Edited with text by Cara Manes. Text by Alexander Calder, Alexander S. C. Rower.
On Alexander Calders fruitful, creative and enduring relationship with MoMA, from the early wire sculptures to late abstractions
Alexander Calders work first appeared in the Museum of Modern Arts galleries in 1930, in the exhibition Painting and Sculpture by Living Americans. Over the next decades the artists connection with the Museum would be deep, productive and mutually beneficial. Calder cultivated friendships and working relationships with notable figures, including Alfred H. Barr Jr., the Museums founding director, and James Johnson Sweeney, with whom he collaborated on his expansive retrospective exhibition in 1943. His work is imprinted on MoMAs early history, not only for its material and conceptual innovation but also for its presence at significant moments, such as a mobile made to hang over the lobbys grand staircase on the occasion of the new Goodwin and Stone building (Lobster Trap and Fish Tail, which hangs there to this day); an elaborate candelabra to adorn the tables at a celebratory anniversary event; and a sculpture to fly off a flagpole to advertise the landmark exhibition Cubism and Abstract Art.
Alexander Calder: Modern from the Start celebrates this extraordinarily fertile relationship between an institution and an artist who was both an important creative partner and, with his magnificent gift of 19 works in 1966, a major donor. Through MoMA, Calder came to be known as a pioneer of modern sculpture, and through Calder, MoMA came to understand itself as an American museum of modern art.
After studying engineering, Alexander Calder (18981976) moved to Paris in the late 1920s, where he found himself at the center of the citys artistic avant-garde. There, he developed his Cirque Calder, a performance artwork comprising dozens of miniature handmade objects, and a group of standalone figurative works in wire. Turning toward abstraction in 1930, Calder invented the mobilean abstract sculpture made of independent parts that incorporate natural or mechanical movement. He would continue to explore the possibilities of this visual language for the rest of his career, eventually shifting to monumental constructions and public works.
Alexander Calder installing the exhibition Alexander Calder: Sculptures and Constructions, 1943. The Museum of Modern Art Archives, New York. Artwork by Alexander Calder 2021 Calder Foundation, New York / Artists Rights Society (ARS), New York.
PRAISE AND REVIEWS
Reuters
Soren Larson
Offers new insight into the resourceful and creative artist.
Patron
Doug King
Calder exemplifies the free spirit in modern sculpture... this book ... show[s] the earliest wire sculptures that helped launch Calders career through his exploration into animated and monumental works.
Wall Street Journal
Lance Esplund
A striking [book] celebrates the sculptor and his long association with the museum, in work that ranges from his inventive jewelry to his massive mobiles.
Mommy Poppins
Diana Kim
Incorporate[d] motion, repurposed objects, and a sense of whimsy in his works...
Vanity Fair
Allison Schaller
Released in conjunction with MoMAs retrospective, 'Alexander Calder: Modern from the Start' is an in-depth and endearing look at the relationship between the museum and one of the greatest American artists of all time. His work first appeared in the museum in 1930, just 1 year after its founding, under the direction of Alfred H. Barr, Jr. and has been shown regularly since; one of the most fruitful institution/artist relationships on record.
Our Town
Val Castronovo
With virus fears spiraling again, it seems like theres no better time to enter Calders universe and be spirited away.
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This 1943 publicity photo of Alexander Calder during the installation of Alexander Calder (September 29, 1943January 16, 1944) at The Museum of Modern Art, New York, is reproduced from Alexander Calder: Modern from the Start, published to accompany the exhibition currently on view at MoMA. Cara Manes writes, "Calder's sculptures depend on a viewer's perception of their many elements to achieve their full expression: they contain infinite forms, none of them final. His is an aesthetic of adjustment, of a body to an object, an object to a body, and an object to itself and to its surroundings. In time, or as Calder wrote, with 'familiarization,' some of a given work's infinite possible expressions will emerge. The longer we spend with his work, the more we see, as physical interventions and their perceptions occur in their own time, with accumulating impact. In precisely the same manner that the work implies no fixed viewpoint, achieves no final form, the Calder story, even laid out in a chronological series of events, eludes simple telling. Which seems to be how the artist wanted it: The admission of approximation is necessary, for one cannot hope to be absolute in his precision. He cannot see, or even conceive of a thing from all possible points of view, simultaneously. While he perfects the front, the side, or rear may be weak; then while he strengthens the other faade he may be weakening that originally the best. There is no end to this. To finish the work he must approximate." continue to blog
FORMAT: Hbk, 9 x 10.5 in. / 144 pgs / 113 color. LIST PRICE: U.S. $45.00 LIST PRICE: CANADA $63 ISBN: 9781633451162 PUBLISHER: The Museum of Modern Art, New York AVAILABLE: 3/2/2021 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by The Museum of Modern Art, New York. Edited with text by Cara Manes. Text by Alexander Calder, Alexander S. C. Rower.
On Alexander Calders fruitful, creative and enduring relationship with MoMA, from the early wire sculptures to late abstractions
Alexander Calders work first appeared in the Museum of Modern Arts galleries in 1930, in the exhibition Painting and Sculpture by Living Americans. Over the next decades the artists connection with the Museum would be deep, productive and mutually beneficial. Calder cultivated friendships and working relationships with notable figures, including Alfred H. Barr Jr., the Museums founding director, and James Johnson Sweeney, with whom he collaborated on his expansive retrospective exhibition in 1943. His work is imprinted on MoMAs early history, not only for its material and conceptual innovation but also for its presence at significant moments, such as a mobile made to hang over the lobbys grand staircase on the occasion of the new Goodwin and Stone building (Lobster Trap and Fish Tail, which hangs there to this day); an elaborate candelabra to adorn the tables at a celebratory anniversary event; and a sculpture to fly off a flagpole to advertise the landmark exhibition Cubism and Abstract Art.
Alexander Calder: Modern from the Start celebrates this extraordinarily fertile relationship between an institution and an artist who was both an important creative partner and, with his magnificent gift of 19 works in 1966, a major donor. Through MoMA, Calder came to be known as a pioneer of modern sculpture, and through Calder, MoMA came to understand itself as an American museum of modern art.
After studying engineering, Alexander Calder (18981976) moved to Paris in the late 1920s, where he found himself at the center of the citys artistic avant-garde. There, he developed his Cirque Calder, a performance artwork comprising dozens of miniature handmade objects, and a group of standalone figurative works in wire. Turning toward abstraction in 1930, Calder invented the mobilean abstract sculpture made of independent parts that incorporate natural or mechanical movement. He would continue to explore the possibilities of this visual language for the rest of his career, eventually shifting to monumental constructions and public works.
