Sound and Spectacle: Harry Bertoia and George Rickey
What does art sound like? What do we feel when a sculpture in motion reminds us of the temporality of life? This exhibition studies the contributions of Harry Bertoia and George Rickey, two pioneers of kinetic and sound-based art of the 20th century. Their works deepen our sensory awareness and invite us into an interplay of motion and stillness, sound, and silence. Drawn from a single private collection, the show presents pieces that have not been exhibited in decades.
“The urge for good design is the same as the urge to go on living.”
– Harry Bertoia
In this groundbreaking exhibition, Heather James is proud to present the works of Harry Bertoia and George Rickey in the first duo exhibition that showcases their innovative approaches to art and sculpture. Comparing and contrasting Bertoia and Rickey, who lived and worked at the same time, helps illuminate the nuances of their work. By providing historical context for these two contemporaries, the exhibition also seeks to ground the works within a wider framework of art history while pointing to their relevance in today’s world. We invite you to experience the convergence of space, time, and sound and contemplate the dynamics of movement within a sculptural soundscape environment.
A New Line of Beauty
Rickey’s sculptures cover ordered pattern and random movement, combining engineering precision and the natural chaos. The artist considered every aspect of his sculptures – from the timing and speed of its gyratory pieces to their position at rest. When the sculptures’ elements activate, they seem to carve out an invisible mass, changing volumes over time. Straight lines become something organic. As Rickey once wrote, “A plane pushed through space may describe a volume.”
George Rickey, "Two Up One Down Staggered", available at Heather James
The Sound of Art
One of Bertoia’s most seminal series was the Sonambient or sounding sculptures. Conceived initially as sculptures resembling desert grasses, he discovered that their movement produced a harmonious sound. He experimented in their construction with different metals, rod lengths, or capping them. Bertoia produced enough sounding sculptures to fill his barn which became a kind of orchestral studio and laboratory. Sculpture evoled from silent static objects to musical, kinetic instruments.
Harry Bertoia, "Untitled (SoundingSculpture)", available at Heather James
Dance of Time
Perhaps one of the strongest yet ephemeral ties between Rickey and Bertoia is the dependence of time within their work. The sculptures invite the viewer to take the time to experience their work, to experience the changing shapes and sounds. Nevertheless, their works ask us to be present in the moment, to connect across time with the object and their creator. And, in that moment, we ask ourselves questions about what we see, what we hear, and how we connect it to our lives and memories.
Harry Bertoia, "Untitled (Sounding Sculpture)", available at Heather James
