MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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Less is Moore
Henry Moore is one of the most frequently exhibited sculptors in the world. MICHAL BONCZA looks at a revelatory collection of posters that advertised these shows
(L to R) Henry Moore, Sculptures and Drawings, Paris, 1957; H Moore at Kunsthalle, Bern, Switzerland, 1950; Exhibition Hacia el Futuro (Towards the Future) at Centro Wilfredo Lam in Cuba, 1997
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SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
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PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
TO CELEBRATE the 125th anniversary of Henry Moore’s birth the Henry Moore Archive unveiled a fascinating digitised collection of more than 400 posters designed to signal Moore’s many exhibitions through the years.
“It’s a unique resource showcasing Moore’s exhibitions and his international reach. It’s also a fascinating look at the evolution of graphic design over the decades,” said archivist Emma Stower.
Indeed, they range from a standard, if pedestrian, informative notice comprising a photo of a sculpture with some elementary typography to those which exude graphic sophistication and are collectable works of art in themselves.
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