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Journal articles on the topic 'Henry Moore Sculpture Centre'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Coombes, Rebecca. "Art libraries in a city: present and possible cooperation in leeds." Art Libraries Journal 18, no. 3 (1993): 32–37. http://dx.doi.org/10.1017/s0307472200008439.

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In addition to an art library which is part of the public library service, the city of Leeds, in the north of England, is the home of two universities and an art college, and of the Henry Moore Centre for the Study of Sculpture, in each of which significant art library collections can be found. Each library has cooperative links, if only of a limited nature, with one of the other five, but cooperation involving all five libraries is lacking. As a first step, regular meetings are suggested; other possible developments might include an information booklet, a periodicals union list, a Conspectus

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2

Pucci, Lara. "Henry Moore Foundation–BSR Fellowship in Sculpture: Fascist fountains." Papers of the British School at Rome 86 (October 2018): 351–52. http://dx.doi.org/10.1017/s0068246218000260.

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3

Gao, Zhipeng, and Imelda Hermilinda Abas. "The Semiotics and Deconstruction of the Body." Journal of Ecohumanism 3, no. 6 (2024): 1861–71. http://dx.doi.org/10.62754/joe.v3i6.4142.

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This paper explores the evolution of body symbolism in sculpture art since the 20th century, combining Saussure's semiotics and deconstruction theory to analyze the symbolic meanings of body imagery across different historical periods and cultural contexts. The study first reviews the representation and cultural significance of body symbols in ancient Greek and Roman, Renaissance, and Chinese ancient sculpture. It then reveals the processes of deconstruction and reconstruction of the body in modernist and postmodernist sculpture, examining the representative works of artists such as Henry Moor

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4

Casini, Giovanni. "Henry Moore, Michael Ayrton and Giovanni Pisano: the reception of medieval sculpture." Sculpture Journal 23, no. 3 (2014): 379–92. http://dx.doi.org/10.3828/sj.2015.9.

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5

Barker, Simon. "Henry Moore Foundation–BSR Fellowship in Sculpture: Discovering the statue within the sculpture: the art of re-carving spoliated sculpture." Papers of the British School at Rome 85 (October 2017): 340–41. http://dx.doi.org/10.1017/s0068246217000150.

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6

Wood, Jon, and Bruce McLean. "Fallen warriors and a sculpture in my soup: Bruce McLean on Henry Moore." Sculpture Journal 17, no. 2 (2008): 116–24. http://dx.doi.org/10.3828/sj.17.2.10.

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7

Binkowski, Kraig. "A biographical dictionary of sculptors in Britain, 1660-1851, Ingrid Roscoe, Emma Hardy and M. G. Sullivan, London and New York: Yale University Press for the Paul Mellon Centre for Studies in British Art and The Henry Moore Foundation, 2009. 1620 p.: ISBN 9780300149655. £80.00/$200.00 (hardcover)." Art Libraries Journal 35, no. 2 (2010): 46–48. http://dx.doi.org/10.1017/s0307472200016412.

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8

खत्री Khatri, ओम Om. "हेनरी मुरको मूर्ति रचना “राजा र रानी” : एक विमर्श [Henry Moore's sculpture "King and Queen": An Exchange]". SIRJANĀ – A Journal on Arts and Art Education 5, № 1 (2021): 126–33. http://dx.doi.org/10.3126/sirjana.v5i1.39860.

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बिसौं शताब्दीका विश्वविख्यात मूर्तिकार हेनरी मुर (Henry Moore) को आदिमतापरक मूर्ति रचना ‘राजा र रानी’ (King and Queen) विशिष्ट शैली र अनुभूतिजन्य प्रभावका लागि प्रसिद्ध रहेको छ । यस मूर्तिमा ‘आदिमवाद’अर्थात् ‘प्रिमिटिभिज्म’ (Primitivism) को धारलाई पछ्याएको छ । मूर्तिमा चैतन्य र अबोधपनलाई कुशलतापूरबक संयोजन गरिनुलाई कलाकारको मौलिकता र वैशिष्ट्य मान्न सकिन्छ । यो मूर्ति रचनाको आदिमतापरक (archetypal) पक्षका सम्बन्धमा अनेकौ विज्ञहरूका लेख रचनाहरू प्रकाशित छन् । यस मूर्तिका अनेकौअनुकृतिहरू विश्वभरि कैयौ सङ्ग्रहालयहरूको आकर्षणका रूपमा रहेका छन् । यस कृतिका सम्बन्धमा विभिन्नथरी अनुमान एवम् चर्चा परिच

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9

Rudd, Natalie. "Researching women in sculpture: a discussion event at the Henry Moore Institute, 4 May 2022." Sculpture Journal 32, no. 1 (2023): 113–32. http://dx.doi.org/10.3828/sj.2023.32.1.08.

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10

Mohite, Ragini. "Henry Moore’s Narayana and Bhataryan: theatre of sacrifice." Sculpture Journal: Volume 30, Issue 3 30, no. 3 (2021): 323–43. http://dx.doi.org/10.3828/sj.2021.30.3.5.

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Henry Moore’s unpublished play Narayana and Bhataryan (c. 1919) was first performed in 1920 at Castleford Secondary School. Moore wrote, performed in and designed the programme for this play. Despite timely theatrical returns to Moore’s only surviving literary creation, this play has not yet been the subject of in-depth critical study. Using archival research, this article engages with the play’s early indication of Moore’s sculptural tendencies. It traces the play’s parallels with another play produced in the early twentieth century: Rabindranath Tagore’s Sacrifice. Doing so highlights the cr

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11

Loftus, Belinda. "Henry Moore, Shelter Sketchbooks, Ardhowen Centre, Enniskillen 22 April - 11 May, 1986." Circa, no. 28 (1986): 28. http://dx.doi.org/10.2307/25557093.

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12

Adamou, Natasha. "Henry Moore Foundation–BSR Fellowship in Sculpture: Shade Between Rings of Air: replication of architecture as sculpture: Carlo Scarpa/Gabriel Orozco, 1952/2003." Papers of the British School at Rome 84 (September 20, 2016): 345–46. http://dx.doi.org/10.1017/s0068246216000313.

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13

علي جبر حسين. "The visual discourse of the art of sculpture between metaphor and innovation for sculptures (Umbertojacomti _ Henry Moore)." Journal of the College of Basic Education 21, no. 92 (2022): 361–400. http://dx.doi.org/10.35950/cbej.v21i92.7527.

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يتناول البحث الحالي(الخطاب البصري لفن النحت بين الاستعارة والابتكار) دراسة مقارنة بين اعمال النحاتين امبرتو جاكومتي وهنري مور كما يهدف البحث الى الكشف عن الية الاستعارة وتوظيفها ابتكاريا، وقد لجا الباحث الى اختيار عيناته بشكل قصدي بتحقيق اهداف البحث،هذا مايخص الفصل الاول من هذا البحث حيث شمل الفصل الثاني اربعة مباحث تناول الاول منها الاستعارة وانواعها والية توظيفها واشتغالاتها وتناول المبحث الثاني الابتكار مفهوما وكذلك الخطاب البصري بين المتحول الشكلي والابتكار،اما المبحثان الثالث والرابع فقد تناول المتحول الشكلي لدى النحاتين امبرتوجاكومتي وهنري مورفضلا عن مؤشرات الاطار النظري وكذلك الاستنتاجا

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14

Wood, Jon. "‘The New British Sculpture: reviewing the persistence of an idea’ Henry Moore Institute, Leeds 17-18 February 2011." Sculpture Journal 21, no. 2 (2012): 7–8. http://dx.doi.org/10.3828/sj.2012.12.

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15

Getsy, David. "Tactility or opticality, Henry Moore or David Smith: Herbert Read and Clement Greenberg on The Art of Sculpture, 1956." Sculpture Journal 17, no. 2 (2008): 75–88. http://dx.doi.org/10.3828/sj.17.2.7.

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16

Speight, Elaine, and Charles Quick. "“Fragile Possibilities”: The Role of the Artist’s Book in Public Art." Arts 9, no. 1 (2020): 32. http://dx.doi.org/10.3390/arts9010032.

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Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist

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17

Hannabuss, Stuart. "The Sculpture of Gertrude Hermes2012279Jane Hill. The Sculpture of Gertrude Hermes. Farnham and Burlington, VT: Lund Humphries in association with The Henry Moore Foundation 2011. 152 pp., ISBN: 978 0 85331 865 1 £59.99 $99." Reference Reviews 26, no. 6 (2012): 55–56. http://dx.doi.org/10.1108/09504121211251970.

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18

Hart, Malcolm B., and Christopher W. Smart. "The 2007 recipient of the Brady Medal: Professor John W. Murray." Journal of Micropalaeontology 27, no. 1 (2008): 95–96. http://dx.doi.org/10.1144/jm.27.1.95.

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Abstract. The first recipient of the Brady Medal, which was presented on 7 November 2007, is Professor John W. Murray of the National Oceanographic Centre, University of Southampton. The awardee is singularly appropriate as Henry Bowman Brady studied (mainly benthic) foraminifera. John was also one of the speakers at the first open meeting of the then British Micropalaeontological Group when it met at Sheffield University in March 1971 under the Chairmanship of Professor Leslie R. Moore (one of the founding fathers of the TMS). Other speakers on that day included Charles Downie, Alan Higgins,

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19

Edwards, Jason. "‘Public Sculpture of Britain National Recording Project’, Public Monuments and Sculpture Association, 1997–Body Doubles: Sculpture in Britain 1877–1905by David J. GetsyRodin: the Zola of Sculptureedited by Claudine MitchellBertram Mackennaledited by Deborah EdwardsMapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951by University of Glasgow and Henry Moore Institute ‘Bertram Mackennal’ by Art Gallery of New South Wales, Sydney, August 17–November 4, 2007 ‘The Return of the Gods: Neoclassical Sculpture in Britain’, Tate Britain, January 28–June 8, 2008." Visual Culture in Britain 10, no. 2 (2009): 201–7. http://dx.doi.org/10.1080/14714780902925150.

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20

Iorga, Rozalia. "Land-Art, Ecologie, Politică şi Societate." Hiperboreea A2, no. 1 (2013): 15–27. http://dx.doi.org/10.5325/hiperboreea.2.1.0015.

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Abstract The Land-Art was integrated to Postmodernism by the most art historians, having as arguments the important affinities presented by the two artistic phenomena, both at the expressing modalities level but, especially, at the level of principles and, of the ideological sphere. The Postmodernism intended, as it is well-known, to parody or to interpret, in a proper way, a cultural tradition whose authority had become disturbing the Land-Art also started an innovating programme in the 60s -70s of the 20th century, through which the millenary art of the landscape was questionable, trying thi

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21

"BIOMORPHIC FORMS IN SURREALIST STATUES EXHIBITED IN PUBLIC SPACE." Idil Journal of Art and Language 10, no. 82 (2021). http://dx.doi.org/10.7816/idil-10-82-02.

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In this study, the sculpture samples of the artists mentioned in the Surrealism movement, which were evaluated in the biomorphic wing of the Surrealist sculpture and especially exhibited in the public space, were examined. With the Surrealist manifesto published by Andre Breton in 1924, artists began to produce works with an approach that prioritized automatism, dreams, fantasies, and ambitions instead of progressing with reason and logic. The movement first showed itself in poetry, and it’s followed with the presence in the art of painting and later in the art of sculpture. In the surrealist

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22

Trifonov, Martin. "Biomorphic Traces in The Monumental Sculpture of Boyan Rainov." Visual Studies 5, no. 1 (2021). http://dx.doi.org/10.54664/ohgc4037.

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Boyan Rainov is born in 1921 in a family of which almost every member is dedicated to art. He himself is not well known in Bulgaria because of the fact that from 1946 he lived and worked in Paris, France. His work took place in the fields of drawing, illustration, relief and easel sculpture, but at the time of his stay in the French capital he managed to produce a number of outdoor monumental sculptural compositions. They are typical examples of one formal tradition in modern sculpture that refers its characteristics to organic and nonorganic natural objects. That tradition, often called biomo

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23

Meyric Hughes, Henry. "The Promotion and Reception of British Sculpture Abroad, 1948–1960: Herbert Read, Henry Moore, Barbara Hepworth, and the “Young British Sculptors”." British Art Studies, no. 3 (July 18, 2016). http://dx.doi.org/10.17658/issn.2058-5462/issue-03/hmhughes.

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24

Smith, Royce W. "The Image Is Dying." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2172.

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The whole problem of speaking about the end…is that you have to speak of what lies beyond the end and also, at the same time, of the impossibility of ending. Jean Baudrillard, The Illusion of the End(110) Jean Baudrillard’s insights into finality demonstrate that “ends” always prompt cultures to speculate on what can or will happen after these terminations and to fear those traumatic ends, in which the impossible actually occurs, may only be the beginning of chaos. In the absence of “rational” explanations for catastrophic ends and in the whirlwind of emotional responses that are their after-e

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25

Irwin, Hannah. "Not of This Earth: Jack the Ripper and the Development of Gothic Whitechapel." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.845.

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On the night of 31 August, 1888, Mary Ann ‘Polly’ Nichols was found murdered in Buck’s Row, her throat slashed and her body mutilated. She was followed by Annie Chapman on 8 September in the year of 29 Hanbury Street, Elizabeth Stride in Dutfield’s Yard and Catherine Eddowes in Mitre Square on 30 September, and finally Mary Jane Kelly in Miller’s Court, on 9 November. These five women, all prostitutes, were victims of an unknown assailant commonly referred to by the epithet ‘Jack the Ripper’, forming an official canon which excludes at least thirteen other cases around the same time. As the Ri

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26

Bourdaa, Mélanie. "From One Medium to the Next: How Comic Books Create Richer Storylines." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1355.

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Transmedia storytelling, as defined by Henry Jenkins in 2006 in his book Convergence Culture, highlights a production strategy that aims to augment the narration of a cultural work by scattering it across several media platforms—digital or non-digital. The term is certainly quite recent, but the practices are not new and allow us to understand the evolution of the cultural industries and the creation of a new media ecosystem. As Matthew Freeman states, transmedia storytelling always relies on industrial changes, the narration adapting itself to new media synergies and novelties to create engag

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27

Nichols, L. Dugan. "Generational Detectives." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3136.

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Introduction This article examines American Conspiracy: The Octopus Murders (2024), a four-part documentary released on Netflix. Directed by Zachary Treitz, the documentary follows young photojournalist Christian Hansen as he tries to solve the mysterious death of Danny Casolaro. In 1991, Casolaro was found deceased in a hotel room while tracking officials in the CIA and former Reagan White House. He had planned to write an explosive book about what he termed “The Octopus”, an octuplet of overlapping conspiracies that transpired in the 1980s. At the time, local officials ruled Casolaro’s death

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