DATE 6/25/2024

LIVE from NYPL presents Michael Stipe launching 'Even the birds gave pause'

DATE 6/22/2024

Artbook at Hauser & Wirth Los Angeles Bookstore presents Penny Slinger launching and signing 'An Exorcism'

DATE 6/20/2024

picturehouse + thesmalldarkroom present Yelena Yemchuk on 'Malanka'

DATE 6/13/2024

ICP presents Eugene Richards on 'Remembrance Garden'

DATE 6/13/2024

LaToya Ruby Frazier, removing the contradiction between ideals and practice

DATE 6/8/2024

"Next-level otherness" in Pride Month staff pick 'Nick Cave: Forothermore'

DATE 6/6/2024

Celebratory and transgressive, 'John Waters: Pope of Trash' is a Pride Month Staff Pick

DATE 6/3/2024

In Nan Goldin's 'The Other Side,' you are who you pretend to be

DATE 6/2/2024

Green-Wood Cemetery presents Eugene Richards launching 'Remembrance Garden: A Portrait of Green-Wood Cemetery'

DATE 6/1/2024

There's no such thing as being extra in June! Pride Month Staff Picks 2024

DATE 5/28/2024

'Mickalene Thomas: All About Love,' on view at The Broad

DATE 5/24/2024

Celebrate Memorial Day weekend with Garry Winogrand's intimate, flashing mirror of America

DATE 5/24/2024

Beautifully illustrated essays on Arab Modernists


This 1943 publicity photo of Alexander Calder during the installation of

Thinking of Alexander Calder, born OTD 1898

This 1943 publicity photo of Alexander Calder during the installation of Alexander Calder (September 29, 1943–January 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 façade he may be weakening that originally the best. There is no end to this. To finish the work he must approximate."

Alexander Calder: Modern from the Start

Alexander Calder: Modern from the Start

The Museum of Modern Art, New York
Hbk, 9 x 10.5 in. / 144 pgs / 113 color.

$45.00  free shipping

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