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In 2003 the Henry Moore Institute launched a new series, Subject/Object: New Studies in Sculpture, published with Ashgate, which expands upon the conventional historical frameworks in which sculpture is seen. We have become familiar with the notion that sculpture has moved into the ‘expanded field’, but this field has remained remarkably faithful to defining sculpture on its own terms. Sculpture can be distinct, but it is rarely autonomous. For too long studied apart, within a monographic or survey format, sculpture demands to be integrated with the other histories of which it is a part. In the interests in representing recent moves in this direction, this series provides a forum for the publication and stimulation of new research examining sculpture’s relationship with the world around it, with other disciplines, and other material contexts. The series embraces papers developed out of conferences initiated at the Henry Moore Institute, as well as looking elsewhere for new work which similarly expands the context for sculpture studies.

For more than half a century, Henry Moore has enjoyed a privileged place as a pioneer of modern British sculpture. His work is familiar in public spaces worldwide. Celebrated for reconfiguring sculptural form, and hailed as a potent avant-garde artist, Moore has now become a quintessential establishment figure.

This collection of essays is the first to reconnect Moore both to his times and to the preoccupations of modern art-historical scholarship. Examining broad themes in Moore's work from the 1930s to the 1980s, the essays reposition canonical sculptures, offering readings of the diverse historical, economic and cultural conditions in which Moore's work was produced and understood.

Contents
Introduction, Jane Beckett and Fiona Russell; A household name: Henry Moore's studio-homes and their bearings, 1926-46, Jon Wood; The unfamiliar figure: Henry Moore in French periodicals of the 1930s, Julia Kelly; 'Truth' and 'truth to material': reflecting on the sculptural legacy of Henry Moore, Susan Hiller; Henry Moore and the uncanny, Andrew Causey; Bombs, birth and trauma: Henry Moore's and D.W. Winnicott's prehistory fragments, Lyndsey Stonebridge; Henry Moore and the post-war British landscape: monuments ancient and modern, Penelope Curtis and Fiona Russell; Henry Moore's 'open-air' sculpture: a modern, reforming aesthetic of sunlight and air, Robert Burstow; Moore's eclecticism: difference, aesthetic identity and community in the architectural commissions, 1938-58, Margaret Garlake; Dreams of the Sleeping Beauty: Henry Moore in Polish art criticism and the media, post-1945, Katarzyna Murawska-Muthesius; Ground zero: Henry Moore's Atom Piece at the University of Chicago, Iain A. Boal; Henry Moore's Atom Piece: the 1930s generation comes of age, Chris Stephens; Index