Henry Moore Research Articles

Henry Moore in Dallas 1965–1984

Henry Moore in Dallas 1965–1984

War paint: art, war, state, and identity in Britain, 1939-45

In this groundbreaking examination of British war art during the Second World War, Brian Foss delves deeply into what art meant to Britain and its people at a time when the nation's very survival was under threat. Foss probes the impact of war art on the relations between art, state patronage, and public interest in art, and he considers how this period of duress affected the trajectory of British Modernism. Supported by some two hundred illustrations and extensive archival research, the book offers the richest, most nuanced view of mid-century art and artists in Britain yet written. The author focuses closely on the War Artists' Advisory Committee, arguably the most influential organization promoting the visual arts during the war, and whose notable participants included Henry Moore, Graham Sutherland, Paul Nash, and John Piper. Headed by Sir Kenneth Clark, the WAAC powerfully shaped wartime and post-war expectations about the place of art in the modern state. With lively discussion of censorship, artists' finances and prospects during the war, how women were depicted as war workers, and how the war art project contributed to evolving notions of national identity and Britishness, the book adds new dimensions to our understanding of British art and cultural history.

'The best thing ever seen in New Zealand': The Henry Moore Exhibition of 1956–57

'The best thing ever seen in New Zealand': The Henry Moore Exhibition of 1956–57

On staging performance: the masquerade festival of Ìklé Èkìtì*

This paper examines the ways in which the official performance of a masquerade festival in an Èkìtì Yorúbà town in Nigeria depends upon the action of participants taking place away from the performances that the public witnesses. In the Èkìtì Yorúbà town of Ìklé the biannual masquerade festival is one of the most dramatic ritual events within the town. It examines the way that the formal presentations of masquerade within the official ritual period are underpinned by the contestations that take place behind the scenes of the festival, that in turn rely upon the differing identities that are established in the performance of differing masquerade types. Thus the paper generates a ‘backstage’ / ‘frontstage’ approach to the festival and in so doing it places the performance of the participant observer within the analysis arguing that this, within the conditions of the festival is as much a performance as any other part of the performances called upon during the festival. *This paper is the product of fieldwork in the Èkìtì Yorúbà town of ìklé-Èkìtì. Fieldwork was carried out at various times in 1990, 1991, 1996 and 2006. My thanks to the people of Ìklé, to Professor J Ade Ajayi and Mrs C Ade Ajayi and to many in Nigeria too numerous to mention. Thanks also to the British Academy who sponsored this fieldwork and to the Henry Moore Foundation who provided a generous fellowship at the University of Leeds

Picketing the Zeitgeist: The Mininovel and Negative Text

ABBftai PICKETING THE ZEITGEIST / / the MnA/LiA/Ovel a\?,? Negative Text, w , _ One Simplifying things a bit, you could say that there are two types of fiction—one that deals with events and another one with characters; in other words, short stories and novels. In a short story, it is an event or a series of connected events which the author strives to describe and which is the driving force behind the work. Once the event or set of events ends and its effects are known, the story ends too. There is no need for it to go on. The goal has been accomplished. The characters in the story are merely elements which are necessary for the events to happen. After reading a story, we remember first of all the event which it describes. If the story is well written, the event stays with us like a nail driven deep into our memory. The characters in it are merely part of the event. In a novel, by contrast, it is the central character or a set of characters which drives the work. The author's goal is to describe—construct—the character so fully that all of his/her vital characteristics are known to the reader. The events in the work are merely means of achieving this. When the novel ends, we know more than just the events described in it. We know how the character would behave in situations which do not come up in the work. Reading a well-written novel is like living a new life— we get the same kind offeeling ofopenness oftime and space we have from our own life and are able to roam in them as we do in the memories of our past. In other words, a novel constructs a mechanism for generating events, and by learning all about this mechanism, knowing it fully, we are able to predict the character's behavior in new situations. The two effects are achieved essentially through size—short stories are typically concise works, just long enough for the events in them to be fully described. They work because they are short. Novels are long—as long as necessary for building up the character, constructing the mechanism that generates events. But the effect of a novel, that is, the building up of a fully-developed character, may be achieved through other means, namely through evocativeness, by harnessing the imagination of the reader to provide a character's features which are not overtly specified in the work. Such a work then would be of the same size as a short story—say ten to forty pages—but reading it would create the same effect as that produced by a novel. It would be proper to call such a work a mininovel—"mini" because it is short like a short story and "novel" because it creates the same effect as a novel. Two Evocativeness in literature is associated with poetry. Although typically short, a poem may be reread many times, each repetition giving a new insight into the work, a new reading, result of fresh associations, perhaps partly occasioned by the different , time-dependent "I" of the reader. It also leaves a deeper, "more spacious" effect than its size appears to warrant. We may "roam" through the memory of it almost as through that of a novel. The means by which poetry achieves this are well known—the phonetic qualities ofthe poem, various tropes, allusions, etc. All of these (except perhaps the phonetic devices) could be used in a mininovel. But there is another means, which seems to be unique to fiction, that appears to play a crucial role in the mininovel—negative text, that is, information deliberately left out of the work which the reader is bound to supply in order to interpret it. The concept is analogous to "negative space" in art—voids and concavity in three-dimensional objects—introduced by the cubist sculptor Alexander Archipenko in the early part of the twentieth century, which was widely used by modern artists who followed him, such as, for instance, Henry Moore. (Commenting on his innovation, Archipenko remarked that "It is not exactly the presence of a...

Children Asleep in the Underground: The Tube Shelters of Brandt and Moore

This article re-examines what historian Angus Calder has called the Myth of the Blitz, focussing upon the figure central to this Myth - the child asleep in the Underground. Images by Bill Brandt and Henry Moore are considered, as well as material by Graham Greene and Elizabeth Bowen, in order to understand a seminal moment in the history of modern British culture: the formation of a new, modernist aesthetic that was to play an integral part in the post-war transformation of the UK.

Two-faced: Henry Moore's Head of the Virgin , 1922

Two-faced: Henry Moore's <i>Head of the Virgin</i> , 1922

Essay: Creativity—the healthy muse

Essay: Creativity—the healthy muse

Anoint with Rare and Precious Oils

On the campus of the University of Chicago is a Henry Moore statue marking the site of the first sustained nuclear reaction; a few blocks away is the building where the Bulletin of Atomic Scientists had been published since the late 1940s. Their proximity is no accident. After the destruction of Hiroshima and Nagasaki, many of the same physicists who had been involved in the Manhattan Project felt compelled to speak out against a military, in favor of a peaceful use for atomic power. For 20 years I’ve passed these sites, occasionally wondering what lessons they might hold for me, a psychiatrist. This came into clearer focus when I attended a lecture by James Watson commemorating the fiftieth anniversary of the discovery of the double helix. It was a mixture of reminisces about growing up in Chicago, the subsequent events at Cambridge, and a description of the current status and future promise of biotechnological agents. During the lecture, Watson noted that these new agents cost several thousand dollars per user, per year. Afterwards, he was questioned on what role biological researchers should play in promoting the availability of these agents in third world countries. He scratched his head and gave a Nobel Prize winner’s response: ‘‘Being rich has its advantages.’’ The question remains: where have biologists been in insuring that the products of their research are available to humanity? Where were biological scientists in the debate to modify international patent rights in order to make AIDS drugs more widely available? Closer to home, what responsibility do I have for the consequences of my own activities? I’ve worked primarily with people suffering from chronic psychotic disorders, doing psychopharmacology research. I am now medical director of the mental health authority in my state, promoting the use of atypical antipsychotic medications for our patients. These drugs cost thousands of dollars per year. Why haven’t I questioned their cost? I couldn’t have while doing pre-marketing trials, since the drug’s price had not yet been set. Then, as a clinician I wanted my patients to have them regardless of cost. Now, as an administrator I have the taxpayers paying for these drugs. I have never had to take responsibility for their cost. It has never been part of my professional role. Despite the widespread use of the atypical antipsychotics, rates of unemployment and homelessness, criminal justice involvement, and substance abuse have not decreased amongst the persistently mentally ill. Might this be attributable, at least in part, to the fact that during the decade in which billions of dollars have gone for these medications, there has been no increase in resources to meet the other needs of these people? The great majority of these individuals survive on a Social Security Insurance check that will not support adequate housing in any city in the United States. Meta-analyses of the atypical antipsychotic drug trials are now being reported. They show, at best, marginal advantages over older drugs. Despite these findings, prices haven’t come down nor are these drugs less widely prescribed. As the physicist learned, the equations describing nuclear fission or fusion, despite their elegance, had less effect on deterring the arms D. J. Luchins (&) Department of Psychiatry, University of Chicago, 5841 S. Maryland Ave, MC 3077, Chicago, IL 60637, USA e-mail: danl@yoda.bsd.uchicago.edu Adm Policy Ment Health & Ment Health Serv Res (2007) 34:87–88 DOI 10.1007/s10488-006-0100-0

Que nous apprennent les « artistes officiels » sur le front de l’intérieur (Home Front) dans la Grande-Bretagne en guerre, 1940-1945 ?

The notion of Official WarArtists seems to suggest the worst aspects of totalitarian propaganda. The morale-boosting dimension of the work supposedly expected of them seems incompatible with creative freedom―the hallmark of the true artist. The article argues that at first glance the work of people like Edward Ardizzone, Bill Brandt and Henry Moore seems to show that they were a poor choice from the point of view of the authorities, since the morale-boosting aspect of their Home Front scenes was far from obvious at first glance. Indeed the 1942-1943 Exhibition provoked adverse reactions on the part of the visiting public. Yet, it can be argued that fundamentally, at a deeper level, these official artists indirectly praise the indestructibility of British values. Compared with the less subtle propaganda of the Ministry of Information, these works may have been subliminally more convincing―and therefore more valuable for the war effort.

Medical decision making under uncertainty in adult patients (pts) with multiple primary cancer (MPC)

16037 Background: Evidence-based Oncology (EBO) is founded in clinical trials, medical expertise and patient’s quality of life. Pts with MPC are excluded from clinical trials and there is a lack of clinical expertise as regards to these cases. With the aim to analyze the clinical reasoning for treatment recommendation on those pts, we interviewed oncologists in charge (doc’s) at Instituto Oncológico Henry Moore (IOHM) and Universidad del Salvador (USAL). Methods: The medical records of 8,500 pts from IOHM’s database over last eight years (1997–2005) were reviewed in order to measure the incidence and characteristics of MPC pts. A total of 35 oncologists in charge were identified and participated on a survey which had ten points. The 10 items should be ranked in order of importance: 1 = the most important one and 10 = the least one. Results: One hundred and seventy eight MPC pts (2.09%) were detected, and the oncologist in charge was asked to complete the survey. All doc’s completed the survey. The following table shows the rank and the scoring for each item. (See table below) Conclusions: Four domains ( I to IV) in medical decision making for the treatment of MPC pts were identified: I = PS; II = Characteristics of the tumor; III = Morbidity from therapy and IV = Pt preferences. The pt and family preferences were ranked in the last place and it could reflect a paternalistic approach. To our understanding, this is a good model to test clinical skills and biases in medical treatment selection. [Table: see text] No significant financial relationships to disclose.

Multiple primary cancer in adults (MPCA)

16027 Background: As a result of the improvement in oncological treatments, MPCA could arise as a more frequent problem in Public Health. The purpose of this retrospective review was to estimate both the incidence and medical features of MPCA pts treated at the Instituto Oncológico Henry Moore (IOHM). Methods: We analyzed 17,100 medical charts from our database since 1987 and identified 378 MPC (2,21%). Then we retrieved data over the last eight years (1997–2005). Those pts with at least two second primary tumors were included in this analysis. They were categorized as synchronous (second tumor diagnosis within the first six months from the first one) and metachronous (all the remaining). Pts with skin cancer different from melanoma were excluded. Results: One hundred and seventy eight (M:73; F:105) out of 8,500 cancer pts (2.09%) had at least two primary cancers. Median age was 59, 64 and 68 yo at the moment of the first, second and third diagnosis, respectively. In 138 (78%) pts, the diagnosis of the second cancer was suspected by clinical findings, while in 40 (22%) pts, it was discovered because of medical screening in an otherwise asymptomatic pt. (See Table below) The most frequent site combination was breast-breast (n = 21). A total of 57 pts (32%) had a family history of oncologic diseases. With a median follow-up of 31 mo (range: 0,57–311) after the second cancer diagnosis, 127 pts are still alive (71,35%) and 51 (28,65%) are dead. Conclusions: In the last eight years, 178 (2.09%) pts had developed MPC, being breast, prostate, colon and lung the most frequent (first and later) localizations, and breast-breast the most frequent site combination. The so-called “screening effect” seems to have a low impact on the studied population. [Table: see text] No significant financial relationships to disclose.

Mother stone: the vitality of modern British sculpture

In Mother Stone Anne Middleton Wagner looks anew at the carvings of the first generation of British modernists, a group centered around Henry Moore, Barbara Hepworth, and Jacob Epstein. Wagner probes the work of these sculptors, discusses their shared avant-garde materialism, and identifies a common theme that runs through their work and that of other artists of the period: maternity. Why were artists for three turbulent decades after the First World War seemingly preoccupied with representations of pregnant women and the mother and child? Why was this the great new subject, especially for sculpture? Why was the imagery of bodily reproduction at the core of the effort to revitalize what in Britain had become a somnolent art? Wagner finds the answers to these questions at the intersection between the politics of maternity and sculptural innovation. She situates British sculpture fully within the new reality of bio-power--the realm of Marie Stopes, Brave New World, and Melanie Klein. And in a series of brilliant studies of key works, she offers a radical rereading of this sculpture's main concerns and formal language.

Lee Miller: Model, Photographer, and War Correspondent in Vogue, 1927–1953

In the winter of 1927, Lee Miller, 20 years old, was crossing a street in Manhattan, when she was almost hit by an oncoming car. Luckily for her, Conde Nast, stopped her from crossing. He offered her a job modelling at his New York magazine. That was the beginning of Miller's association with Vogue magazine, the publication she worked for in New York, Paris and London for the next 26 years. Two years later she was living in Paris as Man Ray's model, muse and apprentice. By 1930 she was appearing in Paris Vogue as both model and photographer. After other adventures, in 1942 Miller became British Vogue's official war correspondent. Throughout the war she submitted extraordinary photojournalism to Vogue. She supplied pieces on everything from Henry Moore working as an official war artist in Underground air-raid shelters to the liberation of the concentration camps at Dachau and Buchenwald, as well as herself being photographed in Hitler's bathtub at his deserted Munich residence. After the war she reported on Eastern Europe for a few years, but by 1947 she was back in London, pregnant with only child and doing occasional, primarily fashion, photography for British Vogue. Her penultimate piece for them was an extremely witty article entitled “Working Guests” published in 1953, accompanied by her photographs. Miller's career with Vogue, on both sides of the camera and as a writer is the focus of this article. Miller was unique in that she moved easily from one side of the camera to the other – from model to photographer and then even to writer. Combining theoretical interventions most familiar to art historians and film theorists, with rigorous archival work, the piece reads Miller’s images and articles, as no one has done before. The piece is truly interdisciplinary and relevant to scholars in gender studies, histories of art, fashion, photography, design, twentieth century Europe, and cultural studies. Abstract: In the winter of 1927, Lee Miller, 20 years old, was crossing a street in Manhattan, when she was almost hit by an oncoming car. Luckily for her, Conde Nast, stopped her from crossing. He offered her a job modelling at his New York magazine. That was the beginning of Miller's association with Vogue magazine, the publication she worked for in New York, Paris and London for the next 26 years. Two years later she was living in Paris as Man Ray's model, muse and apprentice. By 1930 she was appearing in Paris Vogue as both model and photographer. After other adventures, in 1942 Miller became British Vogue's official war correspondent. Throughout the war she submitted extraordinary photojournalism to Vogue. She supplied pieces on everything from Henry Moore working as an official war artist in Underground air-raid shelters to the liberation of the concentration camps at Dachau and Buchenwald, as well as herself being photographed in Hitler's bathtub at his deserted Munich residence. After the war she reported on Eastern Europe for a few years, but by 1947 she was back in London, pregnant with only child and doing occasional, primarily fashion, photography for British Vogue. Her penultimate piece for them was an extremely witty article entitled “Working Guests” published in 1953, accompanied by her photographs. Miller's career with Vogue, on both sides of the camera and as a writer is the focus of this article.

‘Activating the archive’: the Henry Moore Institute Archive, Leeds

A set of papers becomes an archive when its life as a series of active documents is finished and they are deemed worthy of permanent preservation. Archives are not, however, an ending but rather a beginning. Although one of the major functions of a repository is to store and preserve, one of the other challenges for archivists is how to activate their collections and exploit the latent potential of the silent memory that is stored in the boxes. This article outlines how the archive at the Henry Moore Institute is attempting to do this.

A 60-year conspiracy

It’s a 10-minute walk from my office to where everything changed forever. A sculpture by Henry Moore marks the site at the University of Chicago where, on December 2, 1942, physicists achieved the world’s first self-sustaining nuclear reaction. Yet, for most people in the world, their introduction to nuclear physics would come abruptly less than three years later, when the United States dropped the atomic bombs on Hiroshima and Nagasaki. A group of Manhattan Project scientists had warned that this was a dangerous and ruthless way to usher in the nuclear era—a decision that would inevitably prompt a race among other nations to obtain this ultimate weapon. Their warnings went unheeded. But rather than retreat in despair to their laboratories, in December 1945 they began publishing the Bulletin of the Atomic Scientists. They believed the stakes for the human race were too high to entrust this debate to a handful of scientists, military leaders, and government officials. (For them, “publish or perish” took on a literal meaning.) They felt an obligation to make their knowledge accessible to the general public and to address the consequences of what they had themselves created. Reflecting on the Bulletin’s mission, Eugene Rabinowitch, the magazine’s cofounder, aptly described it as “part of the conspiracy to preserve our civilization by scaring men into rationality.” Regrettably, six decades after the Bulletin’s founding, fear remains in abundance, while rationality is in short supply. As such, the Bulletin’s sixtieth anniversary is a bittersweet celebration. On the one hand, we take extraordinary pride in what this publication has accomplished in alerting the public to the dangers of nuclear, biological, and chemical weapons, as well as highlighting important political issues such as government secrecy and human rights. On the other hand, we recognize that in a world still bristling with more than 20,000 nuclear warheads and where terrorist groups scour the globe for fissile materials, our mission remains far from complete. As Joseph Cirincione of the Carnegie Endowment for International Peace observes in this issue, we had a window of opportunity 60 years ago to push for the international control of atomic energy (p. 42). Instead, we chose a different path, leading us down the dead end of a costly and dangerous arms race. But, whereas our choices six decades ago were circumscribed by the looming threat of Soviet power, our current political climate allows for considerably more freedom of movement. Many of the programs to safeguard fissile materials, reduce nuclear stockpiles, and prevent nuclear proliferation are already in place. As Cirincione notes, “All that’s lacking is real action and real money.” Hopefully, this opportunity will not be allowed to pass, as it did 60 years ago. It’s rare that the world gets a second chance. Mark Strauss EXECUTIVE DIRECTOR Kennette Benedict EDITOR Mark Strauss MANAGING EDITOR Catherine Auer ASSISTANT EDITOR Jonas Siegel ASSISTANT EDITOR Josh Schollmeyer ART DIRECTOR Joy Olivia Miller WEB DESIGNER Jim Grisius DEVELOPMENT& MARKETING DIRECTOR Lisa Miller ASSOCIATE DIRECTOR E. Ruth White EXECUTIVE ASSISTANT Anthony McGeath

So much for received notions about 'Sculptors' Drawings'

This published article in a Special Issue of the Sculpture Journal is the development of a paper “Signing and Signalling: Some Polemics around Sculptor's Drawings”, delivered at the symposium Sculpture on Paper at the Henry Moore Institute, Leeds, 19th March 2004, Following the Henry Moore conference, Petherbridge was invited to participate in the international scholars’ study day accompanying the exhibition and publication Sculpter au crayon, Dessins de sculpteurs du XVIIe siecle a nos jours, at the Bibliotheque royale des Belgique, Brussels where she delivered the paper “The Rejection of Matter: Contemporary Drawings and Multi Practice”, 3 December 2004. In different ways, both these papers questioned the standard view that sculptors’ drawings constitute a distinctive and recognisable body of work, and proposes instead the notion of contemporary “multi-practice” and its revolutionary relationship to earlier models of preparatory drawing and studio practice. Questions of practice and the “demise of System” are essential to Petherbridge’s analysis of contemporary drawing contained in the forthcoming trans-historical and thematic study of drawing practice, Drawing: Making and Thinking, Yale University Press, New Haven & London, 2008. It is hoped that this very comprehensive book will be complemented by a publication of collected essays focussing on contemporary drawing issues, to include “On Models and Mickey Mouse” published in The International Journal of Art & Design Education, Volume 24, No. 2, 2005 (pp126-137) (ISSN 1476-8062 Print and ISSN 1476-8070 Online) Blackwell Publishing Ltd., Oxford and “On the Moving Line and the Future Subjunctive of Drawing in a post-Duchampian Age” in Futures (Journal of Policy Planning & Future Studies), Special Issue Futures of Art, ed. Dr. Juliet Steyn, City University, 2007, Elsiever Publishers, UK & Holland (ISSN 0016-3287). These articles critically address issues of popular culture in the context of social analysis and pedagogy.

George Kennethson: a modernist rediscovered

First full-length study of George Kennethson (1919-1994), an often-overlooked artist who carried the torch of Modernist-Primitivist sculpture in Britain after Henry Moore, Barbara Hepworth, Frank Dobson and Henri Haudier-Brzeska. This book places Kennethson's life and work in the context of Modernism in Britain and is lavishly illustrated with new colour and archival photographs, drawings and writings, many of which are published here for the first time.

600 moons: fifty years of Philip McCracken's art

Phillip McCracken is a native son of the whose art may be regional but is never provincial. McCracken's sculpture has been informed as much by the time he spent working in Henry Moore's studio and during a sojourn in New York as a young artist as it has by the flora, fauna, and climate of Western Washington. Famous for his birds, he refuses to be pinned down to one theme or medium; McCracken's probing creativity and quest for both significant subjects and formal perfection have also manifested in art about war, humorous tableaux, future fossils, and in paintings and sculptures of the night sky. In this first comprehensive publication on the artist since 1980, Delores Tarzan Ament recounts McCracken's formative experiences on Puget Sound and traces his career from early studies of art and his first solo show in New York in 1960 to the present. The text incorporates numerous unpublished artist statements and chronicles a diverse body of work concerned with the profound mysteriousness of nature - and humanity. 600 Moons establishes McCracken as an important link between contemporary art and influential artists of the Northwest School who were his friends and exemplars. The book will be an important addition to the libraries of collectors, students, and lovers of contemporary American art and of the Pacific Northwest.

REVIEWS

Books reviewed:Louise Bourdua, The Franciscans and Art Patronage in Late Medieval ItalyJ.B. Bullen, Byzantium RediscoveredJane Beckett and Fiona Russell, Henry Moore: Critical EssaysA. Rorimer, New Art in the 60s and 70s: Redefining RealityMichael Corris, Conceptual Art: Theory, Myth and PracticeChristopher Pinney, Photos of the Gods: The Printed Image and Political Struggle in India