Column of six Parallelepips II
Edelstahl, 238,76 x 40,64 x 50,8 cm. Auflage 3, Ex. 3/3. Provenienz Nachlass des Künstlers
George Rickey is one of the foremost exponents of Kinetic Art. With just the slightest current of air his metal sculptures with geometric forms begin to move and create a rhythmic spatial performance due to their ingeniously balanced equilibrium. Independent movement is for Rickey one of the key features of Kinetic Art. From September Galerie Michael Haas will be exhibiting almost a dozen of the American's stainless steel large and small scale indoor and outdoor works.
Born in 1907 in South Band in the state of Indiana, George Rickey is no stranger in Berlin. Today several of his art works can be seen in prominent locations, such as in front of the Neue Nationalgalerie (New National Gallery), which can partly be traced back to Rickey's residence in Berlin as a German Academic Exchange Service scholarship holder.
Rickey has time and again succeeded in combining a mixture of lightness, minimalistic aesthetic, and intriguing mechanics in his objects. Inspired by artists such as Alexander Calder, one of the most prominent American sculptors, as well as Javanese shadow puppets, he created his first mobiles in 1945.
The precursors of Kinetic Art are diverse, and although not its originator according to Rickey dance is undoubtedly one of them. Both art forms are choreographic. Kinetic Art connects a set arrangement of a chronological sequence based upon specific rhythms of moving objects in a space. Its spatial dimensions are the human step or its own radius and its temporal are drum beats, handclaps, the measure of the music, or simply the ticking of time, the blowing of the wind.
Born in the United States, Rickey grew up in Scotland and studied history at Oxford. After his art degree in Paris he initially devoted himself to drawing and painting portraits. In 1942 he joined the US Army and worked as an engineer. After his discharge he went on to study at the New York Institute of Fine Arts and subsequently at the Chicago Institute of Design. In 1964 and 1968 he was represented as an artist at the Documenta in Kassel.