Tim Prentice: changing the movement of kinetic art

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Alongside Alexander Calder and George Rickey, Tim Prentice forged a new path in kinetic art. We spoke to the American nonagenarian artist and architect ahead of his major two-part exhibition, ‘A...

for half a century, architecture was his first language. ‘My father was an architect so that was my model, I didn’t have any other model, so I went into it automatically. I was brought up in the modern movement, and [my father] was the last generation of the eclectics, so we weren’t in the same line of work at all – our points of view were so different. When people said, “Oh it’s so nice you’re going into your father’s line of work,” it always made me cringe a little.

In 1999, things came full circle when Prentice – with his architectural partner Lo-Yi Chan – was commissioned to design the But for Prentice, being an architect was like being an orchestral conductor unable to play any of the instruments. In 1970, he decided he wanted to play the instruments, turning toas a solution. In architecture, ‘you work on the design and the drawings, wait to observe the construction, and it can take a year to find out whether you’ve made the right decisions. Like when you had to take a photograph to the drug store to be developed and get it a week later – it’s maddening,’ he says.

 

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