A glowing exhibition celebrates Harry Bertoia, the midcentury artist once spurned by Dallas | marklamster
6:00 AM on Feb 7, 2022 CST
Wire sculptures by Harry Bertoia pictured at the Nasher Sculpture Center on Tuesday, Feb. 1, 2022 in Dallas. Harry Bertoia Ornamental Centipede, c. 1942 Hammered brass 19 x 8 x 1/2 in. Cranbrook Art Museum, Gift of George Gough Booth and Ellen Scripps Booth through the Cranbrook Foundation Harry Bertoia 2021 Estate of Harry Bertoia / Artists Rights Society , New York
In the ensuing years, Bertoia would become far more proficient in that craft. All of his sculpture work, which became increasingly complex, was constructed by his own hand. Bertoia’s naturalism is established just steps into the museum. Commanding that opening gallery is a tree — there is no other way to describe it — of brass, copper and steel that stands nearly 8 feet tall. Renzo Piano’s building, with its open, limpid spaces, is an ideal complement to Bertoia’s work, and the curators have done well in presenting the work in a straightforward, unfussy manner, on white plinths and pedestals.
, produced toward the end of his life , use sculpture to explore the spatial properties of sound. The Nasher presents a large number of these works, which Bertoia described as “sonambient,” including several gong-like mobiles, and 18 standing compositions of vertical rods in varying heights and densities.
“Sculpture Group Symbolizing World's Communication in the Atomic Age” by Harry Bertoia pictured at the Nasher Sculpture Center on Tuesday, Feb. 1, 2022, in Dallas.
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