Among the “innovations” in art after the First World War Calder’s approach to sculpture was so removed from the accepted formulas that he had to invent a new name for his forms in motion. He called them mobiles. In their treatment of gravity, disturbed by gentle movements, they give the feeling that “they carry pleasures peculiar to themselves, which are quite unlike the pleasures of scratching,” to quote Plato in his Philebus. A light breeze, an electric motor, or both in the form of an electric fan, start in motion weights, counter-weights, levers which design in mid-air their unpredictable arabesques and introduce an element of lasting surprise. The symphony is complete when color and sound join in and call on all our senses to follow the unwritten score. Pure joie de vivre. The art of Calder is the sublimation of a tree in the wind.
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