A walkthrough of an ambitious Calder exhibition in the British countryside, including many previously unseen works
Featuring over 90 works by Alexander Calder (1898–1976) including paintings, mobiles, stabiles, jewelry, domestic objects and furniture, plus six monumental outdoor sculptures, this catalog vividly illustrates a walkthrough of an ambitious exhibition in the British countryside in Somerset. Drawing a parallel with Calder’s longtime home and studio in Roxbury, Connecticut, it includes many previously unseen works.
An essay by Jessica Holmes focuses on the artist’s handcrafted domestic objects, offering insight into Calder’s life and inventive practice. Susan Braeuer Dam focuses on Calder’s move to Roxbury in 1933 and the shifts in his work, drawing upon themes of nature, process and monumentality, specifically as related to the 1934 sculptures surveyed here.
Featured image is reproduced from 'Alexander Calder: From the Stony River to the Sky.'
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FORMAT: Pbk, 7.75 x 11.75 in. / 120 pgs. LIST PRICE: U.S. $40.00 LIST PRICE: CANADA $62 ISBN: 9783906915258 PUBLISHER: Hauser & Wirth Publishers AVAILABLE: 9/25/2018 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA
Published by Hauser & Wirth Publishers. Text by Susan Braeuer Dam, Jessica Holmes.
A walkthrough of an ambitious Calder exhibition in the British countryside, including many previously unseen works
Featuring over 90 works by Alexander Calder (1898–1976) including paintings, mobiles, stabiles, jewelry, domestic objects and furniture, plus six monumental outdoor sculptures, this catalog vividly illustrates a walkthrough of an ambitious exhibition in the British countryside in Somerset. Drawing a parallel with Calder’s longtime home and studio in Roxbury, Connecticut, it includes many previously unseen works.
An essay by Jessica Holmes focuses on the artist’s handcrafted domestic objects, offering insight into Calder’s life and inventive practice. Susan Braeuer Dam focuses on Calder’s move to Roxbury in 1933 and the shifts in his work, drawing upon themes of nature, process and monumentality, specifically as related to the 1934 sculptures surveyed here.
