Marble
University of Notre Dame
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Two Vertical Two Horizontal Lines

Date

1974

Creator

George Rickey

Location

Raclin Murphy Museum of Art

In a later work, Two Vertical Two Horizontal Lines, from 1974, Rickey continued to play with limited movement within the vertical and horizontal directions. Four blades are posted at the corners of a flat, square plane that is tilted to hang as a diamond. Each of these pendulums points toward opposite corners of the base, tracing its form with their paths of gentle motion as the air currents shift. The lines pass over the center at an intricate crossing that changes uniquely with every slight movement; intervals of chance turn this clock’s hands. In both works, lines weave in and out of one another and joints sew a secure link that enables the delicate motion of the sculptures’ parts—motion in which no sequence repeats over the life of the sculpture. from Kephart, Passages of Light and Time: George Rickey's Life in Motion (Notre Dame, 2009)

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In a later work, Two Vertical Two Horizontal Lines, from 1974, Rickey continued to play with limited movement within the vertical and horizontal directions. Four blades are posted at the corners of a flat, square plane that is tilted to hang as a diamond. Each of these pendulums points toward opposite corners of the base, tracing its form with their paths of gentle motion as the air currents shift. The lines pass over the center at an intricate crossing that changes uniquely with every slight movement; intervals of chance turn this clock’s hands. In both works, lines weave in and out of one another and joints sew a secure link that enables the delicate motion of the sculptures’ parts—motion in which no sequence repeats over the life of the sculpture. from Kephart, Passages of Light and Time: George Rickey's Life in Motion (Notre Dame, 2009)
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  • In a later work, Two Vertical Two Horizontal Lines, from 1974, Rickey continued to play with limited movement within the vertical and horizontal directions. Four blades are posted at the corners of a flat, square plane that is tilted to hang as a diamond. Each of these pendulums points toward opposite corners of the base, tracing its form with their paths of gentle motion as the air currents shift. The lines pass over the center at an intricate crossing that changes uniquely with every slight movement; intervals of chance turn this clock’s hands. In both works, lines weave in and out of one another and joints sew a secure link that enables the delicate motion of the sculptures’ parts—motion in which no sequence repeats over the life of the sculpture. from Kephart, Passages of Light and Time: George Rickey's Life in Motion (Notre Dame, 2009)
  • In a later work, Two Vertical Two Horizontal Lines, from 1974, Rickey continued to play with limited movement within the vertical and horizontal directions. Four blades are posted at the corners of a flat, square plane that is tilted to hang as a diamond. Each of these pendulums points toward opposite corners of the base, tracing its form with their paths of gentle motion as the air currents shift. The lines pass over the center at an intricate crossing that changes uniquely with every slight movement; intervals of chance turn this clock’s hands. In both works, lines weave in and out of one another and joints sew a secure link that enables the delicate motion of the sculptures’ parts—motion in which no sequence repeats over the life of the sculpture. from Kephart, Passages of Light and Time: George Rickey's Life in Motion (Notre Dame, 2009)
George Rickey (American, 1907 - 2002)
1974
Sculpture
Stainless steel
2009.064.015
American
assembling
ball-bearing hinges
burnishing
Constructivist
engineering concepts
Kinetic
Minimal
stainless steel
© George Rickey
Raclin Murphy Museum: B01B
28 1/2 x 28 1/2 in. (72.39 x 72.39 cm)
Gift of the George Rickey Foundation

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.