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. 

The show takes its name from a line in “L’Atelier d’Alexander Calder,” a poem written by André Masson in 1942 about Calder's studio in Roxbury, Connecticut. Calder’s wife, Louisa, kept the handwritten poem on her dressing bureau in their Roxbury home.

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.

Calder: Hypermobility opens at the Whitney!

Calder: Hypermobility is now open at the Whitney Museum of American Art in New York! The exhibition explores the extraordinary breadth of movement and sound in Calder’s oeuvre, allowing visitors to see the work as the artist intended—in motion.

Beyond the permanent installation, there are two additional components of the show that are of even greater significance. The first is a schedule of daily activations of sculptures in the galleries and weekly presentations of rarely seen works from the Foundation’s collection, brought to the Whitney for temporary viewing and activated by us. The second is a dense schedule of parallel programming.

Throughout the run of the show, the Whitney will host a series of newly commissioned projects and interventions relating to the exhibition by a number of important contemporary artists as well as several musical performances and film screenings, including the premiere of a set of films by Ephraim Asili, Rosa Barba, Lucy Raven, and Calder’s friend Agnès Varda, curated by Victoria Brooks and commissioned by the Calder Foundation. You can find the schedule on the Whitney’s website

Calder: Hypermobility in the Wall Street Journal

"Thoughts of a Calder work in motion might conjure up a mobile rotating lazily in the breeze. But the artist intended a far wider range of movements—from furious vibration to random, sometimes violent collisions—that emerge only when the works are activated. Some, from the 1930s and 1940s, even have motors of their own. 

In advance of Calder: Hypermobilitywhich opens at the Whitney Museum of American Art in New York on 9 June, Susan Delson of the Wall Street Journal visited the Calder Foundation to speak with Alexander S. C. Rower and preview a few of the works that will be set in motion during the course of the show. Watch a series of films of those pieces and read the article here.

Imaginary Ancestors is now on view at Almine Rech Gallery in New York

Imaginary Ancestors is now on view at Almine Rech Gallery in New York! The show, which runs through 15 June, looks at primitivism in modern and contemporary art, restaging a 1933 exhibition that paired Fang sculptures with paintings of the time and presenting a parallel exhibition of primitivist modern and affiliated contemporary works. Two objects from Calder’s personal collection are included in the exhibition—highlighting the artist's fascination with simple artifacts from world cultures—as well as a number of Calder works that resonate with the primitive aesthetic. “Simplicity of equipment and an adventurous spirit in attacking the familiar or unknown are apt to result in a primitive and vigorous art,” wrote Calder in 1943. "Somehow the primitive is usually much stronger than art in which technique and flourish abound.”

Also on view are works by Picasso, David Smith, Joe Bradley, Mark Grotjahn, Matthew Lutz-Kinoy, Ana Mendieta, James Turrell, and Erika Verzutti.

Strange Attractor is now on view at Ballroom Marfa

We are pleased to announce that Strange Attractor is now on view at Ballroom Marfa. Curated by Gryphon Rue, Calder’s great-grandson, the exhibition presents historical, contemporary, and commissioned works dealing with environmental events, technology, and sound. The title itself—“strange attractor”—is a term that describes the inherent order embedded in chaos, perceivable in harmonious yet unpredictable patterns. Essential to the subjects are intimate, vast, and interconnected abstractions that must be reconciled with lived experience—the problem of how to clearly perceive and interpret the world. In the show, Calder’s never-before-exhibited sound-mobile Clangors, 1942, is placed in the context of work by a wide range of artists, including Lawrence Abu Hamdan, Thomas Ashcraft, Robert Buck, Beatrice Gibson, Phillipa Horan, Channa Horwitz, Lucky Dragons, Haroon Mirza, and Douglas Ross.

Calder / Miró: Constellations opens in New York City

We are thrilled to announce the opening of Calder / Miró: Constellations at Pace Gallery's 32 West 57th Street location and Acquavella Galleries in New York! The distinct yet complementary presentations illuminate the startling affinities between the two artists, who were separated by the Atlantic and unable to communicate due to World War II when they created the series.

The presentation of Calder’s Constellations at Pace Gallery is the first exhibition dedicated solely to this body of work since it débuted at Pierre Matisse Gallery in 1943. Composed of carved wooden forms, sometimes painted in bright, monochromatic colors, and united with steel wires, these exotic sculptures were made in 1943 and christened “constellations” by James Johnson Sweeney and Marcel Duchamp. The majority of the Constellations are mounted high on the wall, with a dimension dictated by the angles of their protrusions.
Read about Calder and Miró’s friendship, their respective Constellations series, and the genesis of this exhibition in The New York Times, featuring interviews with the artists’ grandsons Alexander S. C. Rower, president of the Calder Foundation, and Joan Punyet Miró, vice president of Successió Miró. You can find the full article here and Roberta Smith's review of the show here.
Calder / Miró: Constellations will run through 30 June at Pace and 26 May at Acquavella.

Alexander S. C. Rower discusses Calder’s history with Brazil

Itaú Cultural in São Paulo, Braziljust released a short film with Alexander S. C. Rower about Calder’s time in Brazil. Filmed during the museum’s 2016 exhibition Calder and Brazilian Art, Rower discusses Calder’s influence on Brazilian art, and conversely, how the country affected Calder’s artistic practice. Watch the film here.