Displaying items by tag: Alexander Calder

One of Alexander Calder’s largest and most complex mobiles is to be shown outside Brazil for the first time this week after being restored by his grandson, Alexander Rower. Black Widow (around 1948) will be hung in its own space as the finale of the exhibition Alexander Calder: Performing Sculpture (11 November-3 April 2016) at Tate Modern in London—the largest show of Calder’s work ever held in the UK.

Rower, the head of the Calder Foundation in New York, is on a mission to restore as many sculptures as possible.

This November, Christie’s will present an unrivalled selection of paintings and sculpture by some of the titans of twentieth century art. From Andy Warhol’s opulent Four Marilyns to Cy Twombly’s sublime Untitled, and Louise Bourgeois’ monumental Spider to Lucian Freud’s magnificent portrait The Brigadier –the very best examples of Pop, Minimalism, Abstract Expressionism and Conceptual Art are represented. The role of the collector is also honored, with a selection of Pop works from the Miles and Shirley Fiterman Collection, works of Arte Povera from the Collection of Ileana Sonnabend and the Estate of Nina Sundell, and an impressive grouping of works by Alexander Calder from the Arthur and Anita Kahn Collection.

The new exhibit at Wadsworth Atheneum Museum of Art, "Aspects of Portraiture," is divided into three categories: traditional portraiture, symbolic portraiture and narrative portraiture. But the exhibit shows that even within the categories, there are categories.

Four charming traditional portraits of Roxbury sculptor Alexander Calder show different aspects of one man. One, taken in 1975 by Pedro Guerrero, shows Calder smiling in a ratty straw hat. In "Last Photograph of Calder," a 1975 photo by Calder's neighbor and friend, Inge Morath, he glares at the camera, silently ordering Morath to go away. In Morath's 1964 "Calder with Maquette for Stabile with Gunrest," he proudly presents his creation, a field full of cows in the background. In Morath's "Calder at Roxbury, 1969," he hides behind one of his sculptures.

There was a Calder sculpture on a tabletop, a Calder on a bookcase, and a Calder mobile hung from the ceiling.

When there was no room left to hang the Picasso or Matisse drawings in the Kahns’ Riverside Drive home on the Upper West Side, the couple stacked artworks on the floor, against the wall.

Over five decades, the Kahns — Arthur, a successful dentist, and his wife, Anita — built an art collection that seemed to fill every inch of their Manhattan apartment, initially a two-bedroom that grew as they combined it with the apartment next door.

The first exhibition of works by Alexander Calder (1898-1976) is due to open in Russia next month at the Pushkin State Museum of Fine Arts in Moscow. "Alexander Calder: Retrospective" (June 8 - August 30) includes 52 works drawn from the New York-based Calder Foundation, along with several key pieces on loan from private collections based in Russia.

“Remarkably, there have been very few exhibitions with Calder’s work in Russia,” says Alexander Rower, Calder’s grandson and president of the Calder Foundation.

On May 1, Pulitzer Arts Foundation celebrates the opening of its newly constructed galleries with solo exhibitions of Alexander Calder, Richard Tuttle, and Fred Sandback, and the debut of the program series "Press Play."

Presented in the Pulitzer’s light-filled upper galleries, "Calder Lightness" conveys a sense of weightlessness through the artist’s iconic hanging mobiles, standing mobiles, and constellations.

"Intimacy" is not a word that first comes to mind when thinking about Alexander Calder's steel work. But when you step inside Dominique Levy's immaculate townhouse galleries on the Upper East Side, where some 40 rarely-seen Calder maquettes are on view, intimate is exactly how it feels.

Collaborating with architect Santiago Calatrava Lévy presents two floors of Calder's miniature (the smallest work is 1.5 inches tall) to table-top sized sculptures. Many have not been on view since his MoMA retrospective in 1943.

When Ruth Horwich, a fixture in Chicago’s art community for over fifty-five years, passed away in July 2014, she left behind an extraordinarily diverse and deeply personal art collection. Horwich and her husband, Leonard, began collecting art in the late 1950s, often focusing  on unknown and emerging artists. The couple amassed a fascinating collection that included works by Chicago Imagists, European Surrealists, and self-taught and folk artists. They also acquired many notable pieces by Robert Matta, Alexander Calder, and Jean Dubuffet.

In addition to growing her collection, Horwich was dedicated to providing key support to many Chicago art institutions.

On Saturday, January 31, 2015, the Wadsworth Atheneum in Hartford, Connecticut, will unveil its reinstalled collections of post-war and contemporary art. Featuring work from 1945 to the present, the collections will be housed in three dedicated galleries that have been newly renovated and refurbished over the past year.

The Wadsworth’s illustrious post-war and contemporary holdings will be divided between the Huntington Gallery, where mid-century abstract painting and sculpture by artists such as Ellsworth Kelly, Willem de Kooning, Alexander Calder, Helen Frankenthaler, Jackson Pollock, Mark Rothko, and Tony Smith will be displayed; the Hilles Gallery, which will feature works by Robert Rauschenberg, Kara Walker, Cindy Sherman, Andy Warhol, Chuck Close, and Richard Tuttle; and the Colt building’s mezzanine gallery, where one of Sol LeWitt’s famed wall drawings will be on view as well as works by other minimalists and conceptualists.

"New York Painting and Sculpture: 1940 – 1970" was the Met’s most exciting exhibition to date under the auspices of director Thomas Hoving, who turned Henry Geldzahler loose to prick the art world to alertness. Paul Kasmin Gallery announces "The New York School, 1969: Henry Geldzahler at the Metropolitan Museum of Art," on view at 293 Tenth Avenue from January 13 – March 14, 2015. Curated by Stewart Waltzer, this comprehensive group show reprises Geldzahler’s seminal exhibition and includes exemplary works by Josef Albers, Alexander Calder, John Chamberlain, Joseph Cornell, Mark di Suvero, Dan Flavin, Helen Frankenthaler, Adolph Gottlieb, Hans Hofmann, Donald Judd, Ellsworth Kelly, Roy Lichtenstein, Morris Louis, Robert Motherwell, Isamu Noguchi, Kenneth Noland, Claes Oldenberg, Jules Olitski, Robert Rauschenberg, James Rosenquist, Frank Stella and Andy Warhol, featuring works from the original exhibition.