Firelei Báez
Magnitude and Bond, 2018
Acrylic/Oil on canvas, Custom Made, Foldable Aluminum Stretchers
108 x 192 in
274.3 x 487.7 cm
274.3 x 487.7 cm
Richard Hunt USA, b. 1935
Tubing Form #10, 1962
Copper with a marble base
14 x 18 x 8 in
35.6 x 45.7 x 20.3 cm
35.6 x 45.7 x 20.3 cm
6986
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This historic sculpture by Richard Hunt encapsulates the emergent visual voice the artist was developing at the time. Made two years after Hunt finished his Army tour, it suggests a...
This historic sculpture by Richard Hunt encapsulates the emergent visual voice the artist was developing at the time. Made two years after Hunt finished his Army tour, it suggests a dark, creeping hybridity between something mechanized and something free. Titled Tubing Form #10, the sculpture’s antler-like appendages and twisted spines—made from an amalgam of spent bullet casings and industrial conduits—evoke something part human, part dendroid, and part machine. It is an abstract expression of something natural and something artificial, caught in a state between life and death. By the time Hunt graduated from SAIC in 1957, his work had already been exhibited by MoMA, a testament to his strikingly personal language of lyrical abstraction, mature beyond his years. Though he was comfortable working with a range of materials, including found objects, wood and steel, a fellowship that allowed him to travel through reconstructed Europe in 1958 convinced him that metal epitomized the spirit of the Modern World. After returning from Europe, Hunt enlisted in the US Army, serving two years during the early period of the Vietnam War. The uncanny, eerily human forms that dominate his works from this time express the strange marriage Hunt saw evolving between nature and modern machines.
Provenance
B.C. Holland, INC., Chicago
Acquired from the above by present owner in 1974