Alexander S. C. Rower in conversation with Achim Borchardt-Hume
On 12 February at 6:30pm, Tate Modern will host a public conversation between Alexander S. C. Rower, President, Calder Foundation, and Achim Borchardt-Hume, Director of Exhibitions, Tate Modern, on the subject of the landmark exhibition Alexander Calder: Performing Sculpture.
Be sure to book your tickets in advance here.
Read Jed Perl's essay, "In the Sculptor's Studio: Calder & Stella," in the New York Review of Books!
Read the full essay here.
The Calder Prize 2005-2015
The Calder Foundation is pleased to announce the opening of The Calder Prize 2005–2015 at Pace London, which explores Calder’s enduring impact on contemporary art. On view from 4 February–5 March 2016, the show will juxtapose works by Calder with those by our Calder Prize laureates to date: Tara Donovan (2005), Žilvinas Kempinas (2007), Tomás Saraceno (2009), Rachel Harrison (2011), Darren Bader (2013), and Haroon Mirza (2015). A catalogue for the exhibition is forthcoming.
Alexander/Ballet/Calder: an Alphabetical Guide to Calder and Dance
Watch Calder scholar Jed Perl's lecture at NYU's Center for Ballet and the Arts, "Alexander/Ballet/Calder: An Alphabetical Guide to Calder and Dance," in which he discusses Calder's lifelong fascination with theater, music, and choreography!
Earle Brown's "Calder Piece" Presented at Tate Modern
On the occasion of the opening of "Alexander Calder: Performing Sculpture," Tate Modern presented avant-garde composer Earle Brown’s Calder Piece, which debuted at the Théâtre de l’Atelier, Paris, in 1967. Restaged for the first time in over three decades, the performance featured Calder’s standing mobile Chef d’orchestre (1966) as both conductor and percussion instrument.
Read The New York Times' Review of Alexander Calder: Performing Sculpture
Read the full article here.
ALEXANDER CALDER: PERFORMING SCULPTURE
Opening today and on view until 3 April 2016, Tate Modern presents Alexander Calder: Performing Sculpture, the largest Calder exhibition in London in over half a century. Taking as its point of departure Calder’s wire sculptures from the 1920s, the exhibition explores the notion of performance as a driving force in Calder’s sculpture, one that engages anticipation, improvisation, and theatricality. Among the highlights are Small Sphere and Heavy Sphere (1932/33), the first mobile suspended from the ceiling and a synthesis of Calder’s ideas on motion, chance, variable composition, and viewer intervention. Also included are the largest concentration of “panels” and “frames” ever exhibited, constructions mounted on the wall just like paintings, yet with moving elements against a static background that create a three-dimensional effect akin to choreography. The show concludes with Black Widow (1948), marking the first time the masterpiece has traveled outside of Brazil.
Organized in close collaboration with the Calder Foundation, Alexander Calder: Performing Sculpture is curated by Achim Borchardt-Hume, Director of Exhibitions; Ann Coxon, Curator of Displays and International Art; and Vassilis Oikonomopoulos, Assistant Curator of Collections International Art.
Marvelous Objects at the Hirshhorn Museum in Washington, D.C.
On view at the Hirshhorn Museum and Sculpture Garden from 29 October 2015–15 February 2016, Marvelous Objects: Surrealist Sculpture from Paris to New York is the first major museum exhibition dedicated solely to Surrealist sculpture in the US. While Calder never officially joined the Surrealist group, he befriended many of its members during the interwar period in Paris, including André Breton, Hans Arp, Jean Cocteau, Robert Desnos, and Man Ray, and his works were exhibited in the leading Surrealist exhibitions of the 1930s and 1940s.
The exhibition features a selection of Calder’s mobiles and stabiles, including Wooden Bottle with Hairs (1943), Devil Fish (1937), and Scarlet Digitals (1945).