Release date: 13 September 2017

Henry Moore Institute announces New Senior Team

The Henry Moore Foundation's Leeds venue has recruited Laurence Sillars to the new post of Head of Exhibitions. He will work alongside Dr Jon Wood, who becomes Head of Research. The new senior structure comes at a time when the Institute has ambitious plans to expand its curatorial and research programmes through the establishment of a new Sculpture Triennial developed with Yorkshire Sculpture Triangle partners.

Release date: 29 August 2017

David Dye: Devices

13 Oct 2017 – 18 Feb 2018

David Dye: Devices showcases the archive of David Dye, an artist who was at the heart of the radical changes taking place in British sculpture during the 1960s and 70s. This exhibition at the Henry Moore Institute focuses on the dynamic first decade of his career, tracking how Dye's work in photography and film developed out of his interest in sculpture.

Release date: 22 August 2017

Mary Gillick: Her Art in your Pocket

20 Sep 2017 – 28 Jan 2018

Trained as a sculptor at Nottingham School of Art and the Royal College of Art, Mary Gillick (1881-1965) won a competition in 1952 that would see her sculpture in everyone's pocket: her portrait of Queen Elizabeth II was chosen for British and Commonwealth coinage. It remained in circulation until decimalisation in 1971. This display is the first dedicated to Gillick's sculpture, and presents plaster models, drawings and photographs showing her working processes for the production of coins, medals and plaques.

Release date: 14 July 2017

Major funding boost for Yorkshire sculpture

Four world-class art galleries, including two Art Fund Museum of the Year winners, which form the Yorkshire Sculpture Triangle have secured funding of £750,000 for a groundbreaking new project - 'Yorkshire Sculpture International'.

Release date: 13 June 2017

Jiro Takamatsu: The Temperature of Sculpture

13 July – 22 October 2017

This summer the Henry Moore Institute presents the first institutional solo exhibition of Jiro Takamatsu to take place outside his home country of Japan, celebrating the work of this leading figure of post-war art. Through over seventy sculptures, drawings and documents loaned from collections in Japan, USA and Europe, the exhibition traces Takamatsu's artistic practice through his exhibition history, focusing on works from the early 1960s to the late 1970s.

Release date: 9 March 2017

Becoming Henry Moore

14 Apr 2017 – 18 Feb 2018

Planned to coincide with the fortieth anniversary of the Henry Moore Foundation, the exhibition Becoming Henry Moore charts the artist's creative trajectory between 1914 and 1930, from gifted schoolboy to established sculptor.

Release date: 18 January 2017

Aleksandra Domanović: Votives

23 March – 11 June 2017

The Henry Moore Institute's 2017 sculpture commission presents new sculpture by Berlin-based artist Aleksandra Domanović (b. 1981) responding directly to the Institute's building. Alongside a major new commission, Votives brings together a series of existing works that take their cue from classical Greek votive statues.

Release date: 10 November 2016

Henry Moore Foundation Collection Programme 2017

Items from the Henry Moore Foundation collection feature in a number of external exhibitions in the UK and overseas in 2017.

Release date: 26 October 2016

Henry Moore Institute 2017 Programme Highlights

The Henry Moore Institute's 2017 exhibition programme brings an incredible range of international sculpture to our free entry venue in central Leeds. Highlights include Roy Ascott: Form has Behaviour, Aleksandra Domanović, Ghisha Koenig: Machines Restrict their Movement, Jirō Takamatsu: The Temperature of Sculpture, Mary Gillick: Her Art in your Pocket, David Dye: Devices, and Becoming Henry Moore.

Release date: 25 October 2016

City Sculpture Projects 1972

24 Nov 2016 – 19 Feb 2017

Sculpture was talk of the town in Britain in the summer of 1972. It was being interrogated, debated, written about and photographed - and regularly appeared in regional and national newspapers, often with damning criticism and complaint. This was down to the City Sculpture Project, a hugely ambitious public sculpture scheme that supported the commissioning of large-scale works.