{"id":9641,"date":"2015-11-19T11:26:20","date_gmt":"2015-11-19T14:26:20","guid":{"rendered":"http:\/\/culturedarm.com\/?p=9641"},"modified":"2015-11-19T11:27:25","modified_gmt":"2015-11-19T14:27:25","slug":"daily-visual-11-11-15-alexander-calder-performing-sculpture","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/daily-visual-11-11-15-alexander-calder-performing-sculpture\/","title":{"rendered":"Daily Visual 11.11.15: Alexander Calder Performing Sculpture"},"content":{"rendered":"

\"Calder<\/a><\/p>\n

On Wednesday, the major exhibition Alexander Calder: Performing Sculpture<\/em> opened at\u00a0Tate Modern. The American sculptor remains one of the most recognisable figures in modern art as the originator\u00a0of the ‘mobile’, a term coined by Marcel Duchamp for Calder’s dynamic sculptures, typically composed in painted sheet metal and wire and suspended elegantly in the air. Alexander Calder: Performing Sculpture<\/a><\/em> will show until 3 April 2016.<\/p>\n

Sculpture was the major part of Alexander Calder’s life (1898-1976) from a young age: his grandfather, Alexander Milne Calder, who had emigrated from Scotland to the United States, and his father, Alexander Stirling Calder, were both\u00a0prominent public\u00a0sculptors in Philadelphia, while his mother was a professional portrait artist who had studied at the Acad\u00e9mie Julian and the Sorbonne. As his family moved between New York and California across\u00a0his youth, Calder was always afforded his own studio space and the tools with which to create.<\/p>\n

Encouraged to learn a trade, he trained in\u00a0mechanical engineering at the Stevens Institute of Technology in Hoboken between 1915 and 1919, but by his mid-twenties Calder was set on becoming an artist. He enrolled first at the Art Students League of New York, and while studying\u00a0worked for the National Police Gazette<\/em> as an illustrator, covering sporting events and performances by the Ringling Bros. and Barnum & Bailey Circus. In 1926, he moved to Paris and the Acad\u00e9mie de la Grande Chaumi\u00e8re, soon after his arrival constructing the\u00a0Cirque Calder<\/em>.<\/p>\n

\"Calder<\/a>
Cirque Calder (1926) by Alexander Calder, Wire, wood, cloth, rubber, string, 137.2 x 239.4 x 239.4 cm<\/figcaption><\/figure>\n

Made of wire, and found objects including pieces of wood, cloth, rubber, and string, with small models rigged to perform the various roles of the circus, the Cirque Calder<\/em> brought the fledgling artist to the attention of the Parisian avant-garde. Alongside more conventional works in bronze, he continued to experiment with wire sculpture, which he referred to as ‘drawing in space’, crafting portraits of\u00a0friends, animals, and celebrities\u00a0including his\u00a0Aztec Josephine Baker<\/i>. He befriended Duchamp, Jean Arp, and Fernand L\u00e9ger, and also met his future wife, Louisa James, the grandniece of the novelist\u00a0Henry and the philosopher William.<\/p>\n

In 1927 Calder was given his first solo exhibition at the gallery of Jacques Seligmann & Company in Paris, while his wire sculptures were showcased the following year during a solo exhibition at the Weyhe Gallery in New York. In October 1930, a visit to the studio of Piet Mondrian encouraged Calder to embrace abstraction. He began to cultivate\u00a0his ‘mobiles’, kinetic sculptures which were at first powered by motors,\u00a0but\u00a0soon became delicately balanced hanging compositions responding\u00a0to air currents, light, humidity, and human touch. At the same time he undertook work on outdoor projects, and created stationary abstract sculptures which Jean Arp dubbed ‘stabiles’ in response to Duchamp.<\/p>\n

At the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris, Calder’s Mercury Fountain<\/em> – a fountain in iron and aluminium which pumped mercury instead of water – was commissioned for\u00a0the Spanish pavilion alongside Pablo Picasso’s Guernica<\/em> Jean Mir\u00f3\u2019s The Reaper<\/em>.<\/a>\u00a0The same year Devil Fish<\/em>\u00a0became Calder’s first stabile enlarged from a model. And in 1939, another commission saw Lobster Trap and Fish Tail<\/em>\u00a0– an early hanging mobile in painted steel wire and sheet aluminium – take up position in the main stairwell of the new Museum of Modern Art.<\/p>\n

\"Calder<\/a>
Theatre Mobile for Erik Satie’s Socrate by Alexander Calder, originally designed 1936, recreated 1976<\/figcaption><\/figure>\n

Calder’s first career retrospective commenced in 1938 at the George Walter Vincent Smith Gallery in Springfield, Massachusetts. Then in 1943, a retrospective at the Museum of Modern Art, curated by Duchamp and James Johnson Sweeney, proved so popular it had to be extended into 1944. World War II and a shortage of aluminium saw Calder briefly turn to carving in wood, while after the war\u00a0in 1946, a major exhibition at Galerie Louis Carr\u00e9 in Paris was accompanied by a seminal catalogue essay from Jean-Paul Sartre. Successful exhibitions in Brazil followed, and in 1952, Calder represented the United States in winning the grand prize for sculpture at the Venice Biennale.<\/p>\n

Beyond sculpture, Calder – who drew inspiration from Martha Graham, the pioneer of modern dance – designed the stage sets for several theatrical productions, including Erik Satie’s symphonic drama Socrate<\/em> in 1936. Described by Calder as an ‘indication of a good deal of my subsequent work’, he was in the process of reviving this mobile set for a performance in New York at the time of his death. Calder was also a prolific painter, illustrator, and printmaker, and a jeweller, predominantly in brass and steel,\u00a0with many of his pieces gifted to friends. In 1952 he contributed a mural to the pool wall of Stillman House; in 1953 he designed an acoustic ceiling for the Aula Magna auditorium at Universidad Central de Venezuela; and \u00a0in the 1970s, he was commissioned to paint a Douglas DC-8-62 jet liner and a BMW 3.0 CSL automobile.<\/p>\n

In his later years Calder travelled extensively, to the Middle East, India, and South America between stays in France, painted gouaches, and increasingly devoted\u00a0his sculpture towards monumental public projects. In 1958 he created Spirale<\/em>, a mobile sculpture in black steel for Maison de l’UNESCO in Paris. Teodelapio<\/em>, a stabile in painted steel over 58 feet tall, was produced for the 1962 Spoleto Festival in Italy;\u00a0Trois disques<\/em> (Man<\/em>) for the 1967 exposition in Montreal; and El Sol Rojo<\/em> for the 1968 Olympic Games in Mexico City. On into the 1970s, Calder devised\u00a0a series of works in red painted steel, including Bent Propeller<\/em>, installed at the World Trade Center in 1970 and remaining there until it was destroyed during the September 11 attacks.\u00a0Calder died in New York in 1976 at the age of seventy-eight.<\/p>\n

\"\"<\/a>
Antennae with Red and Blue Dots (1953) by Alexander Calder, Aluminium and steel wire, 111.1 x 128.3 x 128.3 cm<\/figcaption><\/figure>\n

Alexander Calder: Performing Sculpture<\/em> continues the Tate’s series of reassessments of the key figures in modernism. It follows\u00a0Barbara Hepworth: Sculpture for a Modern World<\/a><\/em> which closed at Tate Britain at the end of October. Curated by Ann Coxon, bringing together major works from across the extent of Calder’s career, and demonstrating his collaborative nature in the fields of theatre, music and dance, the exhibition will show 100 works, including the largest ever gathering of mobiles from New York, Paris, and Brazil.<\/p>\n","protected":false},"excerpt":{"rendered":"

On Wednesday, the major exhibition Alexander Calder: Performing Sculpture opened at\u00a0Tate Modern. The American sculptor remains one of the most recognisable figures in modern art as the originator\u00a0of the ‘mobile’, a term coined by Marcel Duchamp for Calder’s dynamic sculptures, typically composed in painted sheet metal and wire and suspended elegantly in the air. Alexander […]<\/p>\n","protected":false},"author":1,"featured_media":9646,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[3874,3854],"tags":[4162,3723,2838,4163],"class_list":{"0":"post-9641","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"category-daily-visual","9":"tag-alexander-calder","10":"tag-modernism","11":"tag-sculpture","12":"tag-tate-modern"},"jetpack_publicize_connections":[],"yoast_head":"\nDaily Visual 11.11.15: Alexander Calder Performing Sculpture<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/culturedarm.com\/daily-visual-11-11-15-alexander-calder-performing-sculpture\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Daily Visual 11.11.15: Alexander Calder Performing Sculpture\" \/>\n<meta property=\"og:description\" content=\"On Wednesday, the major exhibition Alexander Calder: Performing Sculpture opened at\u00a0Tate Modern. 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