"Henry Moore believed tactility to be paramount, "as an aesthetic dimension", to both the making and the experiencing of sculpture. He really wanted us to be able to touch his work. However, its value and importance now means that doing so in most museums would be considered a big no-no-and for anyone for whom touch provides sight, this is massively restricting."
"The Henry Moore Institute's new show, Beyond the Visual-the first major UK exhibition of sculpture to centre blind and partially blind artists and curators-unpacks the value of the haptic and how perception involves all the senses. It includes Moore's Mother and Child: Arch from 1959 and Barry Flanagan's Elephant, from 1981. Both artists were connected to Tate's landmark 1981 exhibition, Sculpture for the Blind."
The Henry Moore Institute presents an exhibition that foregrounds tactile experience and the multisensory nature of perception by centering blind and partially sighted artists and curators. The show includes canonical works such as Moore's Mother and Child: Arch (1959) and Barry Flanagan's Elephant (1981) and revisits connections to Tate's 1981 Sculpture for the Blind. Curators developed a "vocabulary of touch" and prioritized lived experience through consultation workshops, adapting communications and visitor-facing materials. The curatorial team includes blind and sighted practitioners who reshaped programming, interpretation, and access measures to encourage haptic engagement.
Read at The Art Newspaper - International art news and events
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