العودة

هاري BERTOIA & nbsp(1915-1978)

الفنان بيو الاستفسار
 
<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>
<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div> <div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div> <div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div> <div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div> <div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div> <div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div> <div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>
بدون عنوان (منحوتة صوتية)c. 197048 × 15 3/4 15 × 8 بوصة.(121.92 × 40.01 × 20.32 سم)
الاصل
مجموعه خاصه
كان هاري بيرتويا صاحب رؤية أصيلة في الفن، وهي نادرة الحدوث. من بين أولئك الذين كان فن النحت هو مهنتهم، يعد ألكسندر كالدر وهاري برتويا من أبرز الفنانين الأمريكيين في القرن العشرين. فهما مهندسان للجمال؛ عملتهما الإبداعية هي أعمال إبداعية مبتكرة وفنية خالصة تشرفنا تجربتنا معها (إذا كنا على استعداد لتهدئة أذهاننا) كما لو كانت حدثًا مقدسًا. لقد كان دوشامب هو من اقترح على كالدر تسمية أعماله الحركية بـ"الحركية"، لكن الأمر كان متروكاً لبيرتويا نفسه ليصوغ كلمة لوصف شيء لم يكن هناك سابقة تذكر له. إن منحوتة "سونامبينت" الدقيقة بصرياً والحركية والتي تقدم صوتاً رناناً اهتزازيًا، هي في آن واحد استعارة لتجربتنا الوجدانية في العالم ولكنها قادرة على إحداث هالة من التجربة المتعالية. وبالنظر إلى هذه الرؤية، من السهل فهم وجهة نظر برتويا التي تقول: "لم أعد أتمسك بمصطلحات مثل الموسيقى والنحت. فقد فقدت تلك الفروق القديمة كل معانيها."





منحوتة "سونامبينت" الحالية عبارة عن ستارة طولها ثمانية وأربعين بوصة من الأسنان ذات المقابس الرقيقة. وبمجرد تفعيلها، تصبح جدارًا صوتيًا بطول 15 3/4 بوصة وعمق 8 بوصات. هناك خمسة صفوف من الأسنان الضيقة متداخلة في العدد، يتراوح عددها بين 30 و29 سنّاً، وعند تفعيلها تظهر كجدار متموج من الصوت. وعند لمسها أو تحريكها بواسطة تيارات الهواء، تُصدر القضبان صوتاً لا يخون مصدر إلهامه رغم كونه معدنياً: وهو الاتصال الهادئ الذي شعر به بيرتويا عند مراقبة الحركة المتموجة اللطيفة للأعشاب الصحراوية. كما هو الحال دائماً، هذه منحوتة برتويا التي تدعو إلى المشاركة في تجربة تغيير الأشكال والأصوات، وهو عمل تشاركي يطلب منا أن نكون حاضرين في اللحظة التي نعيشها لنتواصل عبر الزمن مع القطعة وصانعها.
العودة
الاستفسار