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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.
 
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.

National Gallery Chief of Design discusses the installation of Calder in the Tower

The National Endowment for the Arts put together a short film featuring Mark Leithauser, Chief of Design and Senior Curator at the National Gallery of Art in Washington, D.C., on the occasion of Calder in the Tower, the museum’s long-term gallery space dedicated to Calder in the recently remodeled East Wing. Leithauser describes the lengthy process that went into designing the exhibition space, highlighting the particular difficulty of installing works by Calder due to their unregulated movement. Watch the film here.

Vanity Fair Spain on Calder and Spain

Vanity Fair Spain dives into Calder’s relationship with Spain and his friendships with Joan Miró, Josep Lluís Sert, and Luis Buñuel. Read the full article here.

Alexander S. C. Rower speaks on Calder’s legacy at Five Points Gallery

On 5 November, Five Points Gallery in Torrington, Connecticut, welcomed Calder Foundation President Alexander S. C. Rower as their 2016 Guest Lecturer. Rower’s lecture, entitled “Calder’s Legacy,” focused on the evolution of Calder’s artistic output throughout his life, with special attention made to his home and studio in nearby Roxbury.

The lecture is available to watch here.

The New York Times interviews Alexander S. C. Rower

Read the article online here. Also, take a look at the New York Times review of Calder and Picasso at Almine Rech Gallery in New York.

Alexander S. C. Rower on a photograph of his family in Art in America

Alexander S. C. Rower tells the story of a 1964 Ugo Mulas photograph of the Calder family to Art in America.

Alexander S. C. Rower and Bernard Ruiz-Picasso discuss Calder and Picasso

On the occasion of Calder and Picasso at Almine Rech Gallery in New York, the Calder Foundation hosted a conversation with Alexander S. C. Rower and Bernard Ruiz-Picasso on 11 November, moderated by Ann Temkin, the Chief Curator of Painting and Sculpture at MoMA. Rower and Ruiz-Picasso discussed the evolution of the exhibition and how they worked together to reveal the aesthetic relationship between the two artists.

The conversation is available to watch here.

 

Calder and Picasso opens in New York City

We are delighted to announce the opening of Calder and Picasso, the inaugural exhibition at Almine Rech Gallery in New York City, on view from 27 October–17 December 2016. Curated by the artists’ esteemed grandsons Alexander S. C. Rower and Bernard Ruiz-Picasso, this exceptional and intimate exhibition brings together more than fifty works made between 1912–67, exploring for the first time the creative dialogue between these two modern masters. All of the works on view, including paintings, sculpture, and works on paper, have been drawn from the respective private family collections, many of which have rarely or never before been exhibited in public.

Calder and Picasso is the culmination of more than two years of conversation and collaboration, during which time Rower and Ruiz-Picasso explored the myriad preoccupations and practices of their grandfathers, finding dialogues in their work at once formal and philosophical. What started as a simple exchange of observations and imagery developed into an important and deeply personal journey of discovery and rediscovery, as the numerous aspects connecting these iconic artists became more distinct. Coming out of Rower and Ruiz-Picasso’s unrivalled knowledge of their grandfathers’ œuvres, the exhibition does not aim to be exhaustive, but instead offers a unique insight into two of the most important artistic figures of the twentieth century.

The thoughtfully curated selection of works in Calder and Picasso will bring to light the artists’ interests in modes of representation and the void, or nonexistence as tangible matter. Certain similar dynamic qualities emerge between Calder’s energetically charged wire sculptures and Picasso’s immediate and spontaneous line drawings, both of which evoke a fluid, living mode of linear representation, inviting the viewer to fabricate his or her own complete illusionistic image. Calder’s treatment of transparency and space was groundbreaking, as was his introduction of actual motion into his works, overturning the implied depiction of motion that was a preoccupation of Cubism and Futurism. Calder and Picasso, as is often the case, were two disparate artists of a shared era who were drawn to coincidental questions in their practice, each producing his own fascinatingly unique formulations.

National Gallery of Art inaugurates new Calder Tower

At the opening of their renovated East Building on 30 September 2016, the National Gallery of Art, Washington, D.C., unveiled a new skylit Tower Level gallery devoted to the work of Alexander Calder, constituting the largest long-term gallery space in the world dedicated to the beloved modern master. Calder is represented by nearly fifty works spanning the late 1920s through 1976, approximately half of which are on loan from the Calder Foundation.

Curated by Harry Cooper, the presentation is something of a mini-retrospective. Key highlights include Aztec Josephine Baker (1930), a fully articulated hanging wire sculpture depicting the music-hall superstar of the Parisian avant-garde, as well as the vivacious Rearing Stallion (c. 1928). Seven nonobjective oil paintings from 1930 are on view—Calder’s first abstractions, all painted within a period of two weeks—as well as important sculptures such as Red Panel (1936), constituting his largest “painting in motion.” The presentation is visually centered on Eucalyptus (1940), a majestic hanging mobile that exemplifies Calder’s mature vocabulary. Its large surreal elements hang in palpable tension with the floor, moving with hypnotic grace.

There are numerous other works by Calder on view at the NGA, including his monumental site-specific mobile from 1976, in the atrium; Tom's (1974), at the entrance of the NGA’s West Building; and Cheval rouge (1974), in the sculpture garden. Elsewhere along the Mall are Gwenfritz (1968), outside the National Museum of American History; Mountains and Clouds (1976), at the Hart Senate Office Building; and Tableau noir (1970), in front of the National Portrait Gallery.