully in opening up the material and formal life of sculpture. Through means of presentation, arguments are constructed that highlight the subtle relations between objects and practices, which are less well articulated in more official, text-based readings and histories. Such presentations are to be found in museums particularly focused on sculpture and in the interests of curators with specialisation in sculpture. However, they are also evident in broader art exhibitions in which sculpture is highlighted in relation to other media and cultural concerns, such as This is Tomorrow (1956), When Attitudes Become Form (1969), The Condition of Sculpture (1975), Primitivism in Twentieth Century Art (1984) and Les Magiciens de la Terre (1989). This session invites consideration of exhibitions internationally across the last century and into the present. Of interest also will be papers that examine the exhibition of 'British Sculpture' through solo, group and survey presentation, including British Sculpture in the Twentieth Century (1981), The Sculpture Show (1983), Sculpture in Twentieth-Century Britain (2003) and, most recently, Modern British Sculpture (2011) at the Royal Academy. We invite proposals for twenty-five minute conference papers. Please submit a 250 word abstract and short CV to Kirstie Gregory, kirstie@henry-moore.org. Deadline for submissions is Monday 7 November 2011. Sculpture and its Exhibition Histories is part of the thirty-ninth Annual AAH conference, held at The Open University, Milton Keynes. The session is convened by Lisa Le Feuvre and Jon Wood.
Research Conference Report: Gaudier-Brzeska: Texts and Testimonies 22 June 2011, Henry Moore Institute Organised by the Institute’s Research Curator, Jon Wood, to accompany the launch of a critical edition of H.S. Ede’s influential biography of Gaudier-Brzeska, Savage Messiah, and the related Institute exhibition, scholars from Canada, France, the United States and the UK convened for a stimulating reconsideration of one of modernism’s most compelling artists. The conference was a real eye-opener as speakers tracked the twists and turns of the artist’s reputation following his untimely death in 1915 at the age of twenty-three. Sebastiano Barassi, Curator of Collections at Kettle’s Yard and co-editor with Jon Wood of the new edition of Ede’s biography, kicked off the conference discussing ‘Ede’s Omissions’ - the details Ede left out, as well as his occasional invention of ‘facts’ as he developed his biographical portrait of Gaudier as a passionate, misunderstood, artist-genius. Stephen Bann (University of Bristol) followed up with his own recollections of Ede’s ambition to promote Gaudier in France and how they came to naught. Bann also discussed his curatorship, in 1977, of a Gaudier exhibition in New York which profiled the artist’s relationship with Ezra Pound in an attempt to go beyond Ede’s depiction of a solitary artist at odds with society. Mark Antliff (Duke University) explored the art criticism of Richard Aldington and Ezra Pound and why Aldington subsequently assessed Gaudier’s work negatively in a bid to further an anti-modernist agenda. Andrezej Gasiorek (University of Birmingham) capped the morning’s sessions discussing the interrelationship between Pound’s imagist poetics and Gaudier’s sculptural practice into the war years. Afternoon talks focused on key figures in Gaudier’s life. Roger Cole (Independent) shared insights derived from the correspondence of Sophie Brzeska while Sarah Turner (University of York) unpicked a lively exchange between Ede and Joseph Brodsky occasioned by Brodsky’s publication of his autobiographical reflections on Gaudier in the 1930s. Evelyn Silber (University of Glasgow) followed up by examining Jacob Epstein’s retrospective assessments of Gaudier, which were shaped in part by a desire to defend his own reputation. Paul Edwards (Bath Spa University) discussed Wyndham Lewis’s importance for the sculptor, which included visual comparisons between Lewis’s Vorticist work and several Gaudier sculptures. Art critic John Cournos’s attempt to configure the sculptor as a kind of anti-Vorticist was taken up by Rebecca Beasley (University of Oxford) and the day ended with Jonathan Black (Kingston University) assessing Gaudier’s relationships with the writer Enid Bagnold and painter Alfred Wolmark. The day was punctuated by lively discussions that carried into the reception afterwards to launch the critical edition of Savage Messiah. Following this the Institute collaborated with Hyde Park Picture House for a one-off screening of Ken Russell’s 1972 film, Savage Messiah. To mark the occasion the film’s editor Michael Bradsell read a moving letter from Russell, who could not attend but was there in spirit, certainly (see www.henry-moore.org/hmi/news/a-letter-from-ken). The screening bookended an extraordinary conference. Allan Antliff, University of Victoria, Canada and 2011 Henry Moore Institute Senior Research Fellow
Conference Report: Moore/Hepworth 3-4 June 2011, Henry Moore Institute, Leeds Art Gallery, Yorkshire Sculpture Park, The Hepworth Wakefield, Arts Council Collection Longside The conference on 3 June and visits to the five partners’ sites yielded many fruitful contextual and comparative insights into the work of Henry Moore and Barbara Hepworth. The question - why was this the first conference to look at these two Yorkshire-born sculptors in tandem and on location? – very quickly emerged. The Henry Moore exhibition at Leeds Art Gallery (a visit to which kick-started the event) and the recent opening of The Hepworth Wakefield (where the conference ended) offered the timely occasion for critical reflection on the two artists in the county where both grew up and trained as sculptors. This event was a contribution to the growing historiographical scrutiny of sculpture in Britain at large, specifically of two artists whose names are inextricably linked with the idea and practice of modern sculpture worldwide. Ben Read’s opening paper set the agenda evocatively with his reflections on the ‘Yorkshire Mafia’: the networks of influence and exchange between Herbert Read, Moore, Hepworth and other Yorkshire-based intellectual figures. This line of enquiry was invigorated by Michael Paraskos’s innovative reading of Moore’s work in relation to Read’s often-overlooked novel The Green Child (1935), which is replete with autobiographical allusions to Yorkshire’s landscape. This dynamic opening session was followed by an equally well-paired set of papers. From different vantage points, Christa Lichtenstern and Catherine Jolivette explored and compared the sculptors’ respective relationships to notions of ‘embodied landscape’ and geography and their responses to location. The final session broadened the disciplinary and media horizon, with Christine Finn unearthing the long-forgotten work of the archaeologist Jacquetta Hawkes (with whom both Moore and Hepworth had interacted), and John Wyver offering expert analysis of the ways John Read’s BBC films framed each sculptor against various landscapes. The conference, visits to exhibitions and archives and concluding screenings of films introduced and discussed by Penelope Curtis and Chris Stephens offered new understandings of both sculptors’ origins and of the relationships between their respective oeuvres and trajectories. Considering the amount of scholarship and monographic retrospective exhibitions of Moore and Hepworth, it would seem that avenues of new research might have been exhausted. The artists themselves are culprits as much as anyone else: their prolific writings and reflections on their work enlighten, but at the same time overwhelm, critics and historians. The chair of one of the panels, Anne Wagner, succinctly articulated an aporia arising from the anxiety of influence: how would a scholar research Hepworth without the sculptor’s own writings? The same question could equally apply to Moore scholars. Theodore Adorno’s aphorism that ‘one must have tradition in oneself to hate it properly’ is apt here as a reminder that ‘tradition’ functions on many levels and is often carefully constructed, inherent of contradictions. Could a ‘bringing it all back home’ comparative approach enable scholars and enthusiasts to rediscover, with fresh eyes, the two familiar sculptors and even to revise the discourses which made the two artists part of traditions and canons? The attendance and stimulating dialogues between speakers and delegates were strong signs that there will be more excavations into Moore’s and Hepworth’s native home turfs and formative periods in Yorkshire. Dr Katerina Loukopoulou, Henry Moore Foundation PostDoctoral Fellow, University College London
Collections Modern Times: painting and sculpture 1900-45 Collection displays, Neue Nationalgalerie, Berlin 2010/2011 Modern Times is the first of a two-part programme of collection displays in the Neue Nationalgalerie. Mies Van der Rohe designed the impressive museum building, and its surrounding sculpture gardens, in 1968. The collections are displayed in a stone podium designed to give the galleries perfect museum conditions, while temporary exhibitions are curated across the glass pavilion viewed at ground level. Though there are internationalised moments within the narrative of Modern Times, the focus is on German art, of which they provide a fantastic survey. The displays are set within an overall framework of social and political events, but they are not strictly chronological, alternating rather between themes and periods. Certain galleries are devoted entirely to key German artists, with separate areas looking at works on paper and portraiture, which are strengths of this collection. Each gallery bears the title of an individual work, helping to focus attention within the complex sequence of rooms. The colour scheme is white with occasional tones of grey, building to dark grey in the final display, which turns its attention to World War II. Interpretation is thorough and interesting: excellent introductory panels set out the parameters of the presentation and explain the complex evolution of the collection, which was dismantled by the Nazis after 1933. Within the galleries, life-size, black and white photos stand in for paintings that were lost in this period, accompanied by detailed provenance information documenting ongoing research into their whereabouts. This provides an important reminder of how political contexts shape collections. Sculpture is shown well, on simple plinths that are occasionally raised on low platforms, which serve instead of barriers. Painting, though, dominates the displays: indeed, sculpture is sometimes reduced to a decorative adjunct, with figurative works by Wilhelm Lehmbruck (1881-1919) and Georg Kolbe (18771947) seemingly used to adorn the admittedly stunning Mies Van der Rohe spaces, rather than contribute to the principal narrative. At other times, sculpture is cordoned off in separate spaces. The permanent sculpture court, at sub-podium level, is inaccessible and screened off to keep natural light from the main galleries, so that several works are tantalisingly hidden from view by blinds. A further gallery is devoted to the works of Rudolf Belling (1886–1972), covering a variety of styles from Expressionism to Constructivism, many of which would have found a context within the main displays. When sculpture does become central to the story, subtle connections are created between works in different media: Ernst Barlach’s (1870-1938) chunky woodcarvings of floating figures are displayed to chime with the dreamy mood of Edvard Munch’s (1863–1944) paintings for ‘The Frieze of Life’ (1906) and Ernst Ludwig Kirchner’s (1880–1938) polychromatic wood carvings redolent of the artist’s retreat into rural life after World War I - to highlight the sculptural qualities of his paintings. Sculpture comes into its own in galleries which focus on art movements rather than social and political narratives, particularly in displays devoted to Cubism, Surrealism and abstraction. Delicate collages by Jean Arp (1886-1966) and Kurt Schwitters (18871948) more than hold their own amongst the paintings of Salvador Dalí (1904-1989) and René Magritte (1898-1967);
and reliefs by Willi Baumeister (1889–1955) and Oskar Schlemmer (1888–1943) literally add depth to paintings by Paul Klee (1879-1940) and László Moholy-Nagy (1895-1946). Modern Times successfully and sensitively roots the collection in its political and social context, creating a gripping narrative. Moreover its flexible format allows for additional emphases on artists and genres which reflect the collection’s particular configuration and for fresh correspondences to emerge. Sophie Raikes, Assistant Curator (Collections)
Publications Essays on Sculpture The Henry Moore Institute Essays on Sculpture series has been re-designed by Groundwork, Skipton. The Essays are published three times a year, presenting scholarly texts relating to our exhibitions, research and to the Leeds Museums and Galleries sculpture collections, which are managed in partnership with the Institute, a partnership that has built one of the strongest public collections of sculpture in Britain. Written by Institute staff, visiting scholars, artists, guest curators and invited writers, Essays on Sculpture focus on the ways in which sculpture – be it historical, modern or contemporary – reverberates in the present. The Essays take unexpected routes through definitions of sculpture. As with all the Institute’s activities, the Essays seek to raise more questions than answers, and to complicate the ways in which sculpture is understood and defined. Essay 63 is published on the occasion of our exhibition Mario Merz: What Is to Be Done? Written by the exhibition’s curator, Lisa Le Feuvre, this essay and exhibition focus on Merz’s sculptures made between 1966 and 1977, paying attention to the ways in which the Italian artist used materials as ‘protagonists’. Essays on Sculpture are available from the Institute Bookshop and through our website. The series can be subscribed to in issues of five at a cost of £20, and all subscribers will be sent two back issues of their choice free of charge. For subscription enquiries contact publications@henry-moore.org. All issues, including those out of print, are collected in the Institute’s Research Library. Text for out of print titles is also available at: www.henry-moore.org/hmi-journal/homepage. Essay 64 will be published in Autumn 2011. Essay 63: Mario Merz: What Is to Be Done Lisa Le Feuvre, 32pp, 15 colour illustrations £5.00
Savage Messiah In 1930 H.S. Ede published a biography of the sculptor Henri Gaudier-Brzeska. Entitled A Life of Gaudier-Brzeska, the book was re-issued a year later with the new title Savage Messiah. Ede’s book played an important role in re-restablishing Gaudier’s reputation at a time when he was at risk of fading into obscurity. This new edition, which includes previously unpublished material and new essays that re-contextualise the book art-historically, marks the centenary of Gaudier’s arrival in Britain. It draws on the 1929 manuscript version of Ede’s book, now in the archive at the Henry Moore Institute, reproducing many of the drawings and photographs first used by Ede. Savage Messiah H.S. Ede, with new texts by Sebastiano Barassi, Evelyn Silber and Jon Wood, 320pp, 88 illustrations (24 colour) £25.00 www.henry-moore.org/hmf/shop
Archive
Library
HMI Archive Intern: Misty Ericson
New Acquisitions
Misty Ericson has joined our team as Archive Intern for the next six months, to assist with processing recent acquisitions and the general running of the Archive. Misty studied History of Art at the University of Leeds, and recently worked at the Stanley and Audrey Burton Gallery. She has also published, and now edits, and develops, a website focusing on the work of female artists, which includes an online gallery, virtual events and online publications. Misty previously worked as a Leeds Museums and Galleries intern, listing the Ernest and Mary Gillick Archive. She will be working in the Archive on Fridays until the end of the year.
To add to its collection of catalogues of defining group exhibitions of conceptual and process art, the Library has acquired catalogues from several of the Prospect exhibitions held at the Kunsthalle Düsseldorf, an event set up by dealer Konrad Fischer and art critic Hans Strelow.
New Acquisition: Shelagh Cluett Archive Through the generosity of The Shelagh Cluett Trust we recently acquired the complete archive of influential sculptor, Shelagh Cluett (1947-2007). Cluett was one of the very few female artists who achieved critical recognition in the mid-1970s for making striking sculptures, of thin steel, aluminium, brass, copper rods or strips, bitumen and wax, rising from floor to the wall, which were described as ‘drawing in space’. She studied at Hornsey School of Art (1968-71) and Chelsea School of Art (1971-2). She continued to develop her sculpture in the 1980s, adopting colour and more figurative elements into the metal works she made. In 1984 she became head of both undergraduate and postgraduate sculpture at Chelsea and academic leader of MA Fine Art. It was in this role that she became an influential figure in art education, as an external examiner and an active member of national and international art bodies. The international aspect to her academic life was reflected in her own practice, as her work focused on the art and culture of the Far East. The collection is wide-ranging, including photographs, drawings, sketchbooks, diaries, private view cards, posters, correspondence, notebooks, digital art, videos and negatives. A core section is found in a unique series of drawings of her early work and a complete set of sketchbooks, dating from 1966-2002. To mark this recent acquisition, Sophie Raikes is curating the forthcoming exhibition Shelagh Cluett: Drawing in Space, (1 December 2011 - 11 March 2012, Sculpture Study Galleries) which will bring together sculptures, drawings, sketchbooks and photographic documentation of Cluett's work from the late 1960s to the early 1980s. Claire Mayoh, Archivist
Attacking Gentrification: the anarchitecture of Adrian Blackwell On 17 July Allan Antliff, current Senior Research Fellow at the Henry Moore Institute, headed south of the city for a speaking engagement at the decidedly less than gentrified BasementArtsProject, an artists-run space in Beeston. Twenty-five people attended to hear Allan’s talk on the oppositional antagonistic strategies of Canadian artist, architect and anarchist Adrian Blackwell. Antliff’s talk looked at what he described as the ‘predatory social process’ of gentrification and its negative impacts. Anecdotal stories of Blackwell’s interventions in Toronto provided humorous insights into his subversive techniques. Images of Blackwell’s public lavatory installation in downtown Toronto were projected into a corner of BasementArtsProject’s crumbling plaster and bare brick. Bruce Davies, Head Receptionist and Curator, BasementArtsProject
The event was neither a group show nor an art fair, rather ‘an international preview of art from the avant-garde galleries’. The first exhibition, held in 1968, included artists from sixteen international dealer galleries. Prospect 71 was subtitled Projections and focused on film, video and slide projections media which was becoming increasingly important. Mario Merz, the subject of our current exhibition, featured in both Prospect 68 and Prospect 71 and was represented in the latter by Gerry Schum who had just opened Videogalerie Schum, a gallery exclusively dedicated to video art in Düsseldorf. Merz’s ‘Lumaca’ that featured in Prospect 71 is on display here at the Institute.
National Life Stories Within the audio-visual collection, the Library holds recordings of sculptors interviewed as part of the National Life Stories: Artists’ Lives oral history project. Interviews with Bernard Meadows, Eduardo Paolozzi, Elisabeth Frink, Ivor Abrahams, Lynn Chadwick and Kenneth Armitage are amongst the Institute’s holdings. As the emphasis is on an artist’s ‘life story’, interviews are typically several hours long and review the artist’s life from early childhood to the present day. The interviews are a remarkable insight into British social history, art history and education of the twentieth and twenty-first centuries, as well as the individual artist’s motivations and influences. Staff at the Institute actively participate in the project and are currently working to add interviews with Michael Lyons and Rob Ward to the collection. Completed interviews can be listened to in the Institute’s Library. These can be searched via the Library catalogue using the keywords ‘National Life Stories’. Selected interviews are also available to educational users via the British Library Archival Sound Recordings website (http://sounds.bl.uk/), and the complete collection can be accessed by appointment at the British Library (http://www.bl.uk/nls).
On Display The G.F. Watts Sculpture Gallery: a photographic record of the restoration 2008-2011 The current Library display features a selection of photographs by Anne Purkiss documenting the restoration of the Watts Sculpture Gallery, in Compton, Surrey. The Victorian artist, George Frederic Watts OM RA (1817-1904) followed Michelangelo’s dictum that there was ‘but one art’ which could be expressed in drawing, painting and sculpture. The gallery, built by Mary Watts in 1906 as an extension to the original building, contains the models for Watts’s monumental bronzes as well as models and the anatomical casts used to inform his drawings and paintings. The entire collection, including the monumental works ‘Physical Energy’ and ‘Tennyson’, was moved into storage during the restoration. The photographs show this difficult and dangerous operation and the redisplay in the newly refurbished gallery, which reopened to the public earlier this year, with grants from, among others, The Henry Moore Foundation. Ann Sproat, Librarian
Noticeboard Oscar Nemon (1906-1985) The BBC showed a short film on Sunday 10 July about Oscar Nemon’s bronze statue of Winston Churchill in the House of Commons:http://www.bbc.co.uk/news/uk-england-14097505. Oscar Nemon is represented in the Leeds Museums and Galleries sculpture collections, and the artist’s papers (1920-85) were acquired for the Henry Moore Institute Archive in 2004.
Pavilion Commissions Lucy Skaer and Aurélien Froment Visual arts organisation Pavilion has commissioned artists Lucy Skaer and Aurélien Froment each to make an ambitious new art work, to be launched in Leeds in the autumn. In Lucy Skaer’s Film for an Abandoned Projector the artist explores her interest in the relationship between sculpture and film; between the machine and the resulting psychological space created by it. Skaer’s new silent film is presented in the semiderelict Lyric Picture House in Leeds on the cinema’s original 35 mm projector. Specific to its place, the resulting sculptural film work is the imagined subconscious of the projector itself. Aurélien Froment's episodic film takes as its starting point the common chair and its multiple uses and associations. By dispersing a series of interconnected films between the trailers and the main feature film over several months at the Hyde Park Picture House, Froment invites the unsuspecting audience to consider how, when, why and with whom we sit. Reflecting upon the seated position of the viewer as they watch the work, the films contemplate ideas related to the peculiar role of the chair, its social and cultural associations and the very act of sitting and looking. Lucy Skaer’s Film for an Abandoned Projector is launched on 28 September and will run until 15 December at the Lyric Picture House, Tong Road, Leeds. Aurélien Froment’s series of short films will be presented at the Hyde Park Picture House from 18 November to February 2012. For more information visit www.pavilion.org.uk
The Face of Courage. Eric Kennington, Portraiture and the Second World War To May 2012, Royal Air Force Museum, London The Royal Air Force Museum Art Gallery reopened in June with the installation of an exhibition of portraits by renowned wartime artist Eric Kennington, curated by Jonathan Black, Senior Research Fellow in History of Art at Kingston University. Kennington was among a handful of British artists who distinguished themselves as official war artists in both World Wars. His portraits were widely hailed not only as works of art, but also as capturing the indomitable spirit of British and Allied Servicemen in the struggle for victory. This exhibition, the first to focus specifically on his Second World War Art, seeks to reassess Kennington’s significant contribution to British War Art and to acknowledge his undoubted standing as one of the great British portraitists of the twentieth century. Admission free, see www.rafmuseum.org for further details. twitter.com/HMILeeds http://www.facebook.com/pages/Henry-Moore-Institute/298487094711
Henry Moore Institute The Headrow Leeds LS1 3AH Open daily 10.00am - 5.30pm Library 1.00 - 5.00pm Sundays Wednesdays until 9.00pm Closed Bank Holidays Enquiries/recorded information: +44 (0) 113 246 7467 www.henry-moore.org/hmi Located in the centre of Leeds adjacent to Leeds Art Gallery, a short walk from the rail station.
Exhibitions Guided Tours 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; please enquire on the day at gallery reception. To book a tailormade tour of any part of the Institute contact 0113 246 7467.
Main Galleries 28 July-30 October 2011 Mario Merz: What Is to Be Done?
Gallery 4 To 31 July 2011 Savage Messiah: The Creation of Henri Gaudier-Brzeska 7 September-4 December 2011 Tacita Dean: Mario Merz
Leeds Art Gallery Sculpture Study Galleries: Mezzanine 28 July-30 October 2011 Darrell Viner: Early Work
Sculpture Galleries The Practice and Profession of Sculpture: Objects from the Leeds Collection Construction and its Shadow Joseph Gott in Leeds and Rome 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)