Henry Moore Institute
Henry Moore Institute
0113 234 3158
0113 246 1481
0113 246 7467
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.
Monday - Sunday 10.00 - 17.30
Wednesdays to 20.00
D'Arcy Thompson's on Growth and Form
- 14 May — 17 August 2014 *on now
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.