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.


Alexander S. C. Rower on Monika Sosnowska

Alexander S. C. Rower, Calder Foundation President and Founder, recently sat down with Contemporary Lynx to discuss the work of Summer 2014 Atelier Calder resident Monika Sosnowska.

Read the interview here.

Storm King Art Center Honors Calder Foundation at Annual Gala Dinner and Live Auction

This year, Storm King will celebrate our achievements at their fifth annual gala dinner and live auction. The event will also highlight the continually rewarding bond between our two institutions that has endured for over twenty-five years through a number of tremendous collaborations, including Alexander Calder: Five Grand Stabiles (1988), Grand Intuitions: Calder's Monumental Sculpture (2001–2003), and the “Calder Hillside,” a long-term rotating presentation. 
The Four Seasons Restaurant, NYC
8 October 2014, 6:30pm, tickets available here

Panel Discussion On Redefining Sculpture at PEM

Peabody Essex Museum
11am–12pm, Morse Auditorium
Free with museum admission
Reservations by September 5

Join Lynda Roscoe Hartigan, PEM’s James B. and Mary Lou Hawkes Chief Curator, as she hosts a panel discussion with Stephanie Barron, chief curator of modern and contemporary art at the Los Angeles County Museum of Art and curator of the exhibition, and Jed Perl, art critic for The New Republic and author of a forthcoming Calder biography. Their conversation touches on the defining aspects of Calder's work, as well as his impact on modern art.

Purchase tickets here.

Calder and Abstraction: From Avant-Garde to Iconic

The Peabody Essex Museum is pleased to present Calder and Abstraction: From Avant-Garde to Iconic. Organized by the Los Angeles County Museum of Art (LACMA) and in collaboration with the Calder Foundation, this exhibition brings together 40 sculptures by one of the most influential and innovative artists of the twentieth century. Featuring mobiles, stabiles, standing mobiles, and maquettes made between the 1930s and the 1960s, this exhibition celebrates Calder’s pivotal contributions to modern art and his revolutionary approach to sculpture. From small-scale works like Little Pierced Disc (c. 1947) to the muscular La Grande vitesse (1969), recurring themes such as linearity, dimensionality, biomorphic forms, and the tension between mass and weightlessness emerge.

“Liberated from pedestals–and even from the ground itself–Calder’s work casts aside traditional sculptural techniques in favor of an entirely original visual vocabulary and conceptual framework,” said Lynda Roscoe Hartigan, PEM’s James B. and Mary Lou Hawkes Chief Curator. “Calder revealed sculpture’s potential to be ethereal, kinetic and poetic while simultaneously extending its capacity to explore abstraction and metaphor through color, form, line and volume."

Calder and Abstraction will be on view 6 September 2014–4 January 2015. Visit the exhibition page here.


Reinventing Space at The Phillips Collection

This Thursday at The Phillips Collection, Elizabeth Hutton Turner will present Reinventing Space, a discussion exploring how American modernists Alexander Calder, Stuart Davis, and John Graham used line, color, shape, and relationships to reinvent space in sculpture and on canvas.

Turner is vice provost for the arts at the University of Virginia, former senior curator of the Phillips Collection in Washington, D.C., and curator of the 2004 exhibition Calder–Miró in conjunction with the Beyeler Fondation.

Thursday, 24 July 2014, 6:30pm
The Phillips Collection
1600 21st Street NW
Washington, D.C. 20009