Twenty-Four Lines
Date
1968
Creator
Location
Raclin Murphy Museum of Art
By 1965 the blade had become his [Rickey’s] signature language. In Twenty-four Lines, from 1968, numerous blades converge into the shape of a single large blade, emphasizing his simplified selection of forms. This streamlining reduced the number of variables within his works, and Rickey focused on developing a simpler set of forms in more complex ways. He also became even more directly concerned with movement and how it might be variously displayed. In 1966 he left his teaching post at RPI [Rensselaer Polytechnic Institute] to again commit his efforts to sculpture full-time. from Kephart, Passages of Light and Time: George Rickey's Life in Motion (Notre Dame, 2009)
![By 1965 the blade had become his [Rickey’s] signature language. In Twenty-four Lines, from 1968, numerous blades converge into the shape of a single large blade, emphasizing his simplified selection of forms. This streamlining reduced the number of variables within his works, and Rickey focused on developing a simpler set of forms in more complex ways. He also became even more directly concerned with movement and how it might be variously displayed. In 1966 he left his teaching post at RPI [Rensselaer Polytechnic Institute] to again commit his efforts to sculpture full-time.
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%2F2009.064.010%2F2009_064_010-v0005%2Ffull%2Ffull%2F0%2Fdefault.jpg&w=3840&q=75)
![By 1965 the blade had become his [Rickey’s] signature language. In Twenty-four Lines, from 1968, numerous blades converge into the shape of a single large blade, emphasizing his simplified selection of forms. This streamlining reduced the number of variables within his works, and Rickey focused on developing a simpler set of forms in more complex ways. He also became even more directly concerned with movement and how it might be variously displayed. In 1966 he left his teaching post at RPI [Rensselaer Polytechnic Institute] to again commit his efforts to sculpture full-time.
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%2F2009.064.010%2F2009_064_010-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.