Dada & Surrealist Objects extended
If you haven't seen Dada & Surrealist Objects at Blain|Di Donna, you're in luck! The exhibition, which includes four works by Calder, has been extended until 17 January 2014!
Visit the exhibition site here.
Alexander S. C. Rower in conversation with Stephanie Barron
Listen to Alexander S. C. Rower, president of the Calder Foundation and Calder's grandson, and Stephanie Barron, senior curator of modern art at LACMA, as they discuss the exhibition Calder and Abstraction: From Avant-Garde to Iconic, now on view at the Los Angeles County Museum of Art until 27 July 2014.
Once Upon A Time... by Derrick Adams
On 9 November 2013, Derrick Adams debuted Once Upon A Time..., a performance commissioned by the Calder Foundation on the occassion of Performa 13 and hosted by Salon 94.
We are thrilled to have been a part of this work, and hope that you'll enjoy watching the video on our YouTube channel!
Read about the project here.
Artsy's Christine Kuan Interviews Gryphon Rower-Upjohn
Gryphon Rower-Upjohn, Vice President of the Calder Foundation's Board of Trustees and Calder's great-grandson, recently spoke with Christine Kuan, Chief Curator and Director of Strategic Partnerships at Artsy, about his new essay "Calder and Sound" and the exhibition Alexander Calder: Avant-Garde in Motion, currently on view at the Kunstsammlung Nordrhein-Westfalen until 12 January 2014.
CK: Some people are not aware of Calder’s experimentations with sound and music. What was most important about this aspect of Calder’s work in relationship to his other work with mobiles, stabiles, etc.?
GRU: Calder employed sound as he did color—as a means of varying elements and enhancing the disparity within a composition. He was involved in many projects where sound played an essential role, including collaborations with Martha Graham and Virgil Thomson. I have identified nearly four dozen noise-mobiles that intentionally collide to produce resonance and envelope the viewer. Considering his immense oeuvre (thousands of sculptures, nearly 23,000 works documented in all media), noise-mobiles are a rarer breed.
Read the full interview here.
Calder and Abstraction Opening Event: In Conversation—Alexander S. C. Rower
Saturday, 23 November, 2013 at 1pm
Alexander S. C. Rower is the grandson of the artist and sculptor Alexander Calder (1898-1976) and the chairman of the Calder Foundation, which he founded in 1987 to promote and archive the artist's work. Rower explores Calder's radical influence on modern art in connection with the exhibition Calder and Abstraction: From Avant-Garde to Iconic.
Bing Theater | Free; tickets required | Tickets: 323 857 6010 or reserve online.
Calder / Prouvé
Following the first selection of works presented at Gagosian Gallery Le Bourget (until November 2nd), the exhibition continues: Galerie Patrick Seguin, in collaboration with Gagosian Gallery, will present within its redesigned Parisian space the iconic creations of Jean Prouvé engaged with Alexander Calder’s sculptures. A catalogue illustrating both exhibitions will be published for this occasion.
The opening of the exhibition will be the opportunity to discover the new facade of Galerie Patrick Seguin, a project by Ateliers Jean Nouvel.
Over the past ten years the various collaborations between Larry Gagosian and Patrick Seguin have enabled them to explore many important figures in contemporary art and architecture at their respective gallery spaces. Guided by common passions, and after numerous exchanges, the idea behind CalderProuvé seemed evident: to realize, for the first time, dual exhibitions that bear witness to the artistic dialogue between the works of Alexander Calder and Jean Prouvé, two great modern innovators of the twentieth century, who were also friends.
Visit the exhibition page here.
Show and Tell: Calder Jewelry and Mobiles
In collaboration with the Calder Foundation, Salon 94 is delighted to present Show and Tell: Calder Jewelry and Mobiles. The exhibition celebrates Calder’s jewelry-making practice, one that he gave equal priority to alongside sculpture, painting and performance. For the exhibition of these historic pieces, Salon 94 has invited contemporary artists to engage, intervene, perform, enact and incorporate the jewelry into their own practice.
Throughout his life, Calder made over 2,000 pieces of jewelry radically built of humble materials—brass, silver and steel wire, along with wood, string, glass, and ceramic—not the precious gold and polished gemstones traditional to the medium. Often made as gifts and presented with the artist’s mobiles and other work, the pieces are modeled like maquettes or compact sketches for kinetic sculpture, incorporating moving elements and found objects scaled to the body. Donning a piece of Calder jewelry—like wearing a mobile—the body performs and enacts the gestures and mission of the sculptural framework.
In a 1940 one-man show at Marian Willard Gallery in New York, Calder constructed painted metal and wood display heads from which he hung pairs of pendulous earrings shaped with wire and repurposed brass cufflinks. These original masks will be on display at Salon 94. Embracing the spirit of the sculptural showcase, the gallery has invited several contemporary artists to riff on Calder’s geometric masks and make their own sculptures to house Calder’s jewelry. A curlicue crown, for example, is set atop a standing cork figure by Huma Bhabha. Hammered metal earrings dangle from an oversize wire hanger sculpture by Mark Handforth, and a thick banded collar is framed inside the metal armature of a new work by Martin Boyce. Other structures framing the jewelry are by Hope Atherton, Abraham Cruzvillegas, Lina Viste Grønli, Matthew Day Jackson, Hanna Liden, and John-Mercer Moore. David Benjamin Sherry has incorporated the jewelry into his photographic practice, presenting the objects within a layered Josef Albers-like composition of colored shapes and diffuse light which mingle with Sherry’s own detailed images of landscape surfaces. Mickalene Thomas has also integrated Calder’s pieces into her practice, coronating muscular models with the ornaments and posing them within her brightly patterned, collage-like interiors.
In addition to the 40 pieces of Calder jewelry on display, the exhibition features two mobiles and three standing mobiles. A standing mobile from 1967 has a think and angular black base and wide petal-like shapes in red and blue delicately suspended. A black hanging mobile from 1976 and a red hanging mobile from 1952 are also displayed.
In conjunction with the show, there will be a series of salon discussions on the topics of jewelry, sound, and the archive, as they relate specifically to Calder’s life and work. On November 9, Derrick Adams will stage his performance Once upon a time... as part of Performa 13.
Visit the exhibition page here.
Beginning November 4, 2013, Venus Over Manhattan will present Calder Shadows, an exhibition designed uniquely to explore the exquisite “manner of reacting” that sets the artist’s work apart: A group of a dozen rare Calder mobiles and stabiles created between 1929 and 1974 will be presented in darkness. Each sculpture will be lit so that its shadows become the exhibition’s subject: wire will become oscillating line drawings and flat metal forms will become independent presences that dance along the walls, ceiling, and floor of the gallery. Calder Shadows will also present a group of the artist’s small maquettes in unpainted sheet metal executed in the years between 1966 and 1974. Calder used shadows cast by such maquettes to explore issues of scale as he formulated his monumental stabiles.
Organized in collaboration with the Calder Foundation, Calder Shadows will remain on view through December 21, 2013.
Among the masterpieces on view at Venus will be Little Black Flower (c. 1944), an exemplary mobile created during the decade widely considered to be the most fertile period of development in the artist’s career. Privately held and not exhibited since the 1940s, the sculpture is composed of red-painted metal and wire, with a small black flower dancing at the end of a wire ‘stem.’ Also on view will be a 1939 mobile from Calder’s Tuning Fork series, a work that suggests the artist’s affinity with the Surrealists, and The New Ritou (c. 1948), in which Calder revisited a 1936 sculpture titled Ritou, made of sheet metal, wire, string, and paint.
Visit the exhibition page here.
Calder Foundation presents Derrick Adams for Performa 13
Saturday, 9 November, 2013
6:30pm & 9pm
Salon 94, 12 E. 94th Street, New York City
RSVP recommended: firstname.lastname@example.org
The Calder Foundation is pleased to present Once upon a time..., a new performance by Derrick Adams commissioned on the occasion of Performa 13 and scheduled to take place on Saturday, 9 November, at 6:30pm & 9pm at Salon 94 in New York City.
For Once upon a time…, Adams draws inspiration from the Calder Foundation’s archives to inform a subject he has long been interested in developing: how we engage and reinterpret overlooked histories. In this performance, Adams focuses on the American cultural phenomenon of schoolchildren learning to recite historical texts on stage. He employs teenagers to study and reinterpret three Harlem Renaissance-era poems by Paul Laurence Dunbar, Claude McKay, and Langston Hughes, with their powerful internalizations dramatized in costume on a black-curtained stage as a rudimentary theatrical experience. Projected behind them will be three Calder drawings pulled from the Foundation’s archives, where Adams gleaned letters and sketches in search of Calder’s personal idiolect to engage with the artist’s process—resulting in an intergenerational, multidisciplinary dialogue.
The performance will be accompanied by an original musical score conceived in collaboration with composer Philippe Treuille that reinterprets a dialogue on sound between Calder and his friend the composer Edgard Varèse.
Artinfo lists Once upon a time... as one of the "10 Must-Sees" of Performa 13.
Whitewall interviews Adams about the project.
Haroon Mirza at FIAC 2013
Following Haroon Mirza’s summer 2013 residency at the Atelier Calder in Saché, France, the Atelier and the Calder Foundation are pleased to present The Last Tape, a performance by Mirza presented on the occasion of FIAC 2013 and scheduled to take place on Tuesday, 22 October, at 6:45pm at the Brownstone Foundation in Paris.
The Last Tape (2010/2013) is a spoken word performance and sculptural installation based on an unrealized Ian Curtis song about William S. Burroughs's “Johnny 23.” The pieceis performed by cult musician and actor Richard "Kid" Strange, and is set within a stage format borrowed from Samuel Beckett’s “Krapp’s Last Tape.” The Last Tape utilizes a range of different media to create a single musical composition, layering multiple narratives to reflect music’s capacity to convey the complexities of the human condition. Originally presented at Chisenhale Gallery, London, in 2011, this performance has been developed for its presentation at the Brownstone Foundation with new sculptural elements.
RSVP recommended: email@example.com