声音与奇观
哈里·贝尔托亚与乔治·里基
June 26, 2024 – September 30, 2025Palm Desert, California
艺术听起来是什么样的?当运动中的雕塑提醒我们生命的无常时,我们会产生怎样的感受?本次展览研究二十世纪动态艺术与声音艺术两位先驱哈里·贝尔托亚和乔治·里基的贡献。他们的作品加深了我们的感官意识,邀请我们在运动与静止、声音与寂静的交织中寻找节奏与共鸣。
在这场开创性的展览中，Heather James 荣幸地呈现哈里·贝尔托亚与乔治·里基的作品，这是首次以双人展形式展现他们在艺术与雕塑领域的创新实践。通过比较和对照同时代的贝尔托亚与里基，有助于揭示其作品的细微差异。此展览通过为这两位同时代艺术家提供历史语境，亦力求将作品置于更广阔的艺术史框架之中，同时指向其在当代世界的相关性。我们诚邀您体验空间、时间与声音的交融，并在雕塑性声景环境中思考运动的动态。
变化的艺术
George Rickey, "Space Churn with Squares"
Rickey’s sculptures cover the breadth of ordered patterns and random movement, combining engineering precision with the chaos of the natural world. Rickey came of age during World War II when he honed his precise mechanical skills as a design technician focusing on the maintenance of aircraft gun turrets. These skills would later serve him well in fashioning his kinetic circle and sphere sculptures of the mid-1950s and, later, the Space Churn sculptures of the 1960s and ’70s that capture the technological optimism of the time, translating the excitement of space exploration into art that moves and changes, much like the celestial bodies they emulate.
As a maquette, Space Churn with Squares offers an intimate glimpse into Rickey’s meticulous process of scaling dynamic motion to monumental dimensions. Its larger counterparts may be found in public spaces, engaging viewers with their intricate interplay of geometry and wind-driven motion.
The artist carefully considered every aspect of his sculptures – from the timing and speed of its gyratory pieces to their position at rest when they return to balance. When the sculptures’ elements activate, they seem to carve out an invisible mass. As Rickey once wrote, “A plane pushed through space may describe a volume.”
艺术之声
Harry Bertoia, “Untitled (Sounding Sculpture)”
Italian-born artist Harry Bertoia melded art with people’s everyday lives. His iconic “Diamond” wire chairs continue to be produced today by Knoll Associates. His landmark designs and art, such as his textured wire screens in the Dallas Public Library, remain timeless public displays that capture quintessential design features of 1950s and 1960s modernism.
However, one of his most seminal series was the Sonambient or sounding sculptures. Conceived initially as sculptures resembling desert grasses, Bertoia discovered that their movement produced a harmonious sound. Following advice from his musician brother, Bertoia experimented in constructing these sculptures with different metals, lengths of rods, or capped by cylinders.
Enraptured by their quality, Bertoia produced enough sounding sculptures to fill his barn, which became a kind of orchestral studio and laboratory from which he recorded albums and held concerts. Under Bertoia, art and sculpture evolved from silent, static objects to musical, kinetic instruments. Sonambient sculptures followed not the ordered notes of a musical score, but the entropic whims of nature. Like his “Diamond” chairs, which seem to be made more of air than wire, Bertoia’s Sonambient sculptures appear to be as much invisible sounds as metal rods.
However, one of his most seminal series was the Sonambient or sounding sculptures. Conceived initially as sculptures resembling desert grasses, Bertoia discovered that their movement produced a harmonious sound. Following advice from his musician brother, Bertoia experimented in constructing these sculptures with different metals, lengths of rods, or capped by cylinders.
Enraptured by their quality, Bertoia produced enough sounding sculptures to fill his barn, which became a kind of orchestral studio and laboratory from which he recorded albums and held concerts. Under Bertoia, art and sculpture evolved from silent, static objects to musical, kinetic instruments. Sonambient sculptures followed not the ordered notes of a musical score, but the entropic whims of nature. Like his “Diamond” chairs, which seem to be made more of air than wire, Bertoia’s Sonambient sculptures appear to be as much invisible sounds as metal rods.
时间之舞
乔治·里基和哈里·贝尔托亚在其作品中均探索了材质性。里基常使用随机打磨工艺对其不锈钢构造物进行抛光,使反射光在动态与静态状态下均呈现出细微变化。而贝尔托亚则探索了各类可用金属的表现范围——青铜、铜合金(如黄铜和铍铜,后者为其偏爱的金属)、蒙乃尔合金以及因科镍合金——以产生视觉与音调上的变化。
从亚历山大·考尔德到里基与贝尔托亚,可以追溯出一条清晰的脉络,他们均致力于创作依赖自然力量驱动的动态艺术作品。他们的创作是发明与艺术性的杰出成就,尊重了我们对作品的体验。较考尔德晚一代的贝尔托亚和里基,成长于两次世界大战后的重要时期。这种重建的氛围激励他们重新构想表达的方式。
里基的雕塑与世界范围内萌芽于里基发展其视觉语言之前及同期的构成主义和具体艺术思潮关系更为密切。这些运动以使用几何形式和抽象手法著称,它们在概念上被构建而非艺术性地表达。与这些早期构成主义和具体艺术家不同,里基避免使用电力驱动其作品,转而让风吹动他的雕塑。观看里基雕塑的运动与不断演化的形态时,观者会被精密工程与有机运动的交汇所震撼,从而产生一种持续更新的感受。
对贝尔托亚而言,加入环境声音改变了我们对动态艺术的理解。观者不再是被动的参与者,而是被无形的声波所包围。贝尔托亚对声音与运动的探索反映了他创造和谐与共鸣的愿望。不同的人将这些声音比作不同的体验;有些人听到修道院的钟声,而另一些人听到飞机的声音。如果说里基的雕塑雕刻出无形的体积,那么贝尔托亚的雕塑则用声音雕刻空气。
也许里基与贝尔托亚之间最强烈却又最短暂的联系,是其作品中对时间的依赖。这些雕塑邀请观者花时间体验它们的作品,体验不断变化的形态与声音。然而,他们的作品要求我们活在当下,跨越时间与物品及其创作者建立联系。在那一刻,我们会自问关于所见、所闻以及如何将其与我们的生活和记忆相连接的问题。
从亚历山大·考尔德到里基与贝尔托亚,可以追溯出一条清晰的脉络,他们均致力于创作依赖自然力量驱动的动态艺术作品。他们的创作是发明与艺术性的杰出成就,尊重了我们对作品的体验。较考尔德晚一代的贝尔托亚和里基,成长于两次世界大战后的重要时期。这种重建的氛围激励他们重新构想表达的方式。
里基的雕塑与世界范围内萌芽于里基发展其视觉语言之前及同期的构成主义和具体艺术思潮关系更为密切。这些运动以使用几何形式和抽象手法著称,它们在概念上被构建而非艺术性地表达。与这些早期构成主义和具体艺术家不同,里基避免使用电力驱动其作品,转而让风吹动他的雕塑。观看里基雕塑的运动与不断演化的形态时,观者会被精密工程与有机运动的交汇所震撼,从而产生一种持续更新的感受。
对贝尔托亚而言,加入环境声音改变了我们对动态艺术的理解。观者不再是被动的参与者,而是被无形的声波所包围。贝尔托亚对声音与运动的探索反映了他创造和谐与共鸣的愿望。不同的人将这些声音比作不同的体验;有些人听到修道院的钟声,而另一些人听到飞机的声音。如果说里基的雕塑雕刻出无形的体积,那么贝尔托亚的雕塑则用声音雕刻空气。
也许里基与贝尔托亚之间最强烈却又最短暂的联系,是其作品中对时间的依赖。这些雕塑邀请观者花时间体验它们的作品,体验不断变化的形态与声音。然而,他们的作品要求我们活在当下,跨越时间与物品及其创作者建立联系。在那一刻,我们会自问关于所见、所闻以及如何将其与我们的生活和记忆相连接的问题。
私人挚爱
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Harry Bertoia with his sculptures, inside the music barn on his property.
尽管形式上存在差异,哈里·贝尔托亚和乔治·里基的作品却有诸多共通之处。源于相同的历史背景,他们以相似的问题探讨材质性,同时表达各自独特的艺术精神。海瑟·詹姆斯荣幸呈现哈里·贝尔托亚与乔治·里基的首次双人展,这些作品数十年来首次公开展出。这些作品代表了一位藏家对保护美国艺术与文化史重要作品的热忱。
在近30年的历程中,海瑟·詹姆斯已展出多个私人收藏,每一次均以学术与后勤上的专业关怀,与新的观众和新一代藏家分享。
在近30年的历程中,海瑟·詹姆斯已展出多个私人收藏,每一次均以学术与后勤上的专业关怀,与新的观众和新一代藏家分享。
“线条是我所发现的最经济的运动表现方式,是空间中的动态绘画。——乔治·里基”