1,722,093 research outputs found
Neal White realises a Skoob. Henry Moore Institute
No full textCommissioned as part of A Lesson in Sculpture with John Latham at Henry Moore Institute, Leeds.
Time-based events were intrinsic to Latham's research across all of the provocations forming the narrative of A Lesson in Sculpture with John Latham. Throughout the exhibition three event sculptures take place directly outside the Institute building. The first is a 'Skoob Tower' burning, described by Latham as a 'sculpture in reverse' - skoob being the word books inverted - is realised by Neal White
Myriad mediations: Henry Moore and his works on screen, 1937-1983
No full textExploration of the ways in which Henry Moore and his work was presented on television and in film documentaries during his lifetime
The art of Henry Moore
No full text60 minute film written, directed and produced by Wyver. The film aims to rediscover Moore’s works through a precise visual focus on a wide range of his art. Working with a format
distinct from Illuminations' series theEYE, the film brings together images of Moore’s artwork from throughout his career with the
words of the artist, newly recorded by an actor, which are the only spoken elements. These words are drawn from interviews
with Moore and from his writings. This enables an immediate presentation of the artist’s ideas and, alongside rigorously shot
images of the art, offers insights into his working methods and intentions. The film is intended for a broad general audience
achieved by digital television screenings and gallery presentations as well as by DVD sales internationally.
The film is the most comprehensive presentation of Moore's work on film. In early 2007 it was honoured as "Best Educational
Film" at the Montreal International Festival of Films on Art. The success of its format led to the production, by Wyver, of further
such films, including The Art of Eric Gill and The Art of Francis Bacon.
The film concentrates on Moore’s art and largely eschews the biographical approach adopted by all other films about the artist.
The use throughout of Moore’s words achieves a personal and “subjective” presentation of the artist’s ideas.
The editorial content was reviewed and approved by the Henry Moore Foundation and the film was produced to full broadcast
specifications. All of the more than 400 sculptures and drawings featured in the film were filmed throughout Europe and the USA
by the researcher (working with cameraperson Ian Serfontein) from the original artworks. It was important for the film that no
transparencies were used and that new images were created to present the works in as direct a manner as is feasible
Concrete Thinking for Sculpture
No full textThis article proposes to explore the variegated plays of concrete as a travelling concept through four specific examples, viewed from the locality of the Yorkshire Sculpture Triangle in 2015. It will be argued that ‘concrete’ makes possible a triangulated reading practice in, of and for sculpture. The first example looks to the use of concrete, as a material, in some of the ‘technical’ experiments of Henry Moore, from the 1920s-1930s. The second example is the only public concrete sculpture by Barbara Hepworth on record, entitled Turning Forms. This is a kinetic work which was commissioned for the Festival of Britain in 1951. The psychic registrations of form-in-concrete will be explored through the aesthetic reception and understanding of these works. The third example examines the interplay between abstraction and concretion in a work of structural engineering: the Arqiva transmission tower on Emley Moor. This structure is a working utilitarian model of the telecommunications industry which took hold in the 1960s and 1970s. It is also a sculptural monument in a landscape of other design ‘types’. The fourth example considers the recent display of Lygia Clark’s Bichos at the Henry Moore Institute, Leeds, in 2014-2015. Bicho Pássaro do Espaço (‘Creature Passing through Space’) (1960) reveals a particular translation between concrete thinking and concrete experience. These examples call upon the semantics of the concrete as a thought process and will track a journey into a region marked by three interconnected points: the concrete specificity in the material works selected, the broader field of concrete forms within which the sculptural may sit and the philosophical/aesthetic language of concrete for sculpture
Henry Moore exhibition poster
No full textArtwork photographed and inventoried by the 2015 Summer Art Inventory team in the Visual Resources Center.This is a black and white exhibition poster for Henry Moore featuring an image of two humanoid sculptures sitting with a desert-like background. In the bottom third of the poster has Hebrew and English text. The English reads "henry moore / the israel museum". The museum's logo is featured in the bottom left corner along with the year "1966". The back has blue ink writing in the top third which reads "Henry moore / (Israel)"
Henry Moore
No full textPhotograph shows three-quarter length studio portrait (carte-de-visite) of Henry Moore (Mohr) who was a clerk at John O. Meusebach's store in Loyal Valley, Texas
Dreams of the Sleeping Beauty: Henry Moore in Polish art criticism and the media, post-1945
No full textBook synopsis: This title was first published in 2003. For more than half a century, Henry Moore has enjoyed a privileged place as a pioneer of modern British sculpture. His work is familiar in public spaces worldwide. Celebrated for reconfiguring sculptural form, and hailed as a potent avant-garde artist, Moore has now become a quintessential establishment figure. This collection of essays is the first to reconnect Moore both to his times and to the preoccupations of modern art-historical scholarship. Examining broad themes in Moore's work from the 1930s to the 1980s, the essays reposition canonical sculptures, offering readings of the diverse historical, economic and cultural conditions in which Moore's work was produced and understood
Draped Reclining Figure
No full textOverall view from left; Photographed in the Rijksmuseum garden as part of the 22nd June 2013 - 29th September 2013 temporary exhibit, "Henry Moore Outside." The exhibition features 12 monumental works on loan from the Henry Moore Foundation (identified by the Foundation accession numbers). This work: The Henry Moore Foundation: gift of the artist 1977; LH 336 cast [0]. Source: Henry Moore Foundation; http://www.henry-moore.org/ (accessed 7/12/2014
Reclining Figure: Arch Leg
No full textOverall view; Photographed in the Rijksmuseum garden as part of the 22nd June 2013 - 29th September 2013 temporary exhibit, "Henry Moore Outside." The exhibition features 12 monumental works on loan from the Henry Moore Foundation (identified by the Foundation accession numbers). This work: Foundation number LH 610. Source: Henry Moore Foundation; http://www.henry-moore.org/ (accessed 7/12/2014
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