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The 58-ton Bolt of Lightning refers to the famous experiment in which Franklin flew a kite in an electrical storm.
A four-legged painted-steel base supports an image of the key that Franklin attached to the kite.
On top of the key is the lightning bolt, a 45-foot truss clad with multifaceted stainless steel plates. From the bolt emerges a 23-foot tubular steel structure with a representation of the kite – all balanced by the tension of four steel guy cables. The cables appeared in Noguchi’s 1933 drawings, symbolizing, he said, the eternal and essential contact between air and earth. Jules Fisher and Paul Marantz created the dramatic lighting.

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The specific historical subject of 'A Bolt of Lightning' arose, he says, both from a reaction against what he then perceived to be Brancusi's abstract style, as well as feelings he then had toward the United States.
'After coming back to America,' said Mr. Noguchi, who was born in Los Ange 'I felt - patriotic is not the word - but it was a feeling of belonging here. I'd also worked with Brancusi, in the thick of abstraction, and had become interested in sculpture becoming more real. I felt that art had to occupy itself with other than mere abstractions.'
Franklin Was 'Great Inspiration'
In addition, Mr. Noguchi said, he was very interested in American history at the time, and especially with Franklin. 'I'm very independent, and I think that's what I like about Benjamin Franklin,' he said. 'He thought for himself. He didn't wait for other people to tell him what to do. He was a great inspiration for a young man wanting to get out into the world.'
Mr. Noguchi acknowledges that one reason why the sculpture may not have gotten far in 1934 is that it looked impossible to build - and may have been, given the engineering technology of 1934. Even in 1983, Mr. Noguchi said, its chances for realization seemed slight at first.
'There is nothing symmetrical about this piece,' Mr. Noguchi said. 'When I designed it, I never thought it could be built, structurally. But one can dream things, yes?'

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At the Fairmount Park Art Association’s (now the Association for Public Art) first Sculpture International exhibition in 1933, Isamu Noguchi exhibited eight sculptures and a number of drawings, including a design for a monument to Benjamin Franklin in Fairmount Park.
The idea lay dormant for nearly half a century, until in 1979 the Philadelphia Museum of Art presented a retrospective exhibition of Noguchi’s work. A reproduction of the 1933 proposal caught the attention of the trustees of the Association, and the project was reborn.

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Insuring that Mr. Noguchi's dream could be realized was primarily the job of Paul Weidlinger, an engineer whose New York company, Weidlinger Associates, is one of the major contractors for skyscrapers, bridges, missile silos and submarines. A longtime friend of Mr. Noguchi, Mr. Weidlinger took he job and soon found it to be 'amazingly complicated.'
'This piece was difficult because it's so irregular,' Mr. Weidlinger said in a telephone interview. 'You can make a model, but that doesn't say whether it can be built or will stand up.'
At the Weidlinger company, the 'Bolt of Lightning' was analyzed by a computer to determine whether it could be balanced and withstand the force of gravity at full scale. Some changes from the original model were made, most noticeably a lessening in the degree of 'zigzag' of the lightning section of the work. Four 2 1/2-inch-thick cables were also attached from the sculpture's midsection to the ground, for support.

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Isamu Noguchi (Noguchi Isamu, November 17, 1904 – December 30, 1988) was an American artist and landscape architect whose artistic career spanned six decades, from the 1920s onward. Known for his sculpture and public artworks, Noguchi also designed stage sets for various Martha Graham productions, and several mass-produd lamps and furniture pieces, some of which are still manufactured and sold.
In 1947, Noguchi began a collaboration with the Herman Miller company, when he joined with George Nelson, Paul László and Charles Eames to produce a catalog containing what is often considered to be the most influential body of modern furniture ever produced, including the iconic Noguchi table which remains in production today. His work lives on around the world and at the Noguchi Museum in New York City.
Early artistic career
After high school, Noguchi explained his desire to become an artist to Rumely; though he preferred that Noguchi become a doctor, he acknowledged Noguchi's request and sent him to Connecticut to work as an apprentice to his friend Gutzon Borglum. Best known as the creator of Mount Rushmore National Memorial, Borglum was at the time working on the group called Wars of America for the city of Newark, New Jersey, a piece that includes forty-two figures and two equestrian sculptures. As one oforglum's apprentices, Noguchi received little training as a sculptor; his tasks included arranging the horses and modeling for the monument as General Sherman. He did, however, pick up some skills in casting from Borglum's Italian assistants, later fashioning a bust of Abraham Lincoln. At summer's end, Borglum told Noguchi that he would never become a sculptor, prompting him to reconsider Rumely's prior suggestion.
He then traveled to New York City, reuniting with the Rumely family at their new residence, and with Dr. Rumely's financial aid enrolled in February 1922 as a premedical student at Columbia University. Soon after, he met the bacteriologist Hideyo Noguchi, who urged him to reconsider art, as well as the Japanese dancer Michio Itō, whose celebrity status later helped Noguchi find acquaintances in the art world. Another influence was his mother, who in 1923 moved from Japan to California, then later to New York.
In 1924, while still enrolled at Columbia, Noguchi followed his mother's advice t take night classes at the Leonardo da Vinci Art School. The school's head, Onorio Ruotolo, was immediately impressed by Noguchi's work. Only three months later, Noguchi held his first exhibit, a selection of plaster and terracotta works. He soon dropped out of Columbia University to pursue sculpture full-time, changing his name from Gilmour (the surname he had used for years) to Noguchi.
After moving into his own studio, Noguchi found work through commissions for portrait busts, he won the Logan Medal of the Arts. During this time, he frequented avant garde shows at the galleries of such modernists as Alfred Stieglitz and J. B. Neuman, and took a particular interest in a show of the works of Romanian-born sculptor Constantin Brâncuși.
In late 1926, Noguchi applied for a Guggenheim Fellowship. In his letter of application, he proposed to study stone and wood cutting and to gai"a better understanding of the human figure" in Paris for a year, then spend another year traveling through Asia, exhibit his work, and return to New York. He was awarded the grant despite being three years short of the age requirement.
Early travels
Noguchi arrived in Paris in April 1927 and soon afterward met the American author Robert McAlmon, who brought him to Constantin Brâncuși's studio for an introduction. Despite a language barrier between the two artists (Noguchi barely spoke French, and Brâncuși did not speak English]), Noguchi was taken in as Brâncuși's assistant for the next seven months. During this time, Noguchi gained his footing in stone sculpture, a medium with which he was unacquainted, though he would later admit that one of Brâncuși's greatest teachings was to app"the value of the moment". Meanwhile, Noguchi found himself in good company in France, with letters of introduction from Michio Itō helping him to meet such artists as Jules Pascin and Alexander Calder, who lived in the studio of Arno Breker. They became friends and Breker did a bronze bust of Noguchi.
Noguchi only produced one sculpture – his marble Sphere Section – in his first year, but during his second year he stayed in Paris and continued his training in stoneworking with the Italian sculptor Mateo Hernandes, producing over twenty more abstractions of wood, stone and sheet metal. Noguchi's next major destination was to be India, from which he would travel east; he arrived in London to read up on Oriental Sculpture, but was denied the extension to the Guggenheim Fellowship he needed.
In February 1929, he left for New York City. Brâncuși had recommended that Noguchi visit Romany Marie's café in Greenwich Village. Noguchi did so and there met Buckminster Fuller, with whom he collaborated on several projects, includmodeling of Fuller's Dymaxion car.
Upon his return, Noguchi's abstract sculptures made in Paris were exhibited in his first one-man show at the Eugene Schoen Gallery. After none of his works sold, Noguchi altogether abandoned abstract art for portrait busts in order to support himself. He soon found himself accepting commissions from wealthy and celebrity clients. A 1930 exhibit of several busts, including those of Martha Graham and Buckminster Fuller, garnered positive reviews, and after less than a year of portrait sculpture, Noguchi had earned enough money to continue his trip to Asia.
Noguchi left for Paris in April 1930, and two months later received his visa to ride the Trans-Siberian Railway. He opted to visit Japan first rather than India, but after learning that his father Yone did not want his son to visit using his surname, a shaken Noguchi instead departed for Beijing. In China, he studied brush painting with Qi Baishi, staying for six months before finally sailing for Japan. Even before his arrival in Kobe, Japanese newspapers had picked up on Noguchi's supposed reunion with his father; though he denied that this was the reason for his visit, the two did meet in Tokyo. He later arrived in Kyoto to study pottery with Uno Jinmatsu. Here he took note of local Zen gardens and haniwa, clay funerary figures of the Kofun period which inspired his terracotta The Queen.
Noguchi returned to New York amidst the Great Depression, finding few clients for his portrait busts. Instead, he hoped to sell his newly produced sculptures and brush paintings from Asia. Though very few sold, Noguchi regarded this one-man exhibition (which began in February 1932 and toured Chicago, the west coast, and Honolulu) as his "most successful". Additionally, his next attempt to break into abstract art, a large streamlined figure of dancer Ruth Page entitled Miss Expanding Universe, was poorly received. In January 1933 he worked in Chicago with Santiago Martínez Delgado on a mural for Chicago's Century of Progress Exposition, then again found a business for his portrait busts; he moved to London in June hoping to find more work, but returned in December just before his mother Leonie's death.
Beginning in February 1934, Noguchi began submitting his first designs for public spaces and monuments to the Public Works of Art Program. One such design, a monument to Benjamin Franklin, remained unrealized for decades. Another design, a gigantic pyramidal earthwork entitled Monument to the American Plow, was similarly rejected, and his"sculptural landscape" of a playground, Play Mountain, was personally rejected by Parks Commissioner Robert Moses. He was eventually dropped from the program, and again supported himself by sculpting portrait busts. In early 1935, after another solo exhibition, the New York Sun's Henry McBride labeled Noguchi's Death, depicting a lynched African-American, as "a little Japanese mistake". That same year he produced the set for Frontier, the first of many set designs for Martha Graham.
After the Federal Art Project started up, Noguchi again put forth designs, one of which was another earthwork chosen for the New York City airport entitled Relief Seen from the Sky; following further rejection, Noguchi left for Hollywood, where he again worked as a portrait sculptor to earn money for a sojourn in Mexico. Here, Noguchi was chosen to design his first public work, a relief mural for the Abelardo Rodriguez market in Mexico City. The 20-meter-long History as Seen from Mexico in 1936 was hugely political and socially conscious, featuring such modern symbols as the Nazi swastika, a hammer and sickle, and the equation E = mc². Noguchi also met Frida Kahlo during this time and had a brief but passionate affair with her; they remained friends until her death.
Further career in the United States
Noguchi returned to New York in 1937. He designed the Zenith Radio Nurse, the iconic orignal baby monitor now held in many museum collections. The Radio Nurse was Noguchi's first major design commission and he called it "my only strictly industrial design". He again began to turn out portrait busts, and after various proposals was selected for two sculptures. The first of these, a fountain built of automobile parts for the Ford Motor Company's exhibit at the 1939 New York World's Fair, was thought of poorly by critics and Noguchi alike but nevertheless introduced him to fountain-construction and magnesite. Conversely, his second sculpture, a nine-ton stainless steel bas-relief entitled News, was unveiled over the entrance to the Associated Press building at the Rockefeller Center in April 1940 to much praise. Following further rejections of his playground designs, Noguchi left on a cross-country road trip with Arshile Gorky and Gorky's fiancée in July 1941, eventually separating from them to go to Hollywood.
Following the attack on Pearl Harbor, anti-Japanese sentiment was energized in the United States, and in response Noguchi formed"Nisei Writers and Artists for Democracy". Noguchi and other group leaders wrote to influential officials, including the congressional committee headed by Representative John H. Tolan, hoping to halt the internment of Japanese Americans; Noguchi later attended the hearings but had little effect on their outcome. He later helped organize a documentary of the internment, but left California before its release; as a legal resident of New York, he was allowed to return home. He hoped to prove Japanese-American loyalty by somehow helping the war effort, but when other governmental departments turned him down, Noguchi met with John Collier, head of the Office of Indian Affairs, who persuaded him to travel to the internment camp located on an Indian reservation in Poston, Arizona, to promote arts and crafts and community.
Noguchi arrived at the Poston camp in May 1942, becoming its only voluntary internee. Noguchi first worked in a carpentry shop, but his hope was to design parks and recreational areas within the camp. Although he created several plans at Poston, among them designs for baseball fields, swimming pools, and a cemetery, he found that the War Relocation Authority had no intention of implementing them. To the WRA camp administrators he was a troublesome interloper from the Bureau of Indian Affairs, and to the internees he was an agent of the camp administration. Many did not trust him and saw him as a spy. He had found nothing in common with the Nisei, who regarded him as a strange outsider. In June, Noguchi applied for release, but intelligence officers labeled him as a "suspicious person" due to his involvement in "Nisei Writers and Artists for Democracy". He was finally granted a month-long furlough on November 12, but never returned; though he was granted a permanent leave afterward, he soon afterward received a deportation order. The Federal Bureau of Investigation, accusing him of espionage, launched into a full investigation of Noguchi which ended only through the American Civil Liberties Union's intervention. Noguchi would later retell his wartime experiences in the British World War II documentary series The World at War.
Upon his return to New York, Noguchi took a new studio in Greenwich Village. Throughout the 1940s, Noguchi's sculpture drew from the ongoing surrealist movement; these works include not only various mixed-media constructions and landscape reliefs, but lunars – self-illuminating reliefs – and a series of biomorphic sculptures made of interlocking slabs. The most famous of these assembled-slab works, Kouros, was first shown in a September 1946 exhibition, helping to cement his place in the New York art scene. In 1947 he began a tionship with Herman Miller of Zeeland, Michigan. This relationship was to prove very fruitful, resulting in several designs that have become symbols of the modernist style, including the iconic Noguchi table, which remains in production today. Noguchi also developed a relationship with Knoll, designing furniture and lamps. During this period he continued his involvement with theater, designing sets for Martha Graham's Appalachian Spring and John Cage and Merce Cunningham's production of The Seasons. Near the end of his time in New York, he also found more work designing public spaces, including a commission for the ceilings of the Time-Life headquarters. In March 1949, Noguchi had his first one-person show in New York since 1935 at the Charles Egan Gallery. In September 2003, The Pace Gallery held an exhibition of Noguchi's work at their 57th Street gallery. The exhibition, entitled 33 MacDougal Alley: The Interlocking Sculpture of Isamu Noguchi, featured eleven of the artist’s interlocking sculptures. Thiwas the first exhibition to illustrate the historical significance of the relationship between MacDougal Alley and Isamu Noguchi’s sculptural wor