Alexander Calder
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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. -
Alexander Calder James Johnson Sweeney
Alexander Calder James Johnson Sweeney Author Sweeney, James Johnson, 1900-1986 Date 1943 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2870 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE MUSEUM OF RN ART, NEW YORK LIBRARY! THE MUSEUM OF MODERN ART Received: 11/2- JAMES JOHNSON SWEENEY ALEXANDER CALDER THE MUSEUM OF MODERN ART, NEW YORK t/o ^ 2^-2 f \ ) TRUSTEESOF THE MUSEUM OF MODERN ART Stephen C. Clark, Chairman of the Board; McAlpin*, William S. Paley, Mrs. John Park Mrs. John D. Rockefeller, Jr., ist Vice-Chair inson, Jr., Mrs. Charles S. Payson, Beardsley man; Samuel A. Lewisohn, 2nd Vice-Chair Ruml, Carleton Sprague Smith, James Thrall man; John Hay Whitney*, President; John E. Soby, Edward M. M. Warburg*. Abbott, Vice-President; Alfred H. Barr, Jr., Vice-President; Mrs. David M. Levy, Treas HONORARY TRUSTEES urer; Mrs. Robert Woods Bliss, Mrs. W. Mur ray Crane, Marshall Field, Philip L. Goodwin, Frederic Clay Bartlett, Frank Crowninshield, A. Conger Goodyear, Mrs. Simon Guggenheim, Duncan Phillips, Paul J. Sachs, Mrs. John S. Henry R. Luce, Archibald MacLeish, David H. Sheppard. * On duty with the Armed Forces. Copyright 1943 by The Museum of Modern Art, 11 West 53 Street, New York Printed in the United States of America 4 CONTENTS LENDERS TO THE EXHIBITION Black Dots, 1941 Photo Herbert Matter Frontispiece Mrs. Whitney Allen, Rochester, New York; Collection Mrs. -
Alexander Calder (American, 1898–1976) the Ghost (Maquette), 1964 Painted Sheet Metal, Metal Rods, and Steel Wire Leonard and Ruth Horwich Family Loan, EL1995.13
PB Alexander Calder (American, 1898–1976) The Ghost (maquette), 1964 Painted sheet metal, metal rods, and steel wire Leonard and Ruth Horwich Family Loan, EL1995.13 Alexander Calder redefined sculpture in the 1940s by incorporating the element of movement. He created motorized works and later hanging sculptures, or “mobiles,” that rotate freely in response to airflow. Using wire, found objects, and industrial materials, Calder constructed three-dimensional line drawings of people, animals, and objects that he activated with kinetic verve. PB Alexander Calder (American, 1898–1976) Performing Seal, 1950 Painted sheet metal and steel wire Leonard and Ruth Horwich Family Loan, EL1995.7 PB Alexander Calder (American, 1898–1976) Orange Paddle Under the Table, c. 1949 Painted sheet metal, metal rods, and steel wire Leonard and Ruth Horwich Family Loan, EL1995.11 PB Alexander Calder (American, 1898–1976) Chat-mobile (Cat Mobile), 1966 Painted sheet metal and steel wire Leonard and Ruth Horwich Family Loan, EL1995.10 PB Alexander Calder (American, 1898–1976) Snowflakes and Red Stop, 1964 Painted sheet metal, metal rods, and steel wire Leonard and Ruth Horwich Family Loan, EL1995.14 PB Alexander Calder (American, 1898–1976) Little Face, 1943 Copper wire, thread, glass, and wood Leonard and Ruth Horwich Family Loan, EL1995.6 PB Alexander Calder (American, 1898–1976) Bird, 1952 Coffee cans, tin, and copper wire Leonard and Ruth Horwich Family Loan, EL1995.8 PB Takis (Greek, b. 1925) Magnetic Mobile, c. 1964 Glass, plastic, wood, and electric cord Collection Museum of Contemporary Art Chicago, gift of Mrs. Robert B. Mayer, 1982.32 Since the 1950s, Greek artist and inventor Panayiotis “Takis” Vassilakis has investigated the relationship between art and science. -
Calder / Dubuffet Entre Ciel Et Terre Entre Ciel Et Terre © Evans/Three Lions/Getty Images/Hulton Archive © Pierre Vauthey/Sygma/Corbis /Preface Foreword
CALDER / DUBUFFET ENTRE CIEL ET TERRE ENTRE CIEL ET TERRE © Evans/Three Lions/Getty Images/Hulton Archive © Pierre Vauthey/Sygma/Corbis /PREFACE FOREWORD/ Opera Gallery Genève est heureuse de présenter une exposition exceptionnelle regroupant des œuvres de deux Opera Gallery Geneva is pleased to present an exceptional exhibition with works by two giants of the 20th century: géants du 20ème siècle : Alexander Calder et Jean Dubuffet. Au premier regard, leurs parcours et œuvres sont bien Alexander Calder and Jean Dubuffet. At first glance, their careers and work are very different, but a lot of elements différents, pourtant beaucoup d’éléments les rapprochent. draw them together. Ces deux artistes sont de la même génération mais ne se sont jamais rencontrés. Alexander Calder était These two artists are from the same generation but never met. Alexander Calder was American and Jean Dubuffet américain et Jean Dubuffet français. les deux ont vécu leurs vies artistiques des deux côtés de l’Atlantique. was French. Both have lived their artists’ lives travelling from one continent to the other. Both have been, at les deux ont été, au début de leurs carrières respectives, considérés comme des “outsiders” dans leurs propres the beginning of their respective careers considered as “outsiders” in their own country but their talent was pays mais leur talent a été immédiatement reconnu en France pour Calder et aux etats-Unis pour Dubuffet. immediately acknowledged in France for Calder and in America for Dubuffet. tous deux ont “révolutionné” l’art dit conventionnel grâce à une utilisation audacieuse de techniques et matériaux Both have revolutionized conventional art by an audacious use of informal techniques and materials. -
Listed Exhibitions (PDF)
G A G O S I A N G A L L E R Y Alexander Calder Biography Born in 1898, Lawnton, PA. Died in 1976, New York, NY. Education: 1926 Académie de la Grande Chaumière, Paris, France. 1923–25 Art Students League, New York, NY. 1919 B.S., Mechanical Engineering, Stevens Institute of Technology, Hoboken, NJ. Solo Exhibitions: 2015 Alexander Calder: Imagining the Universe. Sotheby’s S|2, Hong Kong. Calder: Lightness. Pulitzer Arts Foundation, Saint Louis, MO. Calder: Discipline of the Dance. Museo Jumex, Mexico City, Mexico. Alexander Calder: Multum in Parvo. Dominique Levy, New York, NY. Alexander Calder: Primary Motions. Dominique Levy, London, England. 2014 Alexander Calder. Fondation Beyeler, Basel. Switzerland. Alexander Calder: Gouaches. Gagosian Gallery, Davies Street, London, England. Alexander Calder: Gouaches. Gagosian Gallery, 980 Madison Avenue, New York, NY. Alexander Calder in the Rijksmuseum Summer Sculpture Garden. Rijksmuseum, Amsterdam, Netherlands. 2013 Calder and Abstraction: From Avant-Garde to Iconic. Los Angeles County Museum of Art, Los Angeles, CA. 2011 Alexander Calder. Gagosian Gallery, Davies Street, London, England. 2010 Alexander Calder. Gagosian Gallery, W. 21st Street, New York, NY. 2009 Monumental Sculpture. Gagosian Gallery, Rome, Italy. 2005 Monumental Sculpture. Gagosian Gallery, W. 24th Street, New York, NY. Alexander Calder 60’s-70’s. GióMarconi, Milan, Italy. Calder: The Forties. Thomas Dane, London, England. 2004 Calder/Miró. Foundation Beyeler, Riehen, Switzerland. Traveled to: Phillips Collection, Washington, D.C. (through 2005). Calder: Sculpture and Works on Paper. Elin Eagles-Smith Gallery, San Francisco, CA. 590 Madison Avenue, New York, NY. 2003 Calder. Gagosian Gallery, Los Angeles, CA. Calder: Gravity and Grace. -
Calder. Gouaches 12 De Septiembre - 22 De Noviembre De 2019
Calder. gouaches 12 de septiembre - 22 de noviembre de 2019 “Me gusta mucho hacer gouaches. Es rápido y uno puede sorprenderse a si mismo” “Siempre me ha gustado la forma en que los elementos se entrelazan.... Es un grafismo vigoroso. Me encanta la dinámica de este asunto, los grandes espacios y el punto de vista”.1 Alexander Calder, Untitled, 1971. Gouache y tinta sobre papel. © 2019 Calder Foundation, New York / VEGAP, Madrid. La Galería Elvira González inaugura la exposición Calder. Gouaches, la segunda muestra individual en la galería del artista estadounidense. Realizada en colaboración con la Fundación Calder de Nueva York, la exposición reúne una cuidada selección de gouaches sobre papel, gran parte de ellos expuestos por primera vez. Aunque más conocido por sus mobiles, stabiles y esculturas monumentales, Calder (1898 – 1976) se traslada a Nueva York en 1923 para estudiar arte y formarse como pintor. Sus primeros óleos abstractos fueron realizados años después, tras una transformadora visita al estudio de Piet Mondrian en octubre de 1930. Calder quedó profundamente impresionado por los cuadros que vio en el estudio y su concepto del espacio, el movimiento y el color en los cuadros de Mondrian, escribiendo poco después que aquella visita “me produjo un shock que inició cosas…” Calder comienza a familiarizarse con la técnica del gouache en los años treinta, pero fue a mediados de los cuarenta cuando este medio se convirtió en un elemento clave de su práctica artística. Como explicaba Jean Lipman en su conocida publicación sobre el artista, “este tipo 1 Lipman, J., Calder’s Universe, “Oil paintings”. -
Referencing Alexander Calder: a Dialogue in Contemporary Chinese Art, on View from September 7 Through October 7, 2017
Referencing Alexander Calder: A Dialogue in Contemporary Chinese Art 525 West 22nd Street, New York September 7 – October 7, 2017 Opening Reception: Thursday, September 7, 6–8 PM Curated by Eli Klein Klein Sun Gallery is pleased to announce its ten year anniversary exhibition: Referencing Alexander Calder: A Dialogue in Contemporary Chinese Art, on view from September 7 through October 7, 2017. The exhibition includes selected works by Gao Ludi, Hong Hao, Hong Shaopei, Huang Rui, Jiang Pengyi, Li Jingxiong, Qin Jun, Shen Fan, Vivien Zhang, Yangjiang Group, and Zhao Yao. The gallery’s inaugural exhibition in 2007 Referencing Alexander Calder: A Dialogue in Modern and Contemporary Art consisted of unique works by modern artists such as Alexander Calder, Pablo Picasso, Joan Miró and Fernand Leger juxtaposed with the works of living artists such as Carmen Herrera, Joel Perlman, Monique Van Genderen and Amilcar de Castro. The overarching theme of the exhibition was Calder's art and its massive influence on his peers and contemporary artists. As a leader in the representation of Chinese contemporary art in the US for the past decade, Klein Sun Gallery now revisits its inaugural show. In ancient China, wind chimes were a fundamental part of Feng Shui where balances between Yin and Yang, flexibility and solidity, and movement and stability, were crucial. Alexander Calder is widely acknowledged as the originator of mobiles, a format within which he found a similar type of balance between the living and the mechanical. Calder encountered Chinese wind bells in his youth in San Francisco, influencing him from an early age. -
Archivision Art Module E[1]
ARCHIVISION ART MODULE E: WORLD ART III 3000 photographs | images available now | data to come summer 2020 CANADA Montreal Montreal Museum of Fine Arts: Chagall Exhibit • Juggler with a Double Profile (1968) [1] • King David (1954) [3] • Rooster (1947) [5] • Sketch for Clown with Shadow (1964) [1] • Sketch for Comedia dell'arte (1957-58) [1] • Rainbow (1967) [3] • Red Circus (1956-1960) [3] • Triumph of Music (final model for Lincoln Center) (1966) [11] • Triumph of Music (prep drawing 1 for Lincoln Center) (1966) [1] • Triumph of Music (prep drawing 2 for Lincoln Center) (1966) [1] • Wedding (1944) [3] • Variation on the theme of The Magic Flute - Sarastro (1965) [4] • Variation on the theme of The Magic Flute - Papageno (1965) [3] • La Pluie (Rain) (on loan from S. Guggenheim Museum, 1911) Montreal Museum of Fine Arts: Napoleon Exhibit • Apotheosis of Napoleon I, by workshop of bertel Thorvaldsen (ca. 1830) [8] • The Last Attack, Waterloo, Ernest Crofts (1895) [17] Montreal Museum of Fine Arts: Picasso Show • Malanggan Ceremonial Carving (New Ireland, Papua New Guinea, 20th century) [1] • Yupik Finger Mask from Alaska (19th century) [1] • Kavat mask, by baining artist (Papua New Guinea), before 1965 [2] • Headdress, Unknown Tusian (Tusyan) artist (burkina Faso) 20th C [3] • blind Minotaur Guided by Little Girl in the Night (1934) [1] • Bouquet of Flowers [1] • Figure (1930) [1] • Head of a Woman (1927) [1] • Head of a Woman 2 (1929) [1] • Head of a Young Woman (1945) [1] • Large Reclining Nude (1943) [2] • Portrait of a Woman [1] by -
Masterpiece: Mobiles by Alexander Calder
Masterpiece: Mobiles by Alexander Calder Keywords: Mobiles, Stabile, Kinetic Grade: 1st Grade Month: November Activity: Standing Mobile Meet the Artist and his work: Alexander Stirling Calder was born on July 22,1898, in Lawnton, Pennsylvania. He was the second child of artist parents—his father was a sculptor and his mother a painter. His friends called him Sandy. For Christmas in 1909, Calder presented his parents with two of his first sculptures, a tiny dog and duck cut from a brass sheet and bent into formation. The duck is kinetic—it rocks back and forth when tapped. Even at age eleven, his facility in handling materials was apparent. Despite his talents, Calder did not originally set out to become an artist. He instead enrolled at the Stevens Institute of Technology after high school and graduated in 1919 with an engineering degree. He undertook a series of jobs but remained unsatisfied with his career choice Calder decided to pursue an art career and moved to New York in 1923, enrolling at the Art Students League. He also took a job illustrating for the National Police Gazette. In the fall of 1931, a significant turning point in Calder's artistic career occurred when he created his first truly kinetic sculpture and gave form to an entirely new type of art. The first of these objects moved by systems of cranks and motors, and were dubbed "mobiles" by Marcel Duchamp—in French mobile refers to both "motion" and "motive." (If you have a baby brother or sister, they may have a mobile of brightly colored animals dancing above their crib.) Calder soon abandoned the mechanical aspects of these works when he realized he could fashion mobiles that would undulate on their own with the air's currents. -
Alexander Calder: Performing Sculpture
Press Release 13 July 2015 Alexander Calder: Performing Sculpture 11 November 2015 – 3 April 2016 Tate Modern, Level 3 Supported by Terra Foundation for American Art with additional support from the Performing Sculpture Supporters Circle Open daily from 10.00 – 18.00 and until 22.00 on Friday and Saturday For public information call +44 (0)20 7887 8888, visit tate.org.uk, follow @tate #Calder Tate Modern presents the UK’s largest ever exhibition of Alexander Calder (1898-1976). Calder was one of the truly ground-breaking artists of the 20th century and as a pioneer of kinetic sculpture, played an essential role in shaping the history of modernism. Alexander Calder: Performing Sculpture will bring together approximately 100 works to reveal how Calder turned sculpture from a static object into a continually changing work to be experienced in real time. Alexander Calder initially trained as an engineer before attending painting courses at the Arts Students League in New York. He travelled to Paris in the 1920s where he developed his wire sculptures and by 1931 had invented the mobile, a term first coined by Marcel Duchamp to describe Calder’s motorised objects. The exhibition traces the evolution of his distinct vocabulary - from his initial years captivating the artistic bohemia of inter-war Paris, to his later life spent between the towns of Roxbury in Connecticut and Saché in France. The exhibition will feature the figurative wire portraits Calder created of other artists including Joan Miró 1930 and Fernand Léger c.1930, alongside depictions of characters related to the circus, the cabaret and other mass spectacles of popular entertainment, including Two Acrobats 1929, The Brass Family 1929 and Aztec Josephine Baker c.1929. -
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. -
19 Gifts from the Artist
n^ he Museum of Modern Art No. 15 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart FOR REIi^ASE: West Wednesday, February I, I967 PRESS PREVIEW: Tuesday, January 31, I967 11 a .IB. - U p.m. CALDER: I9 GIFTS FROM THE ARTIST, an exhibition of mobiles, stabiles, wood and wire sculptures and jewelry recently given to The Museum of Modern Art by the famous American artist, Alexander Calder, will be on view at the Museum from February 1 through April 5. The works in the exhibition range from Gaidar's early wire por traits of the I92O6, through various other periods and media, to a montanental mobile- stabile made in I96U. The 19 works by Calder, added to those already owned by the Museum, make this the largest and most complete collection by the artist in any museum. Thi# very geoerous gift caoe about in M^y I966 when Calder invited the Museum to make a choice from the contents of his Connecticut studio in recognition of the Museum's having given hin in 19i)3 bis first large retrospective exhibition« The major piece among Gaidar's recent gifts is Sandy's Butterfly, I96U, a great mobile-stabile of stainless steel painted red, white, black and yellow and standing nearly I3 feet high. Too tall to be shown indoors with the rest of the exhibition, this piece stands on the terrace just outside the Museum's Main Hall; it will later be moved to the upper terrace of the Sculpture Garden. Another work of the 1960s in the exhibition is a 2l^inch Model for "Teodelapio", the great steel stabile made in I962 for the Festival of Two Worlds at Spoleto, Italy.