At an upcoming exhibition of Henry Moore’s works, visitors will be allowed — and even encouraged — to touch the art with their bare hands.
Even if we believe in certain unspoken art criticism criteria that are involuntary but formed and informed by extended looking, nothing can be proved. We can always be wrong.
Throwing together a sculptor and photographer and hoping for a spark.
The work was timed to coincide exactly with the 75th anniversary of the first controlled, self-sustaining nuclear chain reaction.
In what is apparently not an April Fools joke, a group of Columbia University students is protesting the installation of a Henry Moore sculpture on campus.
Last December, after cultural preservationists in England realized that many of the nation’s postwar public sculpture have disappeared from the landscape over a number of decades, they issued a public call to attempt to trace or even recover them.
After excavation, ancient artifacts embark on an afterlife of interpretation. From Ancient to Modern explores how the archaeology of Mesopotamia reflected fashions and academia of the 1920s and 30s, and influenced contemporary art.
England has been facing austerity measures and budget cuts for the past few years, particularly in the arts, but this particular case seems to present a poignant illustration of the conflict between economic hardship and visual art. A Henry Moore sculpture first installed in a public housing development might be sold for $32 million to pay for social services in London’s Tower Hamlets borough.