My first abstract things grew out of meeting Mondrian, Léger, Miró. At first I began to paint, but this lasted only a few weeks as I soon began to work with wire (with which I had long been conversant) and detached objects. At first the objects were static (“stabiles”), seeking to give a sense of cosmic relationship. Then I felt that these relations were possibly not the most important and I introduced flexibility, so that the relationships would be more general. From that I went to the use of motion for its contrapuntal value, as in good choreography.
Hauser & Wirth, Somerset, England. Calder: From the Stony River to the Sky. Exhibition catalogue. 2018.
Susan Braeuer Dam, For the Open Air
Jessica Holmes, More than Beautiful: Politics and Ritual in Calder’s Domestic Items
Solo Exhibition CatalogueAlmine Rech Gallery, New York. Calder and Picasso. Exhibition catalogue. 2016.
Robert Slifkin, The Mobile Line
Susan Braeuer Dam, Liberating Lines
Jordana Mendelson, Picasso, Miró, and Calder at the 1937 Spanish Pavilion in Paris
Group Exhibition Catalogue“Calder in France.” Cahiers d’Art, no. 1 (2015). Edited by Alexander S. C. Rower.
Susan Braeuer Dam, Calder in France
Robert Melvin Rubin, An Architecture of Making: Saché and Roxbury
Agnès Varda in conversation with Joan Simon
Magazine, Monograph“Calder in France.” Cahiers d’Art, no. 1 (2015). Edited by Alexander S. C. Rower.
Susan Braeuer Dam, Calder in France
Robert Melvin Rubin, An Architecture of Making: Saché and Roxbury
Agnès Varda in conversation with Joan Simon
Magazine, Monograph