Posts Tagged ‘Mobiles

22
Jul
14

Exhibition: ‘Calder and Abstraction: From Avant-Garde to Iconic’ at the Los Angeles County Museum of Art (LACMA), Los Angeles

Exhibition dates: 24th November 2013 – 27th July 2014

 

Alexander Calder. 'Blue Feather' c. 1948

 

Alexander Calder (American, 1898-1976)
Blue Feather
c. 1948
Sheet metal, wire and paint
42 x 55 x 18 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

 

Any of them – or just one of them. I don’t care!

Just to have one in your home would be like wishing upon a star… to contemplate, to observe, to understand these inherently tactile sculptures. What a joy.

Marcus

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Many thankx to the Los Angeles County Museum of Art (LACMA) for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image. Download Calder and Abstraction: From Avant-Garde to Iconic Didactics (30kb pdf)

 

 

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Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

 

Installation views of Calder and Abstraction: From Avant-Garde to Iconic at the Los Angeles County Museum of Art (LACMA)
© Calder Foundation, New York/Artists Rights Society (ARS)
Photos: Fredrik Nilsen

 

 

The Los Angeles County Museum of Art (LACMA) presents Calder and Abstraction: From Avant-Garde to Iconic, the first monographic presentation of Alexander Calder’s work in a Los Angeles museum. Taking as its compass the large-scale sculpture Three Quintains (Hello Girls), a site-specific fountain commissioned by LACMA’s Art Museum Council in 1964 for the opening of LACMA’s Hancock Park campus, Calder and Abstraction brings together a range of nearly fifty abstract sculptures, including mobiles, stabiles, and maquettes for larger outdoor works, that span more than four decades of the artist’s career. The exhibition at LACMA is organised by LACMA’s senior curator of modern art Stephanie Barron and designed by Gehry Partners, LLP.

Barron remarks, “Calder is recognised as one of the greatest pioneers of modernist sculpture, but his contribution to the development of abstract modern sculpture – steeped in beauty and humour – has long been underestimated by critics. Calder was considered a full-fledged member of the European avant-garde, becoming friendly with André Breton, Marcel Duchamp, Joan Miró, and Piet Mondrian, and exhibited alongside Jean Arp, Wassily Kandinsky, Fernand Léger, and many of the Surrealists. His radical inventions move easily between seeming opposites: the avant-garde and the iconic, the geometric and the organic, art and science – an anarchic upending of the sculptural paradigm.”

Calder and Abstraction offers a window into the remarkably original thinking of this distinguished artist and elucidates his revolutionary and pivotal contribution to the development of modern sculpture,” says Michael Govan, CEO and Wallis Annenberg Director of LACMA. “Three Quintains (Hello Girls) at LACMA has for decades been seen as an emblem of the museum. Following in the footsteps of its legacy, our campus continues to be enhanced by large-scale, public art – most recently with the inclusion of Chris Burden’s Urban Light (2008) and Michael Heizer’s Levitated Mass (2012).”

 

Exhibition overview

Calder and Abstraction traces the evolution of abstraction in the artist’s sculptural practice. The exhibition, arranged in loose chronological order, presents highlights of Calder’s oeuvre from his earliest abstract works to the crescendo of his career in the late 1940s to his later public sculptural commissions. While he is considered one of the most popular artists of his time, his work also shares sensibilities with less immediately accessible artists, including the Surrealists and the champions of pure abstraction that made up the Abstraction-Création group, such as Robert Delaunay, Theo van Doesburg, and Kurt Schwitters, among others.

From 1926 to 1933, Pennsylvania-born Calder lived primarily in Paris and was a prevalent figure of the European avant-garde along with peers Marcel Duchamp, Joan Miró, Piet Mondrian, Jean Hélion, Wassily Kandinsky, Fernand Léger, Alberto Giacometti, fellow American Man Ray, and many of the Surrealists. At the time, Paris was the epicentre of creative production, and Surrealism was the most significant artistic movement in France. A number of his works from the 1930s referenced astronomy, a preoccupation shared by a number of avant-garde artists. In Gibraltar two off-kilter rods thrust upward from a plane encircling a wood base, suggesting a personal solar system. Calder was fascinated with representing the natural world and the cosmos as potent and brimming with energy: “When I have used spheres and discs … they should represent more than what they just are. … [T]he earth is a sphere but also has some miles of gas about it, volcanoes upon it, and the moon making circles around it. … A ball of wood or a disc of metal is rather a dull object without this sense of something emanating from it.”

A crucial encounter for Calder occurred in 1930 upon visiting artist Piet Mondrian’s studio. Calder credited Mondrian with opening his eyes to the term “abstract,” providing the catalyst to a new phase in his practice. Calder later described this visit as pivotal in his move towards abstraction: “The visit gave me a shock. … Though I had heard the word ‘modern’ before, I did not consciously know or feel the term ‘abstract.’ So now, at thirty-two, I wanted to paint and work in the abstract.”

Calder appropriated Surrealism’s affinity to curvilinear, biomorphic forms into his sculptures, and when he met Miró in 1928, the two men discovered a mutual admiration for each other’s work and developed a close friendship. As Calder stated, “Well, the archaeologists will tell you there’s a little bit of Miró in Calder and a little bit of Calder in Miró.”

The decade after he met Miró and Mondrian proved to be the most radical of Calder’s career. He embraced the Surrealist notion of integrating chance into his works in addition to the Constructivist idea that painting and sculpture should be freed from their standard constraints, such as gravity and traditional sculptural mass. He consequently developed his two signature typologies: the mobile, a term coined by Marcel Duchamp after a visit to Calder’s home and studio in 1931; and the stabile, named by Jean Arp in 1932.

Calder’s mobiles are hanging, kinetic sculptures made of discrete movable parts stirred by air currents, creating sinuous and delicate drawings in space. Either suspended or freestanding, these often large constructions consist of flat pieces of painted metal connected by wire veins and stems. Eucalyptus (1940), one of Calder’s first mature mobiles, was created during World War II. The piece can be seen as a composition of violent, tortured biomorphic shapes that suggest gaping mouths, body parts, sexual organs, and sinister weapons.

Stabiles, which were developed alongside Calder’s mobiles but came to full maturity later in his career, are stationary abstract sculptures, often with mobiles attached to them (standing mobiles). In several of Calder’s works from the 1940s – the most prolific decade of his sculptural production – he effectively blended the mobile and stabile forms, as seen in Laocoön (1947), in which the stabile supports graceful, arcing branches that cut a broad swath as they rotate at an irregular rhythm.

In the mid-1950s, Calder began working with quarter-inch steel (thicker than the aluminium he had used during the 1940s), which enabled him to construct larger, more durable, and more ambitious sculptures and posed him as an ideal collaborator with architects to create works for public spaces. With commissions from the city of Spoleto, Italy (1962), Montreal’s Expo (1967) and Grand Rapids, Michigan (1969) – represented in the exhibition by La Grande vitesse (intermediate maquette) – Calder began a virtually non-stop output of public sculpture until his death in 1976.

Calder’s public sculpture evolved at a time when communities were becoming increasingly proud of public sculpture, although his resolutely bold abstract forms, though hard to imagine now, were initially met with some controversy. Today encountering Calder’s iconic sculpture in the centre of a city, in front of a courthouse, in the midst of the Senate Office Building, or in front of a museum is a hallmark of postwar public sculpture that he helped to invent.

 

Exhibition design and installation

Calder was constantly in conversation and collaborated with other artists and architects in his lifetime, but a major architect has not designed a Calder show since the 1980s. Frank O. Gehry’s design for LACMA’s exhibition allows for quiet areas of contemplation, unexpected juxtapositions of related works, and opportunities for both intimate and panoramic views of the works. Gehry’s gently curved walls frame the sculptures and recall the harmony between art and architecture, emphasising the organic nature of Calder’s works. Gehry’s own method of developing architectural forms is inherently tactile, sharing some of the same hands-on techniques of a sculptor.

With the assistance of technology and effective planning, Calder and Abstraction at LACMA features a selection of sculptures that are animated throughout the course of the day.

Press release from the LACMA website

 

Alexander Calder. 'Three Quintains (Hello Girls)' 1964

 

Alexander Calder (American, 1898-1976)
Three Quintains (Hello Girls)
1964
Sheet metal and paint with motor
275 x 288 inches
Los Angeles County Museum of Art
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Museum Associates/LACMA

 

Alexander Calder. 'Little Face' 1962

 

Alexander Calder (American, 1898-1976)
Little Face
1962
Sheet metal, wire and paint
42 x 56 inches
Los Angeles County Museum of Art
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Museum Associates/LACMA

 

Alexander Calder. 'Laocoön' 1947

 

Alexander Calder (American, 1898-1976)
Laocoön
1947
Sheet metal, wire, rod, string and paint
80 x 120 x 28 inches
The Eli and Edythe L. Broad Collection
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Douglas M. Parker Studio, Los Angeles

 

Alexander Calder. 'Yucca' 1941

 

Alexander Calder (American, 1898-1976)
Yucca
1941
Sheet metal, wire and paint
73 x 23 x 20 inches
Solomon R. Guggenheim Museum, New York, Hilla Rebey Collection, 1971
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Solomon R. Guggenheim Foundation, New York, by Kristopher McKay

 

Alexander Calder. 'Un effet du japonais' 1941

 

Alexander Calder (American, 1898-1976)
Un effet du japonais
1941
Sheet metal, rod, wire and paint
80 x 80 x 48 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Gibraltar' 1936

 

Alexander Calder (American, 1898-1976)
Gibraltar
1936
Lignum vitae, walnut, steel rods, and painted wood
52 x 24 x 11 inches
The Museum of Modern Art, New York. Gift of the artist.
© Calder Foundation, New York/Artists Rights Society (ARS)
Digital image: © 2013 The Museum of Modern Art/Licences by SCALA/Art Resource, NY

 

Alexander Calder. 'Constellation Mobile' 1943

 

Alexander Calder (American, 1898-1976)
Constellation Mobile
1943
Wood, wire, string and paint
53 x 48 x 35 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Bougainvillier' 1947

 

Alexander Calder (American, 1898-1976)
Bougainvillier
1947
Sheet metal, wire, lead and paint
78 x 86 inches
Collection of John and Mary Shirley
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Le Demoiselle' 1939

 

Alexander Calder (American, 1898-1976)
Le Demoiselle
1939
Sheet metal, wire and paint
58 x 21 x 29 inches
Glenstone
© Calder Foundation, New York/Artists Rights Society (ARS)

 

Alexander Calder. 'Red Disc' 1947

 

Alexander Calder (American, 1898-1976)
Red Disc
1947
Sheet metal, wire and paint
81 x 78 inches
Frances A. Bass
© Calder Foundation, New York/Artists Rights Society (ARS)

 

Alexander Calder. 'Untitled' 1947

 

Alexander Calder (American, 1898-1976)
Untitled
1947
Sheet metal, wire and paint
66 x 53 inches
Private collection
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Trois Pics (intermediate maquette)' 1967

 

Alexander Calder (American, 1898-1976)
Trois Pics (intermediate maquette)
1967
Sheet metal, bolts, and paint
96 x 63 x 70 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

 

Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
Phone: 323 857 6000

Opening hours:
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06
Jan
14

Exhibition: ‘Alexander Calder: Avant-Garde in Motion’ at the Kunstsammlung Nordrhein-Westfalen, Düsseldorf

Exhibition dates: 7th September 2013 – 12th January 2014

 

Many thankx to the Kunstsammlung Nordrhein-Westfalen for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

'Alexander Calder: Avant-Garde in Motion' Installation photographs

'Alexander Calder: Avant-Garde in Motion' Installation photographs

'Alexander Calder: Avant-Garde in Motion' Installation photographs

'Alexander Calder: Avant-Garde in Motion' Installation photographs

 

Alexander Calder: Avant-Garde in Motion
Installation photographs
Fotos: Achim Kukulies, © Calder Foundation, New York / Artists’ Rights Society (ARS), New York
© Kunstsammlung NRW

 

 

“These hesitations and resumptions, gropings and fumblings, sudden decisions and, most especially, marvellous swan-like nobility make Calder’s mobiles strange creatures, mid-way between matter and life.”

.
Jean-Paul Sartre, 1946

 

 

For the first time in 20 years, a German museum is presenting a major selection of works by the American sculptor Alexander Calder (1898-1976). With the exhibition Alexander Calder: Avant-Garde in Motion, the Kunstsammlung Nordrhein-Westfalen invites art lovers to reevaluate Calder as an astonishingly multifaceted member of the twentieth century avant-garde. Never before has the artistic oeuvre of this pioneer of Kineticism been presented in its surprising proximity and intimate interplay with the experimental film and music of its time. This approach highlights the intellectual universality of an artist whose mobiles are familiar worldwide today.

The focus of the exhibition at the K20 Grabbeplatz is the 1930s and 1940s, documenting Calder’s path toward abstraction and his lifelong friendships with members of the European avant-garde. On view in two exhibition halls are approximately 70 works, ranging from small-scale works in wood and sheet metal to the monumental steel stabile Le Tamanoir (1963), weighing 2300 kilograms, on loan from Rotterdam. A special architectural feature of this presentation is the long, accessible catwalk in the Kleehalle, which will offer visitors unexpected perspectives of the suspended mobiles.

For the Düsseldorf exhibition, Calder’s first solo show of abstract works at the Galerie Percier in Paris in 1931, has been partially documented as a crucial station on the path toward his singular formal language. His artistic friendships during his time in Paris are highlighted by important individual paintings by Piet Mondrian, Joan Miró, and Hans Arp that are found today in the collection of the Kunstsammlung Nordrhein-Westfalen. The impulse that initiated this major exhibition project was modest in proportions: in 2008, the sculpture Untitled, dating from 1936, was acquired by the Federal State of North-Rhine Westphalia, and hence and came into the possession of the Kunstsammlung. This work is among Calder’s relatively unknown “noise-mobiles,” which generate sound through the gentle pendular movement of a ball that hangs from a wire. A complex work, Untitled connects various phases of Calder’s career, pointing toward the beginning of the wire sculptures of the 1920s and also the “sonorous” mobiles of the later period, which are set in motion by air currents. The forms of the individual elements signal Calder’s turn toward abstraction, but also resemble the organic language typical of the works of Arp and Miró.

Like no other American artist, and in a way comparable only with his friend Man Ray, Calder was a consistent member of Parisian avant-garde circles between 1926 and 1933. He was recognised by the main representatives of a range of artistic tendencies, yet never allowed himself to be drawn into the rivalry between abstraction and Surrealism. During these years, Calder moved uninhibitedly between various orientations, positioning his work in the field of tension residing between Mondrian’s cool geometric compositional structures and the biomorphic, playful abstractions of Miró and Arp. The exhibition features in particular the abstract works Calder produced after a legendary and pivotal experience in Paris: in the fall of 1930, he visited Mondrian’s studio and was deeply impressed by the space’s total composition, in particular by the black-and-white structuring of a wall on which coloured rectangles were mounted for study purposes. In his autobiography, Calder characterises his visit to this environment as a “shock” that prompted him to reevaluate his artistic production to date.

During the ensuing weeks, he produced abstract paintings exclusively – a brief intermezzo. Subsequently, he developed his first nonobjective, spatial wire constructions. In the autumn of 1931, the influences of the preceding years found a more distinct expression in Calder’s art when he produced the first moving sculptures by a system of motors or cranks. Marcel Duchamp gave them the name “mobile,” a word that means both “motion” and “motive” in French. The mechanics were abandoned as Calder developed hanging kinetic sculptures, which are linked together by wires and joints and held in a state of equilibrium; through the principle of contingent and dynamic rotation, the individual parts continually form new and unanticipated constellations. As a counterpart to the mobiles, Calder developed immobile constructions, which Hans Arp dubbed “stabiles” in 1932.

Contributing to our understanding of Calder’s works are experimental films, likely seen by Calder during his time in Paris, in which movement and rotation are thematised in their most various facets. During the 1920s, many artists in Calder’s intimate circle were preoccupied with the medium of cinema and the moving image, for example Fernand Léger with Ballet Mechanique (1924), Marcel Duchamp with Anémic Cinéma (1926), and Man Ray with Le Retour à la Raison (1923). In the exhibition, these experimental films will be screened as part of the broader context of Calder’s studies of movement and space. Indispensable to a comprehensive presentation of Calder’s involvement in the historic avant-garde is a consideration of the experimental music of the time: Calder cultivated friendships with the composers Edgard Varèse, Virgil Thomson, and John Cage, among others. Calder was intensively preoccupied with contemporary music, which is also incorporated into the exhibition. And it seems likely that it also exerted an influence on the “noise-mobiles,” for which the randomness of sound events plays an important role.”

Alexander Calder: Avant-Garde in Motion is on show at the Kunstsammlung Nordrhein-Westfalen, in two large exhibition halls at the K20 Grabbeplatz in Düsseldorf. In the Klee Hall the visitor will experience Calder’s early sculptures – set against works by trend-setting fellow artists, such as Mondrian, Miró and Arp, as well as artistic and documentary films. In the high Grabbehall, by contrast, the large mobiles and stabiles will be exhibited to impressive effect by allowing the individual shapes to move freely. Here the visitor can experience how the artist makes playful use of space and proportions. At various points throughout the exhibition, Calder’s mobiles enter into a dialogue with experimental music dating from the 1920s onwards, ranging from compositions by Edgar Varèse to those of John Cage. This illustrates how Calder constantly sought inspiration from other branches of the arts and broadened his own horizons.

Press release from the Kunstsammlung Nordrhein-Westfalen website

 

Alexander Calder. 'Quatre systèmes rouges' (mobile) 1960

 

Alexander Calder (American, 1898-1976)
Quatre systèmes rouges (mobile)
1960
Iron, steel wire, colour
155 x 200 x 200cm
Louisiana Museum of Modern Art, Humlebæk, Dänemark, Donation: The New Carlsberg Foundation
© 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Louisiana Museum of Modern Art, Humlebæk, Dänemark
Foto: © 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
© Kunstsammlung NRW

 

Alexander Calder. 'Araignée d'oignon' (Onion peeler) c. 1940

 

Alexander Calder (American, 1898-1976)
Araignée d’oignon (Onion peeler)
c. 1940
21.8 × 35 × 36.5cm
Iron
Moderna Museet, Stockholm
© 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York, Foto: Moderna Museet, Stockholm
Foto: © 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Moderna Museet, Stockholm
© Kunstsammlung NRW

 

Alexander Calder. 'Constellation with Red Object' 1943

 

Alexander Calder (American, 1898-1976)
Constellation with Red Object
1943
Wood, steel wire, colour
62.2 x 38.7 x 24.1cm
The Museum of Modern Art, New York, James Thrall Soby Fund, 1943
© 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: © 2012 Digital image, The Museum of Modern Art, New York/ Scala, Florence
© Kunstsammlung NRW

 

Alexander Calder. 'Little Spider' c. 1940

 

Alexander Calder (American, 1898-1976)
Little Spider
c. 1940
Sheet metal, steel wire, colour
111.1 x 127 x 139.7cm
National Gallery of Art, Washington, Gift of Mr. and Mrs. Klaus G. Perls
© 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Image courtesy of the National Gallery of Art, Washington
Foto: © 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Image courtesy of the National Gallery of Art, Washington
© Kunstsammlung NRW

 

Alexander Calder. 'Performing Seal' 1950

 

Alexander Calder (American, 1898-1976)
Performing Seal
1950
83.8 × 58.4 × 91.4cm
Sheet metal, steel wire, colour
Museum of Contemporary Art Chicago. The Leonard and Ruth Horwich Family Loan
© 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Nathan Keay, © Museum of Contemporary Art Chicago
Foto: © 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Nathan Keay, © Museum of Contemporary Art Chicago
© Kunstsammlung NRW

 

Alexander Calder. 'Portrait of a Man' c. 1928

 

Alexander Calder (American, 1898-1976)
Portrait of a Man
c. 1928
Messingdraht
32.5 x 22.2 x 34.2cm
The Museum of Modern Art, New York. Gift of the artist, 1966
© 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: © 2012 Digital image, The Museum of Modern Art, New York/ Scala, Florence
© Kunstsammlung NRW

 

Alexander Calder. 'Upstanding T' 1944

 

Alexander Calder (American, 1898-1976)
Upstanding T
1944
Bronze
78 x 37 x 25cm
Calder Foundation, New York
© 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Courtesy Calder Foundation, New York / Art Resource, New York
Foto: © 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Courtesy Calder Foundation, New York / Art Resource, New York
© Kunstsammlung NRW

 

Alexander Calder. 'Ohne Titel' (Untitled) 1936

 

Alexander Calder (American, 1898-1976)
Ohne Titel (Untitled)
1936
Standing Mobile (stehendes Mobile)
Steel sheets, steel wire, wooden ball, black, gray, red, blue and yellow painted
75.5 x 32.8 x 41cm
Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Leihgabe des Landes Nordrhein-Westfalen
© 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Achim Kukulies, Düsseldorf
Foto: © 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Achim Kukulies, Düsseldorf
© Kunstsammlung NRW

 

Alexander Calder. 'Untitled' c. 1934

 

Alexander Calder (American, 1898-1976)
Untitled
c. 1934
Steel tube, round bar, wood, wire, paint, string
114.5 x 94cm
Calder Foundation, New York
© 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Courtesy Calder Foundation, New York / Art Resource, New York
Foto: © 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Courtesy Calder Foundation, New York / Art Resource, New York
© Kunstsammlung NRW

 

Alexander Calder. 'Cello on a spindle' 1936

 

Alexander Calder (American, 1898-1976)
Cello on a spindle
1936
158 × 118 × 90cm
Metal, wood, lead, colour
Kunsthaus Zürich
© 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Kunsthaus Zürich
Foto: © 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Foto: Kunsthaus Zürich
© Kunstsammlung NRW

 

 

Kunstsammlung Nordrhein-Westfalen
Grabbeplatz 5
D-40213 Düsseldorf

Opening hours:
Tuesday – Friday 10am – 6pm
Saturdays, Sundays, holidays 11am – 6pm
Mondays closed

Kunstsammlung Nordrhein-Westfalen website

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24
May
12

Exhibition: ‘Alexander Calder – The Great Discovery’ at Gemeentemuseum Den Haag, The Netherlands

Exhibition dates:  11th February – 28th May 2012

 

Alexander Calder. 'Cow' c. 1926

 

Alexander Calder (American, 1898-1976)
Cow
c. 1926
Wire and wood
8.9 x 20.5 x 9.9 cm
Museum of Modern Art, New York
Gift of Edward M. M. Warburg

 

 

Always one of my favourites. He only needed some wire, a pair of pliers and his own bare hands to create magic. Through life force Calder transfers his energy into the twists and turns of the wire, his will embodied in the kinetic energy of the sculptures. Wonderful to see the early work which I think has more vigour than the later, more flaccid stabiles.

Marcus

.
Many thankx to Gemeentemuseum Den Haag for allowing me to post the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

Alexander Calder. 'Small Feathers' 1931

 

Alexander Calder (American, 1898-1976)
Small Feathers
1931
Wire, hout, lead and paint
97.8 x 81.3 x 40.6 cm
Calder Foundation, New York

 

Alexander Calder. 'Untitled (maquette)' Summer 1976

 

Alexander Calder (American, 1898-1976)
Untitled (maquette)
Summer 1976
Aluminium and painted metal
65 x 72 x 39 cm
Kröller-Müller Museum, Otterlo
Design by Calder, never ultimately executed, for a stabile/mobile to be sited in the sculpture garden at the Kröller-Müller Museum

 

Alexander Calder. 'Josephine Baker (III)' c. 1927

 

Alexander Calder (American, 1898-1976)
Josephine Baker (III)
c. 1927
Steel wire
99 x 56.6 x 24.5 cm
Museum of Modern Art, New York
Gift of the artist

 

 

Last year the Gemeentemuseum Den Haag received the prestigious Turing Art Grant for its exhibition concept for Alexander Calder – The Great Discovery. The award has made it possible to go ahead with this huge project and this spring the Gemeentemuseum will present the first major Dutch Calder retrospective to be held since 1969. This relative neglect of Calder is surprising since he used to be regarded in the Netherlands as the most important American artist of the post-war period. Early on, Calder redefined sculpture by drawing three-dimensional figures and portraits with wire in space. Then, in 1930, he visited Mondrian’s studio in Paris, which was to be a turning point in his career. Calder admired Mondrian’s use of space and converted it into his own artistic expression grounded in gesture and immateriality. That realisation and the way it radically changed his work is the key focus of this exhibition.

Alexander Calder (1898-1976) grew up in a family full of creative energy: his father was a sculptor and his mother painted. As a child, he made small sculptures, model animals and jewellery from whatever materials came to hand. Even so, he trained initially as an engineer and did not attend art school until 1923. His technical education would enable him to translate his passion for movement into art; everything he made was kinetic. This was a major innovation: never again would sculpture be seen as necessarily a matter of chisels and blocks of wood or stone.

Between 1926 and 1933 Calder lived in Paris, then the heart of the modern art movement. At this stage, Calder redefined sculpture by drawing three-dimensional figures and portraits with wire in space and he was famous for the regular performances he gave with the complete and complex miniature circus Cirque Calder (1926-1931) he had concocted from everyday materials like wire, wood, leather, cork and scraps of cloth. All the circus figures could be made to move: acrobats swayed across the tightrope, dogs jumped through hoops and the elephant stood up on its back legs.

The central feature of the forthcoming exhibition is a complete reconstruction of Mondrian’s studio in the Rue du Départ. This exhibit marks Calder’s transition from figurative to abstract art: it was his visit to this studio in 1930 that triggered a radical change in his artistic practice. Abandoning his figurative sculptures, he became an abstract artist. He began to add red, black or white discs to his wire and to produce mobiles of increasing size, in which he constantly sought to combine equilibrium and movement.

The exhibition includes a film that was shown in the Netherlands in the early 1930s. Made by Hans Cürlis in 1929, it shows Alexander Calder creating two wire circus figures with no more than a pair of pliers and his own bare hands. Even then, Calder was regarded as the most innovative sculptor because of his novel choice of methods and materials.

Press release from Gemeentemuseum Den Haag

 

Alexander Calder. 'Acrobats' c. 1927

 

Alexander Calder (American, 1898-1976)
Acrobats
c. 1927
Wire and wood
87.6 x 22.9 x 30.5 cm
Calder Foundation, New York
Gift of Katherine Merle-Smith Thomas in memory of Van Santvoord Merle-Smith, Jr., 2010

 

Alexander Calder. 'Circus Scene' 1929

 

Alexander Calder (American, 1898-1976)
Circus Scene
1929
Wire, wood and paint
127 x 118.7 x 46 cm
Calder Foundation, New York

 

Alexander Calder. '13 Spines' 1940

 

Alexander Calder (American, 1898-1976)
13 Spines
1940
Painted steel
195 cm high
Museum Ludwig, Keulen

 

Alexander Calder. 'Untitled' c. 1952

 

Alexander Calder (American, 1898-1976)
Untitled
c. 1952
Painted metal
34.5 cm high
Private collection

 

 

Gemeentemuseum Den Haag
Stadhouderslaan 41
2517 HV Den Haag
Postbus 72
2501 CB Den haag
Phone: 070-3381111

Opening hours:
Tuesday – Sunday 11.00 – 17.00

Gemeentemuseum Den Haag website

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09
Feb
10

Exhibition: ‘Calder’ at the Palazzo delle Esposizioni, Rome

Exhibition dates: 23rd October 2009 – 14th February 2010

 

Many thankx to the Palazzo delle Esposizioni for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Marcus

 

 

 

Alexander Calder (American, 1898-1976)
Gibraltar
1936

 

Alexander Calder (American, 1898-1976) 'Cascading Flowers' 1949

 

Alexander Calder (American, 1898-1976)
Cascading Flowers
1949

 

 

The City of Rome is to devote its first ever major exhibition to Alexander Calder. The exhibition is being organised by the Azienda Speciale Palaexpo to celebrate the famous US artist born in Lawnton, Pennsylvania, in 1898 and who died in New York in 1976. His Mobiles are some of the modern era’s most celebrated icons. Exuberance, happiness, vigour and a strong and lively sense of humour are features James J. Sweeney already attributed to Calder in the catalogue of a retrospective held at the Museum of Modern Art in New York in 1943. This was the exhibition that raised Calder to the level of one of the leading artists of the day. After majoring in engineering, being awarded a diploma at the Art Students’ League in New York and immersing himself fully in the Parisian Avant-Garde movement in the twenties, Calder went on in the following decade to produce his first Mobiles, as Marcel Duchamp was to christen them. In these sculptures, which were to become enormously popular, the artist harmonically fused shape, colour and movement into an essential whole, which he himself saw as a “universe” where “each element can move, shift and oscillate back and forth in a changing relationship with each of the other elements.”

The exhibition at the Palazzo delle Esposizioni – over 100 works from major public and private collections and the Calder Foundation itself – is set out in the form of a chronological journey designed to explore the artist’s entire creative cycle starting in the twenties. A large selection of his most important works will be on display, including some of the sculptures that were shown at the 1943 exhibition at the MoMa. The exhibition will also be taking a look at some of the lesser known aspects of his work, with groups of works that are rarely on display to the general public. The exhibition opens with his wire sculptures of acrobats, animals and portraits, most of which were created in Paris in the twenties. They include his first attempts to portray movement in a playful and wryly ironic mood.

A lesser known series of small bronze figures produced in 1930 showing contortionists and acrobats will allow the visitor to see how the artist resorted to different techniques to experiment in expressing the notion of movement. An important selection of works also illustrates the way in which Calder wholeheartedly embraced the Abstract movement after paying a visit to Mondrian’s studio in Paris. The visitor will also be able to track Calder’s surrealist vein and his interest in biomorphic shapes through a series of masterpieces produced in the mid-thirties including: Gibraltar, Tightrope, Yellow Panel and Orange Panel, all completed in 1936 (see images above).

The exhibition will be built around the Mobiles that the artist produced throughout his career, working industrial metal plates using a craftsman’s technique. Throughout the exhibition, visitors will be able to admire a selection of the most representative pieces from different periods: Arc of Petals, 1941 (see image below); Cascading Flowers, 1949 (see image above); Le 31 Janvier, 1950; and The Y, 1960 (see image below). The exhibition will also be hosting a significant selection of Stabiles, free-standing sculptures that were given their name by Hans Arp. The Stabiles on display will range from those produced in the mid-thirties, such as Black Beast and Hollow Egg (dated 1939), right up to the more recent Cactus, dated 1959, and La Grande Vitesse created in 1969 (see image below). The exhibition will also be exploring the chronological development of Calder’s painting, a branch of his art in which the artist resorted principally to the agile and dynamic method of gouache on paper. The exhibition will be accompanied by a catalogue published by Motta, with contributions from Alexander S. C. Rower and Giovanni Carandente as well as a broad anthology of texts by the artist himself and other authors, many of whose works will be appearing in Italian translation for the first time.

Press release from the Palazzo delle Esposizioni website [Online] Cited 01/09/2010 no longer available online

 

 

Alexander Calder (American, 1898-1976)
Helen Wills
1927

 

 

Helen Newington Wills (October 6, 1905 – January 1, 1998), also known as Helen Wills Moody and Helen Wills Roark, was an American tennis player. She became famous around the world for holding the top position in women’s tennis for a total of nine years: 1927-33, 1935 and 1938. She won 31 Grand Slam tournament titles (singles, women’s doubles, and mixed doubles) during her career, including 19 singles titles.

Wills was the first American woman athlete to become a global celebrity, making friends with royalty and film stars despite her preference for staying out of the limelight. She was admired for her graceful physique and for her fluid motion. She was part of a new tennis fashion, playing in knee-length pleated skirts rather than the longer ones of her predecessors. Unusually, she practiced against men to hone her craft, and she played a relentless game, wearing down her female opponents with power and accuracy. In 1933 she beat the 8th-ranked US male player in an exhibition match.

Her record of eight wins at Wimbledon was not surpassed until 1990 when Martina Navratilova won nine. She was said to be “arguably the most dominant tennis player of the 20th century”, and has been called by some (including Jack Kramer, Harry Hopman, Mercer Beasley, Don Budge, and AP News) the greatest female player in history.

Text from the Wikipedia website

 

 

Alexander Calder (American, 1898-1976)
Mobile (Arc of Petals)
1941

 

 

Alexander Calder (American, 1898-1976)
The Y
1960

 

Alexander Calder (American, 1898-1976) 'La Grande Vitesse' 1969

 

Alexander Calder (American, 1898-1976)
La Grande Vitesse
1969

 

 

Palazzo delle Esposizioni, Rome
Via Nazionale, 194, and Via Milano, 9

Opening hours:
Sunday, Tuesday, Wednesday and Thursday from 10.00am – 8.00pm
Friday and Saturday from 10.00am – 10.30pm
Monday closed

Palazzo delle Esposizioni website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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