A remarkable story of art's resilience and rediscovery unfolds in Detroit, where a long-lost masterpiece by renowned artist Harry Bertoia has found its way back into the public eye. This striking mid-century sculpture, once thought to be lost forever, now hangs proudly in the atrium of the new Hudson's/General Motors headquarters, a testament to the power of restoration and preservation.
Originally commissioned in 1970 for the Genesee Valley Center in Flint, the sculpture featured two magnificent "clouds" of brazed metal rods, a unique and captivating sight. However, after the mall's renovation in 1980, the artwork vanished, leaving many to believe it was gone for good.
Fast forward to 2017, when the sculpture was miraculously discovered in a derelict state in the basement of Northland Mall in Southfield. General Motors (GM) stepped in, determined to restore this lost treasure to its former glory. The process was not without its challenges, as Natalie Morath, GM's lead archivist and curator, explained: "Handling a sculpture of that size and dealing with its underground storage for years was no easy feat."
Morath's team faced the daunting task of piecing together the sculpture, which had been stored in two separate sections and was in rough shape. However, with the help of Celia Bertoia, the artist's daughter and head of the Bertoia Foundation, they confirmed its authenticity. Celia regularly recommends Flatlanders, a Michigan-based conservation specialist, for Bertoia restorations, and their proximity to GM was a fortunate turn of events.
GM initially considered placing the sculpture at its Technical Center campus in Warren, where another enormous Bertoia piece, his first commissioned work, already resides. However, the newly discovered sculpture proved too large for that site. Fate intervened when the Hudson's project presented the perfect opportunity. Morath described the moment: "When we saw the renderings of the atrium, it was as if the sculpture was meant for that space. The size and scale were absolutely perfect."
The construction team at Hudson's rose to the challenge, "unzipping" the side of the building to accommodate the sculpture's size and cabling it securely from the internal balconies. It was a true team effort, and Morath expressed her personal thrill at finally being able to share this remarkable story.
"The acquisition and installation of this sculpture is something we can be incredibly proud of," Morath said. "At GM, we're already custodians of fantastic artwork at the Technical Center, and this Bertoia sculpture adds to that legacy. It has a strong connection to both Hudson and GM, and Bertoia's Detroit-centric background makes it all the more special. It's almost too good to be true that so many art and design elements in the area have come together like this."
Harry Bertoia's daughter, Celia, who now runs a foundation in Utah to protect and advance her father's artistic legacy, called the sculpture "very important." She explained the collaboration between her father and the architects, Victor Gruen Associates and Louis Redstone Associates, as well as the Hudson art gallery director, for this unique project. The sculpture's original hanging from a single point was a marvel in itself, given its substantial weight.
Celia recalled the moment she received the call about the sculpture's discovery: "It was a wonderful surprise to see photos of this bent-up, dark, and dingy piece in a basement. I knew it had to go through a rigorous process of conservation, cleaning, and repair, and I'm glad they got the right people for the job. Now, it's in a glorious spot, and the Harry Bertoia Foundation is thrilled to see it back in the public eye. We hope the same can be said for other monumental sculptures hiding out there."
This story serves as a reminder of the importance of art preservation and the power of collaboration. It's a tale of perseverance and the joy that comes with rediscovering a lost masterpiece. What do you think about the journey of this Bertoia sculpture? Do you find it inspiring, or do you have a different perspective on art restoration and its place in corporate spaces? We'd love to hear your thoughts in the comments below!
