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Alexander Calder Bibliography

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Alexander Calder Bibliography Alexander Calder Bibliography Selected Articles and Reviews: 2010 Robinson, Gaile, “Nasher Sculpture Center Puts Up Exhibition With Works by Alexandra Calder and his Artistic Heirs”, Dallas News, Dec 15 Vogel, Carol, “Paris Court Orders Sculptures Returned to Calder Estate”, The New York Times Arts Beat, Dec 2 Esplund, Lance, “A Five Decade Marriage of Nature and Art”, The Wall Street Journal, Jul 10 Brewer, Carole Kuhrt, “Alexander Calder Major Exhibition Opens at the Museum of Contemporary Art in Chicago”, Chicago Now, Jun 28 Tuchman, Phylis, “Art Out of Darkness”, The New York Observer, Jun 22 Calder, Rich, “Lincoln Center's Calder Sculpture Heading to Brooklyn Botanic Gardens”, New York Post, Jun 3 MacAdam, Barbara A., “Review, Yves Tanguy and Alexander Calder”, ARTnews, June, pp. 104 Crow, Kelly, “Art's New Winners and Losers”, The Wall Street Journal, May 14 Smith, Roberta, “Shedding New Light on Old Friends”, The New York Times, May 13 ----------. “Don't Miss, New York, Alexander Calder at Gagosian Gallery. West 21st Street”, ArtObserved, Apr. Ford, Jane, “Conference Champions Calder's Use of Movement to Create Groundbreaking Sculptures”. UVA Today, Apr. Kazakina, Katya, “Calder $500 Big Bird Flops, Spunky Monk Priced at $25 Million”. Bloomberg.com, Apr. Barnes, Steve. “Reusing Tupperware.” ArtNews, Mar. 2009 Dunham, Carroll.” High Wire Act.” Artforum, Feb. 2008 Cotter, Holland, Calder at Play, Finding Whimsy in Simple Wire, The New York Times, Oct 16. 2002 Galloway, David. “Treasure Island. Insel Hombroich Neuss-Holzheim, Germany.” Art News, Apr, p. 98. Vogel, Carol. “$62 Million in a ‘Fast and Furious’ Sale.” New York Times, Nov 12, p. B7. Thomas, Kelly Devine. “Steering the Calder Estate.” Artnews, May, pp. 142-3. Theroux, Paul. “Finding Room at the Top. Soaring Spaces For A collector’s Resicence High Above Columbus, Ohio.” Architectural Digest (London), Oct, p. 248. Mendelsohn, Meredith. “Calder, Polke Popular at Art Show.” Art News, Apr, p. 64. Mason, Brook S. “Marketfile: Calder Fest At ADAA Show.” Art and Auction, May, p. 93. Kino, Carol. “Connoisseur’s World: Calder for Kids.” Town & Country, Dec, p. 182. Kaufman, Jason Edward. “New York: ADAA Art Fair, report, Pre-war jitters, but decent results.” Art Newspaper, no. 135, Apr, p. 47. Johnson, Ken. Review: Alexander Calder at Van de Weghe. New York Times, Feb 28. Donadio, Rachel. “Modernism at the Art Show.” New York Sun, Feb, 24, p. 13. ----------. Review: Calder at Bilbao, Guggenheim Museum, Bilbao, Spain. Art Newspaper, no. 135, Apr, p. 26. Kino, Carol. “Young At Heart.” Art and Auction, Mar, pp. 42, 44, 46. 2002 White, Ken. Review: For the Masses at Bellagio Exhibit. Las Vegas Review-Journal, Feb, 1. Mann, Tess. “Flashback: 1977. Going Mobile.” Art News, Sep, p. 168. McGee, Kimberley. Review: Calder at Bellagio Gallery of Fine Art. Las Vegas Sun, Jan 24. Kaiser, Charlotte. “A New Ball Game For Pace.” Art and Auction, Mar, p.92. 2001 ----------. “Inside Art: The Vegas Connection.” New York Times, Dec 7 Shay, Cameron. “Don’t Tread on Me,” Art News, Mar, p. 44. Tuchman, Phyllis. “Calder’s Playful Genius.” Smithsonian, Mar, pp. 83-88. Schjeldahl, Peter. “Calder in Bloom.” New Yorker, Jun 18-25, pp. 166-8. Vogel, Carol. “Hoping to Save Calder Sculpture.” New York Times, Oct 19. Marks, Peter and Carol Vogel. “Arts Groups at a Tragedy’s Center Try to Assess Where to Begin,” The New York Times, Sep 17, p. E1, E5. Finkel, Jori. “Goin’ stabile,” Time Out, Aug 16-23, p. 47. 1999 Cooper, Harry. “A Decade of Collecting: Recent Acquisitions by the Harvard University Art Museums.“ Harvard University Art Museums Bulletin 7, no. 2, pp. 76-7. Jana, Reena. “Art at Work: Forty Years of the Chase Manhattan Collection,” Art News, Dec, p. 158. Naves, Mario. “Troika of the Biomorphic Blob: Calder, Noguchi, Arp, Naturally.” The New York Observer, Mar 20, p. 20. Rowlands, Penelope. “Double Feature,” Art News, Nov, pp. 178-9. Shallcross, Gilian Ford. “Acquisition Highlights From 1999: A Sampling of New Works in the Museum’s Collections,” Preview MFA Boston, Mar/Apr, pp. 10-1. ----------. “Calder’s Family Plans Museum in Philadelphia,” The New York Times, Feb 15. 1999 Akbar, Sherry. “Calder at Home by Pedro E. Guerrero,” Cover, Vol.12 #6, p.61. Chambers, Karen S. “Alexander Calder: Motion-Emotion,” Review, Nov 15, p. 19. Dobrzynski, Judith H. “Whitney gives Up a Gift, and Competitors Blanch,” The New York Times, May 28, p. E34. ----------. “Sold Calder May Head to Museum in Bay Area,” The New York Times, Jun 2, p. E5. ----------. “The Eagle Has Flown,” The Art Newspaper, May, p.9. Furse, Jane. “Once Unforgettable, Now All But Forgotten,” The New York Times, Apr 21,p. 13. Saltz, Jerry. “Inside Job,” The Village Voice, May 18, p. 141. Silberman, Robert. “Washington and San Francisco,” The Burlington Magazine, Feb, p. 134-5. Tyson, Janet. “The Eagle has Flown.” The Art Newspaper, Vol. X, No. 92, May, p.1. Vogel, Carol. “Inside Art: One Mobile, Mobile.” The New York Times, Feb 5, p. E34. 1998 Baker, Kenneth. “Calder Hangs On.” The Art Newspaper, May, p. 15. Hellman, Peter. “Documentary: Calder Live.” New York, Jun 15, p. 74. Homes, A.M. “The Best of 1998: Alexander Calder: 1898-1976.” Artforum, Dec, p.104. ----------. “Alexander Calder, 1898-1976.” Art Forum, Dec, p. 104. Hu, Winnie. “Store Wars: When a Mobile Is Not a Calder.” The New York Times, Aug 6, pp. E1, E3. Hughes, Robert. “The Merry Modernist.” Time, May 4, pp. 76-9. Kazanjian, Dodie. “An Artful Existance.” Vogue, Feb, pp. 144-6. Kramer, Hilton. “Saluting Alexander Calder, American Painter in Paris.” The New York Observer, Apr 27, pp. 1, 33. Larson, Kay. “Keeping Grandpa Calder’s Legacy in the Family.” The New York Times, Mar 22, pp. 44-6. Lumpkin, Libby. “Preview Winter/Spring ‘98: Alexander Calder: 1898-1976.” Artforum, Jan, p.35. Marter, Joan. “The Legacy of Alexander Calder.” Sculpture, Jul/Aug, pp. 30-5. Masello, David. “The Amazing Calder.” Art & Antiques, May, pp. 73-7. McAvera, Brian. “Alexander Calder, 1898-1976.” Sculpture, Dec, pp. 74-5. Pollock, Barbara. “Leaping Off.” Art News, Jun, pp. 106-10. Rimanelli, David. Review: Alexander Calder. Artforum, Summer, p. 123. Smith, Roberta. “All Calder, High and Low.” The New York Times, Mar 27, pp. E35, E38. Smith, Roberta. “Whitney Whittles Intimate Corners.” The New York Times, Apr 3, pp. E35, E39. Weil, Rex. “Alexander Calder.” Art News, Sep, p. 171. 1997 Landi, Ann. “The Making of An Epic.” Art and Antiques, Oct, pp. 68-73. Tully, Judd. “When Is a Calder Not a Calder?” Art News, Feb, pp. 88-95. Vogel, Carol. “Inside Art: A New Balance for Calder.” The New York Times, Oct 17, p. E34. Smith, Roberta. “When Craft is Wedded to Machine Production.” The New York Times, Jan 5, p. C25. 1995 Anderton, Frances. “Letter from Los Angeles.” The Art Newspaper, Nov, p. 13. Bevan, Roger. “Contemporary art sales, New York: No trends, just good and bad pictures.” The Art Newspaper, Dec, p. 33. Caro, Sir Anthony. “The Sculptural.” Sculpture, Jan/Feb, pp. 28-31. de Bure, Gilles. “Qui sont les têtes de l’art.” Beaux Arts, Oct, pp. 21-7. Goldberger, Paul. “Atrium Renewal, Adding Art Chases Away Most of the Zen,” The New York Times, Dec 17, pp. 49, 55. Karmel, Pepe. "When Artwork has a Sticky Back," The New York Times, Jul 28, p. C20. Knight, Christopher. “A Blue-Chip Gallery Sees Blue Skies in L.A.” Los Angeles Times, Aug 13, pp. 53,56. Kramer, Hilton. “Abolish the Carnegie, That Warhol Hellhole.” The New York Observer, Nov 20, pp. 1, 25. Lee, Eunei. “Centers of Attention.” Asian Art News, Korea Supplement, Jan/Feb, p.18-9. Loh, Pat. “Tresors 1994-Singapore Art Fair.” Atelier International, Jan/Feb, pp.58-60. MacAdam, Barbara A. “The Whitney Expands.” Art News, Nov, p. 56. Melikian, Souren. "Maastricht Fair: Is Bigger Better?" International Herald Tribune, Mar 18-9. ----------. “New Aquisitions Highlight de Young’s Collecting Focus.” Art West Newspaper, May, p.9. Polsky, Richard. “Ahead of the curve: Buy? Sell? Hold?” Art & Auction, Dec, pp. 60-4. Riding, Alan. “Paris Tablecloth Sketches From a Golden Age of Art.” The New York Times, Mar 28, pp. C11, C17. Tully, Judd. “Around the Block: A Black Encounter.” Art & Auction, Oct, pp. 30-6. Vogel, Carol. “Whitney Sets Expansion Plan.” International Herald Tribune, Sep 23-4, p. 7. Vogel, Carol. “Contemporary Art Lags at Auction,” The New York Times, Nov 15, p. C20. Vogel, Carol. “Inside Art: Bamboo and Peace.” The New York Times, Dec 15. Waxman, Sharon. “Big Galleries Give Los Angeles a Higher Profile.” International Herald Tribune, Dec 14, p. 24. Wilson, Claire. “Côte d’Azur Allure.” Art & Antiques, Nov, pp. 58-64. ----------. "The Yanks are Coming." Exhibitions Gazette: The Art Newspaper, Jun, p. 2. Zaya, Octavio. “Hopes-and Fears-for ARCO.” Art and Auction, Feb, p.97. Zimmer, William. “The Witty, Wondrous World of Alexander Calder.” The New York Times, Nov 19, p. CN22. 1994 ----------. "A Big Toe as Anchor: Vasari Diary." Art News, Sep, p. 27. Cembalest, Robin. "Who's the Judge?" Art News, Jan, pp. 33-4. Vincent, Steven. "The Warhol Brawl" Art & Auction, Jan, pp. 84-7. Waxman, Sharon. "A Sense of Solidarity." Art News, May, pp. 130-3. Werner, Vivian. "Sculptor of Stars Had an Amusing Son." The New York Times, Apr 13, p. A20. Wilkin, Karen. "Books: Picasso and the Age of Iron." Sculpture, Jan/Feb, p. 50-1. 1993 ----------. "American Art in the 20th Century." Arti, Jan/Feb, pp. 186-191. Crow, Thomas. "Europe's Summer Shows: A Rough Guide." Artforum, Nov, pp. 82-4, 128. Gibson, Eric. "Exhibition Notes." The New Criterion, May, pp.
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  • Calder and Sound
    Gryphon Rue Rower-Upjohn Calderand Sound Herbert Matter, Alexander Calder, Tentacles (cf. Works section, fig. 50), 1947 “Noise is another whole dimension.” Alexander Calder 1 A mobile carves its habitat. Alternately seductive, stealthy, ostentatious, it dilates and retracts, eternally redefining space. A noise-mobile produces harmonic wakes – metallic collisions punctuating visual rhythms. 2 For Alexander Calder, silence is not merely the absence of sound – silence gen- erates anticipation, a bedrock feature of musical experience. The cessation of sound suggests the outline of a melody. 3 A new narrative of Calder’s relationship to sound is essential to a rigorous portrayal and a greater comprehension of his genius. In the scope of Calder’s immense œuvre (thousands of sculptures, more than 22,000 documented works in all media), I have identified nearly four dozen intentionally sound-producing mobiles. 4 Calder’s first employment of sound can be traced to the late 1920s with Cirque Calder (1926–31), an event rife with extemporised noises, bells, harmonicas and cymbals. 5 His incorporation of gongs into his sculpture followed, beginning in the early 1930s and continuing through the mid-1970s. Nowadays preservation and monetary value mandate that exhibitions of Calder’s work be in static, controlled environments. Without a histor- ical imagination, it is easy to disregard the sound component as a mere appendage to the striking visual mien of mobiles. As an additional obstacle, our contemporary consciousness is clogged with bric-a-brac associations, such as wind chimes and baby crib bibelots. As if sequestered from this trail of mainstream bastardi- sations, the element of sound in certain works remains ulterior.
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  • Referencing Alexander Calder: a Dialogue in Contemporary Chinese Art, on View from September 7 Through October 7, 2017
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  • Archivision Art Module E[1]
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  • Masterpiece: Mobiles by Alexander Calder
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  • Alexander Calder: Performing Sculpture
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  • Alexander Calder Was Born in 1898, in Lawnton, Pennsylvania. He Was Born Into a Family of Artists. His Father Alexander Stirling
    Alexander Calder was born in 1898, in Lawnton, Pennsylvania. He was born into a family of artists. His father Alexander Stirling Calder was a prominent sculptor who created many public sculptures in the Philadelphia area. Calder's mother, Nanette Lederer Calder, was a professional portrait painter who studied art in Paris before moving to Philadelphia where she met her husband Alexander Stirling Calder. In 1902, at the age of four, Alexander completed his first sculpture - a clay elephant. In 1909, when he was in the fourth grade, Alexander sculpted a dog and a duck from a sheet of brass. The duck, which could rock back and forth, is one of his earliest examples of his interest in kinetic (moving) sculpture. Although Calder's parents supported Alexander's creativity, they discouraged their children from becoming artists, as the life of an artist is often uncertain and financially difficult. In 1915, following his parents advice, Calder decided to study mechanical engineering, and enrolled in the Stevens Institute of Technology in Hoboken, New Jersey. Four years later he received his degree. Calder's interest in art never left him. Though he had tried to please his parents by becoming an engineer, he decided to pursue a career in art instead. In 1923 Calder began attending the Art Students' League in New York. While attending this school he also worked a freelance artist for the National Police Gazette. For one of his assignments he spent two weeks sketching scenes from the Ringling Brother's and Barnum & Bailey Circus. This project marked the beginning of his fascination with the circus.
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  • New Sanctuary Dedicated to Art of Alexander Calder to Open in Heart of Downtown Philadelphia on Benjamin Franklin Parkway
    NEW SANCTUARY DEDICATED TO ART OF ALEXANDER CALDER TO OPEN IN HEART OF DOWNTOWN PHILADELPHIA ON BENJAMIN FRANKLIN PARKWAY Herzog & de Meuron Selected to Design New Cultural Space With Bespoke Exhibition Galleries and Gardens that Foster Introspective Experiences And Support Education with Masterworks from Calder Foundation Left: Portrait of Calder, c. 1930. Photo: Man Ray. © 2020 Calder Foundation, New York / Artists Rights Society (ARS), New York; © 2020 Man Ray Trust / ADAGP. Right: Alexander Calder, Untitled, c. 1952. © 2020 Calder Foundation, New York / Artists Rights Society (ARS), New York. Philadelphia, PA — February 20, 2020—A new sanctuary dedicated to the art of Alexander Calder, one of the most innovative artists of the 20th century, will be created in the heart of downtown Philadelphia. Herzog & de Meuron has been selected to design the new cultural facility, which will feature bespoke galleries and gardens presenting a rotating selection of masterworks from the Calder Foundation, including mobiles, stabiles, monumental sculptures, and paintings. The nonprofit initiative, which will be formally named in the coming months, has been launched by a group of Philadelphia philanthropists working in collaboration with the Calder Foundation and in partnership with the City of Philadelphia and the Commonwealth of Pennsylvania. Tuned specifically for the presentation of Calder’s work, the spaces and gardens will unfold as a choreographed progression that will move viewers beyond the traditional museum experience to engage with the work in the way the artist intended—as a personal, real-time encounter. The facility will include opportunities to explore works by Calder’s parents, the artists Alexander Stirling Calder and Nanette Lederer Calder, and his grandfather Alexander Milne Calder, all of whom had deep ties to Philadelphia.
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