The reviews of Calder: The Conquest of Time are in
In the wake of its publication this fall, Jed Perl’s Calder: The Conquest of Time: The Early Years: 1898–1940 has garnered a number of reviews:
“The things [Calder] made were in some ways abstract and ‘formal’ but never scanted the evocative function of art. Although a certain kind of politics can be discerned in his early work, his explicit politics were secondary to his acts of making: the fountain that he made for the Spanish Republican pavilion at the World’s Fair in 1937 stood in front of Picasso’s ‘Guernica,’ but no one could have detected in its beautiful patternings of mercury and water a polemical point. For Perl, considering the modern in what may seem 'anti-modernist’ terms, rescuing Calder is a way of rescuing the individual imagination from a reading of modern art too narrowly driven by a historical plot.” – Adam Gopnik in the New Yorker
“The earliest examples [of Calder’s abstractions] were the motorized, tabletop-scale pieces for which Duchamp invented the generic name: ‘mobiles.’ Then came the suspended works, their dangling elements set into motion by air currents or the touch of a hand. Even today, they feel truly far-out. With them, Perl suggests, Calder gave sculpture a dimension of movement in space, which was also movement in time, that it had rarely had before in Western art. And with this work, Calder, then in his mid-30s, made his defining contribution to Modernism.” – Holland Cotter in the New York Times
“Time, form, motion and viewer together define the experience of his art. That implicit contract with the viewer has become so commonplace that we take it for granted, whether transfixed by a Calder mobile in the National Gallery or enjoying participatory performance art. Perl’s accomplishment here is to peel back almost a century of artistic expectations, extract Calder from his phenomenal success, and let us see the influences and experiments that led to it.” – Alexander C. Kafka in the Washington Post
Kinetics of Violence: Alexander Calder + Cady Noland opens at Venus Over Manhattan
We are thrilled to announce Kinetics of Violence: Alexander Calder + Cady Noland at Venus Over Manhattan, which opens today and runs through 22 December. Curated by Sandra Antelo-Suarez, the exhibition addresses the current political climate, both domestically and abroad, and enlists two artists whose works deeply engage issues of violence, often through sculptures that employ a literal or implied engagement with motion. On view in the gallery is a rigorously focused presentation of four sculptures by Calder and Noland, who are paired in a two-person exhibition for the first time.
Alexander Calder: Scaling Up opens at SFMOMA
Alexander Calder: Scaling Up is now open at the San Francisco Museum of Modern Art! The second exhibition in the museum’s Calder gallery takes a close look at the small-scale and surprisingly tactile beginnings of the artist’s most sizable works, introducing visitors to the multi-step methods of enlargement that Calder developed to transform handmade models into monumental sculptures. Featuring indoor and outdoor artworks from the 1950s to the 1970s, the exhibition includes several loans from the Foundation’s collection.
Calder: The Conquest of Time Book Tour
Calder: The Conquest of Time: The Early Years: 1898–1940—the first biography of the artist—is now on shelves everywhere! Jed Perl, esteemed art critic and author of the book, has embarked on a nationwide book tour. Events will take place in Houston, Los Angeles, San Francisco, Washington DC, Boston, Grand Rapids, Chicago, Philadelphia, and New York City. Alexander S. C. Rower, president of the Calder Foundation and grandson of the artist, will join Perl at certain locations. Click here for more information.
Calder: The Conquest of Time on shelves 24 October 2017
Calder: The Conquest of Time: The Early Years: 1898–1940 by renowned art critic and author Jed Perl—the first biography of the artist—is nearly here. On shelves on 24 October, the book is based on years of scholarship and unprecedented access to the Calder Foundation archives.
The first volume of Perl’s two-volume biography, Calder: The Conquest of Time opens with Calder's wonderfully peripatetic upbringing in Philadelphia, California, and New York. Born in 1898 into a family of artists—his father was a well-known sculptor, his mother a painter and a pioneering feminist—Calder went on as an adult to forge important friendships with a who's who of twentieth-century creators, including Georges Braque, Marcel Duchamp, Martha Graham, Joan Miró, Piet Mondrian, and Virgil Thomson. We move through Calder's early years at the Art Students League in New York to his first artistic triumphs in Paris in the late 1920s with his Cirque Calder and his wire sculptures, and to his emergence as a leader in the international abstract avant-garde. His marriage in 1931 to the free-spirited Louisa James—she was a great-niece of Henry James—is a richly romantic story, related here with a wealth of detail and nuance.
Calder's life takes on a transatlantic richness, moving from New York's Greenwich Village in the Roaring Twenties, to the Left Bank of Paris during the Depression, and then back to the United States, where the Calders bought a run-down old farmhouse in western Connecticut. This beautifully written book, based on nearly a decade of archival research and scores of interviews, is enriched by more than 350 illustrations in color and black-and-white, including little-known works and many photographs that have never before been seen.
A sampling of praise for the book:
“All artists are critics but very few critics are artists. Jed Perl is one of those few. He has the critical imagination to imagine Calder’s imagination, and the rare ability to engage that of the reader.” —Fran Lebowitz
“Calder’s magic brilliantly captivated by an astute biographer.” —John Richardson, author of A Life of Picasso
“Perl’s vibrant, driving prose distills a detailed, captivating and multigenerational history into a lucid and useful biography that miraculously eschews excess. He reveals how Calder’s magnetic personality and synthetic thinking determined a radical new course for twentieth-century art.” —Adam D. Weinberg, Alice Pratt Brown Director, Whitney Museum of American Art
Atelier Calder artist-in-residence Bill Jenkins' special installation during Fiac
Alexander S. C. Rower and Joan Punyet Miró in conversation
On 18 April, Calder’s grandson Alexander S. C. Rower sat down with Miró’s grandson Joan Punyet Miró at The Morgan Library and Museum to discuss the artists' works, managing their grandfathers' legacies, and Calder / Miró: Constellations. The exhibition, which recently closed at Pace Gallery and Acquavella Galleries in New York, explored Calder’s and Miró's distinct yet complementary Constellations series.
Watch the full conversation here.
Calder Foundation works set in motion
On the occasion of Calder: Hypermobility at the Whitney Museum of American Art in New York, we filmed the works from our collection that would be set into motion over the course of the Whitney’s exhibition. From motorized and hanging mobiles to a bronze and a wall sculpture, these videos show the myriad ways in which the artist explored movement in his practice. Watch the full series on our YouTube channel.
Calder. Forgeron de géantes libellules opens at the Musée Soulages
Calder. Forgeron de géantes libellules is now open at the Musée Soulages in Rodez, France! The exhibition—which will run through 29 October—traces Calder’s career through a broad range of works from 1925–1974, including loans from the Centre Pompidou, the Musée d’Art Moderne de la Ville de Paris, and the Calder Foundation. Also included are photographs by André Kertész, Ugo Mulas, and Marc Vaux.
Alexander Calder / David Smith opens at Hauser & Wirth in Zürich
Alexander Calder / David Smith is now open at Hauser & Wirth in Zürich! The exhibition, which will run through 16 September, marks the first time that these two pillars of twentieth-century sculpture are placed in direct dialogue. One of the few times they were shown together during their lifetimes was at the legendary 1962 Festival of Two Worlds in Spoleto, Italy, where Smith created twenty-seven works in thirty days, and Calder contributed the 58-foot-tall stabile Teodelapio, which still stands in the Italian city. Hauser & Wirth worked in close collaboration with the Calder Foundation and the Estate of David Smith to realize this show, exploring the radical ways in which both artists pushed beyond the limitations of traditional sculpture.