#uncratecmoa

The work that Mosley refers to, Georgia Gate, was acquired in 1976 following the artist’s participation in the 66th Annual Exhibition of the Associated Artists of Pittsburgh. The spare but expressive structure, composed of finely carved wood on three marble bases, has been on view numerous times over the years. Its delicate wooden arms—carved, like so many of Mosley’s sculptures, from reclaimed wood from the city’s public works department—have made the work particularly vulnerable. For example, in July 1979, the sculpture was taken off view after a small child stepped onto the platform that held it and damaged the work. Eight years later, in March 1987, Georgia Gate was taken off view again after excessively dry environmental conditions caused some cracking in the wood.

In 1997, Recent Sculpture by Thaddeus Mosley debuted in the museum’s Forum Gallery—an exhibition that featured such powerful works as Cove for Chillida (1994) and Source—of All Gods and Superman (1994). With mallet and chisel, Mosley wrestled with sentiments of life and mortality through his sculpture, themes that have permeated his art practice for more than six decades. 

Georgia Gate is in good condition today—it was last on view in 2007 for the exhibition Popular Salon of the People: Associated Artists of Pittsburgh Annuals at Carnegie Museum of Art, a retrospective of the AAP shows from 1910 to 2006. But as part of the storage project for Heinz E, the museum’s chief preparator wants to create a dedicated crate for the work. Mosley’s sculpture will be outfitted with what’s referred to as a skeleton or slat crate, constructed to both frame and brace delicate objects.