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Bill Brandt | Henry Moore
Accompanies the exhibition co-organized by the Yale Center for British Art, New Haven, shown June 5-September 13, 2020, the Hepworth, Wakefield, shown February 7-May 3, 2020, and the Sainsbury Center, University of East Anglia, shown November 22, 2020-February 28, 2021.
Barbara Hepworth
A richly illustrated biographyon the life and work ofBarbara Hepworth, one of thetwentieth century's mostinspiring artists and a pioneerof modernist sculpture.
The Rise and Fall of Flint Jack
Flint Jack was a nineteenth-century vagabond and highly skilled artisan from Yorkshire. He sold fake megalithic axe heads, and ceramic and stone carving forgeries that, despite their lack of historical providence and verification, still populate many museums throughout the UK.Accompanying an exhibition of Flint Jack artefacts at the Henry Moore Institute in summer 2019, this publication expands on Flint Jack's methodologies, with in depth research uncovering many of his notorious exploits.An essay by Irish artist Sean Lynch explores the life and times of Flint Jack, making connections between his oeuvre and dialogues of contemporary sculpture practice. A series of drawings by Mexican artist Jorge Satorre details mischievous behaviour by Jack, recalled from his ramblings around Victorian Britain.Published on the occasion of the exhibition, The Rise and Fall of Flint Jack by Sean Lynch, at Henry Moore Institute, Leeds (22 June 22 - 29 September 2019), as part of Yorkshire Sculpture International.
Henry Moore
A fresh look at Henry Moore's work from a Greek perspective.
Henry Moore
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Wild and Crazy
"The funniest photographs of wildlife from around the world collected here in one ... book [intended] for animal lovers of all stripes"--
Henry Moore's Sheep Sketchbook
In February 1972 Henry Moores sculpture studios in the English countryside at Much Hadham were filled with the preparations for his retrospective exhibition in Florence. In search of peace and quiet, he went into a smaller room overlooking the fields where a local farmer grazed his sheep. The sheep came very close to the window, attracting his attention, and he began to draw them. Initially he saw them as nothing more than four-legged balls of wool, but his vision changed as he explored what they were really like the way they moved, the shape of their bodies under the fleece. They also developed strong human and biblical associations, and the sight of a ewe with her lamb evoked the mother-an...
Becoming Henry Moore
Coinciding with the fortieth anniversary of the Henry Moore Foundation, and accompanying an exhibition of the same name, Becoming Henry Moore tells the story of the artist's creative journey between 1914 and 1930, from gifted schoolboy to celebrated sculptor. Displaying artistic skill and ambition from a young age, Moore spent his early years studying the art of the past and of his contemporaries, absorbing a wide variety of sculptural ideas and forms as he developed his own individual and now iconic style. Sebastiano Barassi presents a lively account of this formative period, from Moore's time at Castleford Secondary School, where his talent was first spotted, through his active service in ...
Henry Moore
'The idea of one form inside another form may owe some of its incipient beginnings to my interest at one stage when I discovered armour. I spent many hours in the Wallace Collection, in London, looking at armour.' Henry Moore, 1980. Coinciding with the major exhibition of the same name, Henry Moore: The Helmet Heads traces the footsteps of the artist through the armouries of the Wallace Collection, where he encountered 'objects of power' that profoundly influenced his work for the rest of his career. Captivated by helmets in particular, Moore saw in them a fundamental form idea – an outer shell which could protect something vulnerable inside. Tobias Capwell identifies the specific helmets ...
Tooth House
London-based artist Ian Kiaer mines experiments in literature, architecture and philosophy. Tooth House accompanies an exhibition at Henry Moore Institute, 20 March - 22 June 2014, that brings together a selection of works made between 2005 and 2014.From inflated Korean rubbish bags to office tables, fluorescent-tube packaging to swathes of plastic, deflated footballs to upturned buckets, Kiaer's artworks draw on scale, material and encounter - key terms for the study of sculpture. Tooth House takes as a guide the writings of architect and designer Frederick Kiesler (1890-1965), whose writings have been a great influence on post-war art, architecture and design. Central to Tooth House is an exploration of the model - a structure that enables thought to be materialised and tested.Fully illustrated, this book includes essays by Lisa Le Feuvre (Henry Moore Institute), Fabrice Hergott (Musée d'Art moderne de la Ville de Paris), and a roundtable discussion with Ian Kiaer.
