Typically, the last thing galleries and museums want to see you do is touch the artwork. And since the COVID-19 pandemic hit, that became even a bigger taboo. But at an upcoming exhibition at the Henry Moore Studios & Gardens in the suburbs of London, visitors will be allowed — and even encouraged — to feel the displays with their bare hands.
Curated by the artist and author Edmund de Waal, the exhibition This Living Hand will open on May 19 after more than a year of delays due to the United Kingdom’s recurrent COVID-19 lockdowns. The exhibition will explore the role of touch and the iconography of the hand in the works of Henry Moore, a famed British sculptor who emphatically believed in the importance of tactile experience in enjoying works of art, particularly sculptures.
“In the past year, our hands and our experience of touch have taken on a whole new meaning,” said de Waal in a press release for the exhibition.
“To be able to invite people to encounter Moore’s sculptures through touch is now even more extraordinary,” he continued. “In this exhibition, we see a life of reflection on how hands become sculptures. We are returned to what knowledge our own hands hold.”
The exhibition will feature a selection of sculptures by Moore, which visitors will be invited to caress with their hands, as well as a group of drawings and sculptural works charting Moore’s interest in hands as subject matter. Works on display will include bronzes like “King and Queen” (1952-53) and “Reclining Figure: Hand” (1979), in addition to studies that Moore had made of his own and others’ hands.
As COVID-19 safety remains a concern, de Waal has created a stone washbasin for visitors to cleanse their hands before entering the gallery. Carved into a rock, the “stone for two hands and water” takes as its form a Japanese tsukubai, traditionally located at the entrance of holy sites for visitors to purify themselves by the ritual of washing hands and mouth.
The exhibition will also include a series of sculptural benches, carved in Horton stone, made by de Waal for visitors to pause and reflect on what should definitely be a touching experience.
Her short film Freshwater is now playing at the Museum of Contemporary Art Detroit.
In the artist’s new exhibition, Black moves away from her signature representation of commercial goods to celebrating the labors behind everyday life.
Northwestern’s Block Museum of Art Presents A Site of Struggle: American Art against Anti-Black Violence
This new exhibition in Evanston, Illinois considers how art has been used to protest, process, mourn, and memorialize anti-Black violence for more than a century.
Over the past decade, the Taos-based artist has outfitted two vintage RVs with hundreds of cast glass pieces that collect light from the desert sky.
Ikon Gallery’s retrospective asserts that Carlo Crivelli’s self-reflexiveness and questioning the nature of the image made him anticipate the “contemporary.”
Guest curated by Alison Burstein, An Asterism* at the school’s Kellen Gallery in NYC features the work of 15 multidisciplinary artists, on view from May 16 through May 27.
The strike was our collective push for a California College of the Arts that truly represented our values after years of our voices being dismissed, ignored, or patronized.
Tanya Aguiñiga, Amalia Mesa-Bains, and Vincent Valdez are among the recipients of this year’s grants, funded by the Ford and Mellon Foundations.
All US-based artists, including those who work with NFTs, are welcome to submit to the 2022 Future Art Awards. 25 winners will each receive between $2,500 and $5,000.
But some paleontologists think dinosaur specimens should be in public institutions, not private hands.
Jim Fitton has been in custody since March, when Iraqi officials found 12 small shards of pottery in his luggage.
An exhibition at the Noguchi Museum marks the 80th anniversary of Executive Order 9066, which forced over 120,000 Japanese Americans into detention camps.