A long time ago I decided, indeed, I was told that primitive art is better than decadent art. So I decided to remain as primitive as possible, and thus I have avoided mechanization of tools, etc. (in spite of having been trained as an engineer).
This, too, permits of a more variable attack on problems, for when one has an elegant set of tools one feels it a shame, or a loss, not to use them.
When I am at a loss for inspiration I think of what Sweeney, or Sartre, or perhaps one or two others, have written on my work and this makes me feel very happy, and I go to work with renewed enthusiasm.
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
