--- title: Moore In America | TIME description: Take a tour of the Henry Moore sculpture exhibition at the New York Botanical Garden with TIME Critic Richard Lacayo. On display now through November 2 canonical: https://time.com/video/Dlgz5kB0/ og:title: Moore In America og:description: Take a tour of the Henry Moore sculpture exhibition at the New York Botanical Garden with TIME Critic Richard Lacayo. On display now through November 2 og:url: https://time.com/video/Dlgz5kB0/ og:image: https://cdn.jwplayer.com/v2/media/Dlgz5kB0/poster.jpg?width=720 og:type: video.other twitter:card: summary_large_image twitter:title: Moore In America twitter:description: Take a tour of the Henry Moore sculpture exhibition at the New York Botanical Garden with TIME Critic Richard Lacayo. On display now through November 2 twitter:image: https://cdn.jwplayer.com/v2/media/Dlgz5kB0/poster.jpg?width=720 --- # Moore In America > Sponsored content. Supplied in partnership with TIME. 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They are at time.com/newsletters and are separate from a paid subscription. ## Video: Moore In America [Watch (HLS stream): Moore In America](https://cdn.jwplayer.com/manifests/Dlgz5kB0.m3u8) (6:11)  _Published 2008-06-06. Take a tour of the Henry Moore sculpture exhibition at the New York Botanical Garden with TIME Critic Richard Lacayo. On display now through November 2_ --- Jul 27, 2023 12:52 PM UTC --- ## More From This Series [All Videos](https://time.com/video/) [In Memoriam: Roger Moore](/video/zhrWwrFS/) ### In Memoriam: Roger Moore [Behind the Scenes with Photographer Andrew Moore on America](/video/yxa7kqyu/) ### Behind the Scenes with Photographer Andrew Moore on America [The Mary Tyler Moore Show](/video/bN84p0dV/) ### The Mary Tyler Moore Show --- ## Transcript Hi. I'm Richard Lacayo and I'm the art critic of TIME magazine. I'm here at the New York Botanical Garden to do a tour of Moore in America which is a very unusual show of work by the Great British sculpture, Henry Moore. Let's start with this piece right here. It's called Oval with Points and it's a bronze from 1968 to 1970. Moore was fascinated by the forms of nature and he incorporated them into his work. He was a great collector of stones, of bones, of natural formations, pieces of wood. This particular piece is actually based upon an elephant's skull, one of which Moore owned. He was fascinated by the forms of the skull, by the [ unk ], the open spaces within it and by the slightly sinister connotation of the two points reaching out towards one another. Nothing about this sculpture says it's a picture of a skull, but everything about it says that it's a form somehow taken from the nature that has something mordant about it. Moore is an artist who's really best captured on video rather than, say, still photography because each of the pieces gives itself up differently from every angle. He very much intended that a sculpture should be a three- dimensional 360- degree experience. Moore particularly admired the art of non- European cultures, things like African wood carving and pre- Columbian stone sculpture. One of his early inspirations were Mayan Chac Mool statues of a reclining figure leaning on its own elbows. He incorporated the memory of that form into the many reclining figures that he made all throughout his life. This is Knife Edge Two Piece from 1962 to '65 and it may look like two pieces of toast. It's actually based partly on geological formations. Moore grew up in the north of England, not far from the rugged hill country of Yorkshire. And as you begin to move around this piece, it presents itself as something like a ravine between two sheer cliffs. Although from certain angles, it looks like a wall. For Moore, the space between the two main volumes, that long crevasse, was as important as the volumes themselves. As you circle the piece, that negative spaces continually brought alive by the undulations of the bronze walls that form it. Moore was so fond of this piece that he had it placed with inside of his home inside of his home, a place he called Hoglands in the Hertfordshire countryside outside of London. This is Hill Arches from 1973 and it's a good example of Moore's ability to make a form that suggests more than one thing, more than three things, more than five things. In some ways, this is a natural formation, the Hill, and in other ways, it obviously suggests arches, architectural forms. In fact, it's almost the kind of a building that you can walkthrough in itself. And the New York Botanical Garden has wisely sided it in front of their Mertz Library with its arched windows that are so much like the archways that Moore was thinking about when he made this piece. But there's something anthropomorphic about these forms too, something about them that suggests people interacting, approaching one another, tumbling, embracing. There's something playful about it. This is Draped Reclining Mother and Baby from 1983 and it's one of the enduring motifs of Moore's career. Throughout his life, he continually returned to the theme of a mother and child. He had close relations with his own mother. He found his father a little bit distant. This piece is probably a good place to mention the ups and downs of Moore's reputation. In the years right after World War II, Moore was celebrated as something like the embodiment of the modern artist. Picasso may have been more famous, but I think it's fair to say Moore was more beloved. His work seemed to strike just the right balance between representation and abstraction, between the recognizable and the mysterious. He was especially popular in the U. S. where for years, the fastest way for a city or a university campus to declare itself in tune with the modern age was to acquire a big distinguished Henry Moore. But by the 1960s, there was a backlash among certain critics and also by a new generation of artists-- pop artists, minimalists-- who thought that a lot of Moore's work looked corny and obvious. Sometimes, they had a point. Throughout his long life, he was 88 when he died in 1986, Moore had powerful ideas, but he also had a sentimental side. It was one of the reasons for his popularity in the first place and it comes out in particular in some of his mother and child pairings. This is one of my favorite pieces in this show. It's called Two Piece Reclining Figure: Points and that's from 1969 and it demonstrates something that was basic to Moore's approach to sculpture throughout his career. In the mid- 1930s, he started to divide his reclining figures into two pieces, and sometimes, in later pieces, he divided them into three parts. He felt that this automatically rendered the figure more abstract which certainly did, even if it still held the memory of the human form. And I think it's-- you can understand very well what he was getting at in a piece like this. This is the piece that suggests the swells and inlets of the human body that brings to mind limbs, sometimes amputated limbs. It is so abstract that, at the same time, it begins to suggest the geological formation, the way the Sphinx does. You can see that, in some places, Moore has polished the bronze so that it's smooth and suggests skin, but in other places, it's rough and striated so that it resembles rock. But at the very, very top of this piece, Moore has also left a clear hint that this is a human figure. That's a face that has three little dots in it, two for eyes and one for a mouth. It's the most basic abstraction of the human figure, but it brings the piece back down to earth. The Botanical Garden is not encouraging people to climb up on the sculptures, so don't expect to be able to do this if you come here. But I came up here to make a point about the enveloping form in the Moore's sculpture. This one is called Three Piece Reclining Figure Draped from 1975 and it also uses a lot of Moore's themes and brings them all together. The division of the human form into three different forms that use a negative space like the one I'm standing in as a part of the sculptural experience, the sculptural quality that suggests an anatomical form, and yet at the same time, as an abstract character, the amputated limbs that likely-- that you see there, and the very simplified human face like the one up above. Moore once called sculpture an art of the open air and that was certainly true of his sculpture. This show at the New York Botanical Garden is a perfect way to experience it. ```json {"@context":"https://schema.org","@type":"VideoObject","name":"Moore In America","description":"Take a tour of the Henry Moore sculpture exhibition at the New York Botanical Garden with TIME Critic Richard Lacayo. 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