From 1 May–12 September 2015, the Pulitzer Arts Foundation will present Calder Lightness, an exhibition of sixteen significant works that include large-scale hanging mobiles, standing mobiles, and open-form constellations. Installed in the Pulitzer’s light-filled upper galleries, the presentation seeks to create a multi-sensory experience of Calder’s ingenious fusion of line, brilliance, gravity, and movement, bringing to the fore his exceptional ability to effect spatial transformation through groundbreaking abstractions. Calder Lightness is guest curated by Carmen Giménez, whose historic 2003 exhibition Calder: Gravity and Grace at the Museo Guggenheim Bilbao reached critical acclaim.


On view from 22 April–13 June 2015 at Dominique Lévy GalleryAlexander Calder. MULTUM IN PARVO is an exhibition dedicated exclusively to Calder’s small-scale sculpture. The Latin title, which means “much in little,” refers to the tremendous poetic effect engendered by these intricate constructions. Consisting of over forty works, the presentation includes a standing mobile from around 1954 that measures less than an inch-and-a-half high, as well as six standing mobiles from 1939 that served as maquettes to complement Percival Goodman’s architectural proposal for a new Smithsonian Gallery of Art in Washington, D.C., a project that went unrealized. 

The show integrates Calder’s buoyant miniatures within a specially designed environment of mirrored discs by renowned architect Santiago Calatrava, magnifying their minute features. A fully illustrated catalogue with essays by independent art critic and Calder biographer Jed Perl and architecture critic Paul Goldberger will accompany the exhibition.  MULTUM IN PARVO is organized in collaboration with the Calder Foundation. 


If you find yourself in Paris, be sure to see American Icons: Masterworks from SFMOMA and the Fisher Collection, on view from 8 April–22 June 2015 at the Grand Palais. The presentation encompasses works by fourteen of the most renowned American artists of the twentieth century, including Calder, Chuck Close, Dan Flavin, Donald Judd, Ellsworth Kelly, Agnes Martin, Roy Lichtenstein, and Andy Warhol.

One of the highlights of the exhibition is Calder’s unique Tower with Painting (1951), a projecting wall sculpture that incorporates a hanging mobile, wooden elements dating back to his constellations of the early 1940s, and a miniature oil painting from around 1945.  

All works originate from the San Francisco Museum of Modern Art and the Fisher Collection, one of the world’s largest private modern and contemporary art collections. Organized by SFMOMA, the Réunion des musées nationaux – Grand Palais, and the Musée Granet, Aix-en-Provence, the exhibition is curated by Gary Garrels, curator of painting and sculpture at SFMOMA, and Laurent Salomé, exhibition director at the Grand Palais. 


Download a PDF of the article here

The full text is also available online here.


If you missed it live at Art Basel Miami Beach this past December, watch Alexander S. C. Rower, president of the Calder Foundation and grandson of the artist, in conversation with Josh Baer, publisher of Baer Faxt and son of painter Jo Baer, as they discuss the intricacies of stewarding an artist’s legacy and negotiating the art market, presented as part of the fair’s popular Art Salon educational program. 


Calder, Discipline of the Dance, on view from 22 March–28 June 2015 at Museo Jumex, marks the first Calder retrospective in Mexico in over twenty-five years. Constituting a survey of nearly one hundred works made between the 1920s and 1970s, the exhibition’s conceptual starting point is Calder’s inspiration and experience in Latin America. “Calder is a perpetuator of unexpected forms of balance through which sculpture has mastered the discipline of the dance,” wrote celebrated critic Juan García Ponce in 1968. Difficult to define yet unmistakably present, the naturalistic energy inherent in Calder’s sculpture was immediately recognized and celebrated by his Latin American friends during his lifetime.

The exhibition originates from the Calder Foundation’s preeminent collection and features the artist’s signature wire sculptures, mobiles, stabiles, large-scale sculptures, paintings, and jewelry. Selected works include Aztec Josephine Baker (1930), a near life-size portrait of the Parisian cabaret performer with a dozen jointed articulations, and the harmonious Scarlet Digitals (1945), which remained unviewable to the public for over six decades. Calder: Discipline of the Dance is curated by Alexander S. C. Rower, president of the Calder Foundation, New York, and grandson of the artist. 


American Academy in Rome

Wednesday, 11 March 2015

AAR Lecture Room

The American Academy of Rome is pleased to present Rome Revisited: Rethinking Narratives in the Arts, 1948–1964, the second of two research seminars in which international scholars discuss artistic production, exhibitions, and exchange in Rome during in the postwar period.

Independent critic Jed Perl will speak on the subject of Calder’s Work in Progress, the artist’s avant-garde theatrical production that premiered at the Rome Opera House in 1968. Conceived as an abstract “ballet,” the ambitious commission featured hanging and standing mobiles, stabiles, and huge backdrops painted in gouache. The project was spearheaded by Calder’s friend, the noted Italian curator Giovanni Carandente, and produced with electronic music by Niccolò Castiglione, Aldo Clementi, and Bruno Maderna.

View video excerpts of Calder’s Work in Progress (1968) here.


On the occasion of the acclaimed retrospective dedicated to Paul Gauguin, the Fondation Beyeler (Basel / Riehen) invited Calder Foundation President Alexander S. C. Rower to curate a playlist to accompany the exhibition. Rower’s playlist is part of the Fondation Beyeler’s #GauguinSounds project, in which personalities from across the worlds of art, music, politics, and business have compiled playlists with pieces of music to accompany each of the works on display.

You can listen to Rower’s playlist inside the exhibition, but also via your computer or Smartphone, on the Fondation Beyeler’s web app or on Spotify

Also on view at the Fondation Beyeler through 6 September 2015 is the third presentation of the rotating Calder Gallery, which highlights Calder’s first nonobjective paintings from 1930 in dialogue with pioneering abstract sculptures.

Janey Waney Returns To Gramercy Park

After spending the summer in Amsterdam, Calder’s Janey Waney (1969) has returned to Gramercy Park! The standing mobile was most recently exhibited in Alexander Calder at the Rijksmuseum, an exhibition consisting of 18 monumental works in and around the museum, making it the most extensive presentation of the artist’s outdoor sculpture to date.

Janey Waney takes its name from Warhol’s muse Jane Holzer ("Baby Jane”), who was the force behind the site-specific commission. During a trip to the artist’s studio in Saché, she saw a standing mobile on a table, which she suggested as the maquette for this monumental work.

Read more about Janey Waney in ARTnews.

Calder at the Seagram Building

Seagram Building
375 Park Avenue
New York, NY 10152

Pace Gallery, in collaboration with the Calder Foundation, is pleased to present an exhibition of Calder’s monumental sculptures on the plaza of Mies van der Rohe’s iconic International Style Seagram Building in New York. The exhibition will be on view from 5 October–10 November 2014.

The relationship of such large-scale works to public space was of great importance to Calder. “My mobiles and stabiles must be put in open spaces, like city squares, or in front of modern buildings. And the same goes for all contemporary sculpture,” he said. “A sculpture in the city must be useful as signaling poles placed in sea lanes and waterways with their red discs, yellow squares and black triangles. It must be designed as a real urban signal as well as sculpture.” 

The presentation at the Seagram Building is made possible by Aby Rosen, RFR Holding LLC.

Read about the exhibition in The New York Times.