Henry Moore Institute

Henry Moore Institute
The Headrow
West Yorkshire






0113 234 3158


Recorded Information

0113 246 1481


0113 246 7467

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The Henry Moore Institute in Leeds has a programme comprising collections, exhibitions and research. The programme draws on artists, writers, curators and different kinds of historians, in discussions, in writing, in research projects and in exhibitions. The Henry Moore Institute is a partnership between the Henry Moore Foundation and Leeds City Council, set up as a centre of sculpture in the city where Moore began his training as a sculptor.

Venue Type:


Opening hours

Monday - Sunday 10.00 - 17.30
Wednesdays to 20.00

Admission charges

Admission Free

Exhibition details are listed below, you may need to scroll down to see them all.

Vladimir and Georgii Stenberg: 'Construction for a Spatial Structure VI'

  • 22 January — 20 April 2014 *on now

Trained engineers, the Stenberg brothers (1899-1982 / 1900-33) were central to the Russian Constructivist movement.

Their achievements included designing theatre sets, women's shoes, posters for the films of Sergei Eisenstein and, in 1947, Vladimir designed the May Day decorations for Red Square.

This display presents a 1973 reconstruction of the lost 1919 sculptural prototype for a building, known as 'KPS6', or 'Construction for a Spatial Structure VI'. Related archival material shows the brothers' important role in the Moscow avant-garde of the 1920s, tracing this sculpture's continued influence since its original showing at Moscow's Poet's Cafe in January 1922.



Ian Kiaer: Tooth House

  • 20 March — 22 June 2014 *on now

The artist Ian Kiaer (b. 1971) mines experiments in literature, architecture and philosophy. Tooth House presents a series of new works responding to the Institute's galleries, taking as a guide the writings of two thinkers who made radical proposals for understanding interactions with natural and technological environments - architect and designer Frederick Kiesler (1890-1965) and mathematical biologist and Classics scholar D'Arcy Wentworth Thompson (1860-1948).

From inflated Korean rubbish bags to office tables, fluorescent-tube packaging to swathes of plastic, deflated footballs to upturned buckets, Kiaer proposes different registers of material and objects as models for alternative ways for perceiving growth and form.



Photographing Sculpture: How the Image Moves the Object

  • 20 March — 22 June 2014 *on now

Photography has made sculpture mobile since the birth of the medium. Presenting vintage photographs from the early twentieth century to the present day, this exhibition reveals the ways sculptors have used photography to explore ideas and distribute their work.

Some images show working processes in the studio, others document sculptures being settled into position in galleries and the public realm. Photographs have the ability to fix sculptures in history that are now lost, destroyed or damaged: this exhibition includes sculptures that today only exist in their documentation.

Sometimes sculptors use photographs to bring fresh eyes to an object, or to realise impossible escapes from gravity, or to capture a transitory sculptural gesture. Drawn wholly from the Henry Moore Institute Archive of Sculptors' Papers, this exhibition shows the importance of photography in making sculpture visible.



D'Arcy Thompson's on Growth and Form

  • 14 May — 17 August 2014

In 1917, the mathematical biologist, zoologist and Classics scholar D'Arcy Wentworth Thompson (1860-1948) published On Growth and Form, a poetic and mathematical study of scale, gravity, order and process.

This book has lodged itself within the consciousness of twentieth-century sculpture - Henry Moore himself was introduced to the book while studying in Leeds in 1919 and Richard Hamilton, who took the title for his 1951 landmark exhibition at the ICA London, declared On Growth and Form 'charged my batteries for a number of years'.

This exhibition presents a selection of Thompson's teaching models, including an intricate glass model of a jellyfish made in the Dresden Blaschka studio and a series of brightly coloured plaster models of the growth of a primitive vertebrate, alongside four drawings made by Moore in the 1930s, known as the 'Transformation' drawings. Held in the collection of The Henry Moore Foundation, these show the influence of Thompson on Moore's sculptural thinking.



Gego. Line as Object

  • 24 July — 19 October 2014

Gego (1912-94) was born Gertrud Goldschmidt in Hamburg, emigrating to Venezuela in 1939 immediately after finishing her architectural studies in Stuttgart. For five decades she faithfully explored how a line can operate as an object, creating planes, volumes and expansive nets to reflect on perception.

This exhibition, a collaboration with Hamburger Kunsthalle and Kunstmuseum Stuttgart, charts Gego's study of the sculptural possibilities of the line through drawings and sculptures, and proposals for public works stretching between the modernist buildings of Caracas and plans for filling gallery spaces in New York, Frankfurt and Caracas. Gego's unrivalled engagement with the problems of form and space make use of light, shadow, scale and gravity in a constant process of discovery.