XIII
Date
1988
Creator
Location
Raclin Murphy Museum of Art
[A] sculpture constructed in 1988, XIII, consists of an X-shaped base on which sit three I shapes, each held up on a support. In this instance, Rickey’s calculated use of steel forms produced a refined and symbolic structure that acknowledged a friend’s thirteenth anniversary. The sharp-edged forms of mechanistic wire and steel that compose these works initially evoke hard, rough, rigid power, but in each case the sculptor transforms them into exquisite artistic statements. In fact, part of his originality is rooted in this ability to imbue heavy industrial materials with a grace that lies outside their typical manufacturing context. from Kephart, Passages of Light and Time: George Rickey's Life in Motion (Notre Dame, 2009)
![[A] sculpture constructed in 1988, XIII, consists of an X-shaped base on which sit three I shapes, each held up on a support. In this instance, Rickey’s calculated use of steel forms produced a refined and symbolic structure that acknowledged a friend’s thirteenth anniversary. The sharp-edged forms of mechanistic wire and steel that compose these works initially evoke hard, rough, rigid power, but in each case the sculptor transforms them into exquisite artistic statements. In fact, part of his originality is rooted in this ability to imbue heavy industrial materials with a grace that lies outside their typical manufacturing context.
from Kephart, Passages of Light and Time: George Rickey's Life in Motion (Notre Dame, 2009)](/_next/image?url=https%3A%2F%2Fiiif-image.library.nd.edu%2Fiiif%2F2%2F2003.013.001%2F2003_013_001-v0013%2Ffull%2Ffull%2F0%2Fdefault.jpg&w=3840&q=75)
![[A] sculpture constructed in 1988, XIII, consists of an X-shaped base on which sit three I shapes, each held up on a support. In this instance, Rickey’s calculated use of steel forms produced a refined and symbolic structure that acknowledged a friend’s thirteenth anniversary. The sharp-edged forms of mechanistic wire and steel that compose these works initially evoke hard, rough, rigid power, but in each case the sculptor transforms them into exquisite artistic statements. In fact, part of his originality is rooted in this ability to imbue heavy industrial materials with a grace that lies outside their typical manufacturing context.
from Kephart, Passages of Light and Time: George Rickey's Life in Motion (Notre Dame, 2009)](/_next/image?url=https%3A%2F%2Fiiif-image.library.nd.edu%2Fiiif%2F2%2F2003.013.001%2F2003_013_001-v0001%2Ffull%2Ffull%2F0%2Fdefault.jpg&w=3840&q=75)
![[A] sculpture constructed in 1988, XIII, consists of an X-shaped base on which sit three I shapes, each held up on a support. In this instance, Rickey’s calculated use of steel forms produced a refined and symbolic structure that acknowledged a friend’s thirteenth anniversary. The sharp-edged forms of mechanistic wire and steel that compose these works initially evoke hard, rough, rigid power, but in each case the sculptor transforms them into exquisite artistic statements. In fact, part of his originality is rooted in this ability to imbue heavy industrial materials with a grace that lies outside their typical manufacturing context.
from Kephart, Passages of Light and Time: George Rickey's Life in Motion (Notre Dame, 2009)](/_next/image?url=https%3A%2F%2Fiiif-image.library.nd.edu%2Fiiif%2F2%2F2003.013.001%2F2003_013_001-v0002%2Ffull%2Ffull%2F0%2Fdefault.jpg&w=3840&q=75)
![[A] sculpture constructed in 1988, XIII, consists of an X-shaped base on which sit three I shapes, each held up on a support. In this instance, Rickey’s calculated use of steel forms produced a refined and symbolic structure that acknowledged a friend’s thirteenth anniversary. The sharp-edged forms of mechanistic wire and steel that compose these works initially evoke hard, rough, rigid power, but in each case the sculptor transforms them into exquisite artistic statements. In fact, part of his originality is rooted in this ability to imbue heavy industrial materials with a grace that lies outside their typical manufacturing context.
from Kephart, Passages of Light and Time: George Rickey's Life in Motion (Notre Dame, 2009)](/_next/image?url=https%3A%2F%2Fiiif-image.library.nd.edu%2Fiiif%2F2%2F2003.013.001%2F2003_013_001-v0003%2Ffull%2Ffull%2F0%2Fdefault.jpg&w=3840&q=75)
![[A] sculpture constructed in 1988, XIII, consists of an X-shaped base on which sit three I shapes, each held up on a support. In this instance, Rickey’s calculated use of steel forms produced a refined and symbolic structure that acknowledged a friend’s thirteenth anniversary. The sharp-edged forms of mechanistic wire and steel that compose these works initially evoke hard, rough, rigid power, but in each case the sculptor transforms them into exquisite artistic statements. In fact, part of his originality is rooted in this ability to imbue heavy industrial materials with a grace that lies outside their typical manufacturing context.
from Kephart, Passages of Light and Time: George Rickey's Life in Motion (Notre Dame, 2009)](/_next/image?url=https%3A%2F%2Fiiif-image.library.nd.edu%2Fiiif%2F2%2F2003.013.001%2F2003_013_001-v0004%2Ffull%2Ffull%2F0%2Fdefault.jpg&w=3840&q=75)
Our collection information is a work in progress and may be updated as new research findings emerge. If you have spotted an error, please contact Raclin Murphy Museum of Art at RMMACollections@nd.edu.