Imagine a masterpiece, lost for decades, only to be rediscovered in a dusty basement and restored to its former glory. That’s exactly what happened to a rare sculpture by the legendary artist Harry Bertoia, now proudly hanging in the atrium of Detroit’s new Hudson’s/General Motors headquarters. But here’s where it gets controversial: Was this a stroke of luck, or a deliberate act of preservation? Let’s dive into the story.
This mid-century marvel, originally commissioned for Flint’s Genesee Valley Center in 1970, features two massive ‘clouds’ of brazed metal rods, affectionately dubbed ‘sunlit straw.’ After the mall’s renovation in 1980, the sculpture vanished from public view, only to resurface in 2017 in a derelict state in the basement of Southfield’s Northland Mall. General Motors stepped in, acquiring the piece and enlisting Michigan-based conservation specialists to restore it to its original splendor. Now, it graces the atrium of the Hudson’s site, a location perfectly suited to its grandeur.
And this is the part most people miss: The restoration was no small feat. Natalie Morath, GM’s lead archivist and curator, described it as a ‘labor of love’ involving countless individuals. ‘Handling a sculpture of that size, especially one that had been stored underground for years, was incredibly challenging,’ she explained. When first uncovered, the piece was in two separate, mangled sections, resembling a ‘crazy mess of metal rods.’ Yet, with the help of Celia Bertoia, the artist’s daughter and head of the Bertoia Foundation, the sculpture’s identity was confirmed, and restoration began.
The process was made easier by the proximity of Flatlanders, Michigan-based specialists in Bertoia conservation. ‘We were so lucky they were nearby,’ Morath noted. ‘Transporting the sculpture across the country would have been a nightmare.’ Initially, GM considered placing the sculpture at its Technical Center campus in Warren, home to another massive Bertoia piece from 1953. However, its size proved too large for the site. When the Hudson’s project emerged, with its expansive atrium, it felt like destiny. ‘It was absolutely the perfect size and scale,’ Morath said, though the construction team had to ‘unzip’ the building’s side to move it in—a true team effort.
Here’s where opinions might differ: Is GM’s role in preserving this artwork a corporate responsibility or a strategic move to enhance its cultural image? Morath calls the acquisition and installation ‘something we can be really proud of,’ highlighting GM’s role as stewards of significant artworks, including Alexander Calder’s water ballet and Charles Scheeler’s paintings. The Bertoia sculpture, commissioned by J.L. Hudson, also ties into Detroit’s rich artistic and architectural history, making its return a full-circle moment.
Celia Bertoia, who runs the Utah-based foundation preserving her father’s legacy, called the sculpture ‘very important.’ She recalled the initial discovery: ‘I got photos where I couldn’t even tell what it was, but after research, we confirmed it was the original Genesee mall piece.’ Seeing it restored and displayed publicly again is ‘fabulous,’ she said, hoping other lost Bertoia works will resurface.
So, what do you think? Is GM’s preservation of this sculpture a commendable act of cultural stewardship, or a calculated move to bolster its image? Let’s discuss in the comments—your thoughts could spark a fascinating debate!
