Calder writes to Sweeney about his forthcoming retrospective at the Museum of Modern Art, New York. I forgot to show you this object. One swings the red (iron) ball in a small circle—this movement and the inertia of the rod and the length of thread develops a very complicated
pattern of movement. The impedimenta—boxes, cymbal, bottles, cans etc. add to the complication, and also add sounds of thuds, crashes, etc.—This is a reconstruction of one I had in Paris in ’33. I will bring it down and set it up for you to see. I call it the “Small Sphere and Heavy Sphere.”
Arnold Newman photographs Calder at the Museum of Modern Art, New York.
The Museum of Modern Art, New York, presents “Alexander Calder: Sculptures and Constructions,” curated by Sweeney and Duchamp. Calder writes, Simplicity of equipment and an adventurous spirit in attacking the unfamiliar or unknown are apt to result in a primitive and
vigorous art. Somehow the primitive is usually much stronger than art in which technique and flourish abound. Originally scheduled to close on 28 November 1943, the exhibition is extended to 16 January 1944 due to public demand.
Calder gives two performances of Cirque Calder in the Members Room of the Museum of Modern Art, New York, for friends and staff.
Agnes Rindge Claflin writes and narrates Alexander Calder: Sculpture and Constructions, a film based on the retrospective at the Museum of Modern Art, New York. Cinematography is by Matter.
Pierre Matisse Gallery, New York. Calder: Stabiles & Mobiles. 23 February–13 March 1937.
George Walter Vincent Smith Gallery, Springfield, Massachusetts. Calder Mobiles. 8–27 November 1938.
Pierre Matisse Gallery, New York. Calder. 14 May–1 June 1940.
Willard Gallery, New York. Calder Jewelry. 3–25 December 1940.
In 1937, Calder completed Devil Fish, his first stabile enlarged from a model. He received two important commissions: Mercury Fountain (1937) and Lobster Trap and Fish Tail (1939). His first retrospective was held in 1938 at the George Walter Vincent Smith Gallery in Springfield, Massachusetts, followed by another in 1943 at the Museum of Modern Art in New York.