Alexander Calder ( ; July 22, 1898 - November 11, 1976) is widely regarded as one of America's most important sculptors in the 20th century. He is renowned for his colorful and bizarre abstract public sculptures and innovative mobile phones, kinetic sculptures powered by motors or air currents, embracing opportunities in their aesthetics. Born into a family of accomplished artists, Calder's work first came to attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. A major retrospective was also held at the Solomon R. Guggenheim Museum (1964) and Museum of Contemporary Art, Chicago (1974). Calder's work is in many permanent collections, especially at the Whitney Museum of American Art, but also the Guggenheim Museum; Museum of Modern Art; National Art Gallery, Washington, D.C.; and Center Georges Pompidou. He produced many great public works, including .125 (at JFK Airport, 1957), Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, DC, 1976). Although well known for his sculpture, Calder is an outstanding artist with a restless creative spirit, whose diverse practices include painting and graphic art, miniatures (such as Cirque Calder's famous), children's book illustrations, theater set design , jewelry designs, rugs and carpets, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to accept it from Gerald Ford a year earlier in protest against the Vietnam War.
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Alexander "Sandy" Calder was born in 1898 in Lawnton, Pennsylvania. His real birthday, however, remains a source of much confusion. According to Calder's mother, Nanette (nà © Å © e Lederer), Calder was born on August 22, but his birth certificate at Philadelphia City Hall, based on a hand-written ledger, declared July 22. When Calder's family learned of a birth certificate, they reiterated with certainty that city officials had made a mistake.
Calder's grandfather, the sculptor Alexander Milne Calder, born in Scotland, had immigrated to Philadelphia in 1868, and was famous for his colossal sculpture William Penn on the tower of Philadelphia City Hall. His father, Alexander Stirling Calder, was a famous sculptor who created many public installations, the majority in nearby Philadelphia. Calder's mother was a professional portrait artist, who had studied at Acadà © mi Julian and Sorbonne in Paris from around 1888 to 1893. She moved to Philadelphia, where she met Stirling Calder while studying at the Pennsylvania Academy of Fine Arts. Calder's parents married on February 22, 1895; his sister, Mother Margaret Calder Hayes, was instrumental in the development of the UC Berkeley Art Museum.
In 1902, Calder posed naked for his father's statue of The Man Cub, whose casts are now at the Metropolitan Museum of Art in New York City. In the same year he also completed his earliest statue, a clay elephant. Three years later, Stirling Calder had tuberculosis, and Calder's parents moved to a ranch in Oracle, Arizona, leaving the children in the care of family friends for a year. The children were reunited with their parents at the end of March 1906 and stayed on a farm in Arizona until the fall of the same year.
After Arizona, the Calder family moved to Pasadena, California. The cellar of the family home became Calder's first studio and he received his first equipment. He used a piece of copper wire that he found on the way to make jewelry for his sister doll. On January 1, 1907, Nanette Calder took her son to the Roses Parade Tournament in Pasadena, where he observed a four horse race horses. This event style later became the cover of Calder's miniature circus show.
In the fall of 1909, the Calder family moved back to Philadelphia, where Calder briefly attended the Germantown Academy, then moved to Croton-on-Hudson, New York. On that Christmas, she carved a dog and a duck from a brass sheet as a gift for her parents. Three-dimensional sculptures and kinetic ducks for stone when tapped gently. At Croton, during his early years of high school, Calder became friends with his father's best friend Everett Shinn, with whom he built a gravitational-powered railway system. Calder described it: "We ran on a train on a wooden rail held by a nail, a piece of racing iron down a hill that accelerated the cars, and even turned on some cars with candle lights." After Croton, Calders moved to Spuyten Duyvil for closer to New York City, where Stirling Calder rented a studio. While living in Spuyten Duyvil, Calder attended high school in nearby Yonkers. In 1912, Stirling Calder was appointed acting head of the Panama-Pacific International Exposition Statue Department in San Francisco, California, and began work on a sculpture for an exposition held in 1915.
During Calder's high school years (1912-1915), the family moved back and forth between New York and California. At each new location, Calder's parents provide the warehouse space as a studio for their son. Toward the end of this period, Calder stayed with friends in California while his parents moved back to New York, so he could graduate from Lowell High School in San Francisco. Calder graduated with class 1915.
Maps Alexander Calder
Life and career
Calder's parents did not want him to suffer the life of an artist, so he decided to learn mechanical engineering. An intuitive engineer from an early age, Calder did not even know what engineering was. "I'm not quite sure what the term means, but I think I should adopt it," he wrote in his autobiography. He enrolled at the Stevens Institute of Technology in Hoboken, New Jersey in 1915. When asked why he decided to learn mechanical engineering rather than art, Calder said, "I want to be an engineer because some people I like are mechanical engineers, that's all." At Stevens, Calder was a member of the Delta Delta Delta fraternity and excelled in mathematics. He is well-liked and the yearbook class contains the following description, "Sandy is obviously always happy, or maybe up a joke, because her face is always wrapped up in the same juvenile mischievous smile.This of course is the index to the human character in this case, because she is one from the most benevolent people there. "
In the summer of 1916, Calder spent five weeks training at the Plattsburg Civil Military Training Camp. In 1918, he joined the Student Army Training Corps, Navy Section, at Stevens and became a battalion guide.
Calder received a degree from Stevens in 1919. Over the next few years, he held various jobs, including working as a hydraulic engineer and draftsman for the New York Edison Company. In June 1922, Calder found work as a mechanic on the passenger ship H. F. Alexander. As the ship sailed from San Francisco to New York City, Calder slept on the deck and woke early in the morning off the coast of Guatemala and watched the sunrise and full moon sink on the opposite horizon. He explained in his autobiography, "One morning in the calm sea, off Guatemala, when on my couch - a rope - I saw the beginning of the rising sun on one side and the moon looking like a silver coin on the other."
The H.F. Alexander docks in San Francisco and Calder travels to Aberdeen, Washington, where his brother lives with her husband, Kenneth Hayes. Calder took a job as a timekeeper at the logging camp. The mountain scenery inspired him to write home to ask for paint and brushes. Shortly after this, Calder decided to return to New York to pursue a career as an artist.
Calder moved to New York and enrolled in the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. When he became a student he worked for the National Police Gazette where in 1925, one of his duties was to sketch Ringling Bros and Barnum & amp; Bailey Circus. Calder became fascinated with the action of the circus, a theme that will reappear in his later work.
In 1926, Calder moved to Paris, enrolled in the AcadÃÆ'Â © na de la Grande ChaumiÃÆ'¨re, and founded a studio on 22 rue Daguerre in Montparnasse Quarter. In June 1929, when traveling by ship from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandson of writer Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and made friends with a number of avant-garde artists, including Fernand LÃÆ' Â © ger, Jean Arp, and Marcel Duchamp. Leger wrote the preface to Calder's first exhibit catalog of abstract constructions held at Galerie Percier in 1931. Calder and Louisa returned to America in 1933 to settle in a farmhouse they bought in Roxbury, Connecticut, where they built a family (first daughter, Sandra born 1935, second daughter, Mary, in 1939). During World War II, Calder attempted to join the Marines as a camofleur, but was rejected. In 1955 Alexander and Louisa Calder toured India for three months, in which Calder produced nine statues as well as some jewelry.
In 1963, Calder settled in his new workshop, which ignored the Lower ChevriÃÆ'¨re valley to Sachà ©  © in Indre-et-Loire (France). He donated to the city a statue, which since 1974 has been located in the town square. Throughout his art career, Calder named his many works in French, regardless of where they were destined to finally appear.
In 1966, Calder published Autobiography with Pictures with the help of his son-in-law, Jean Davidson.
Calder died unexpectedly on November 11, 1976 because of a heart attack, shortly after the opening of a major retrospective event at the Whitney Museum in New York.
Artistic work
Statue
In 1926, at the suggestion of a Serbian toy merchant in Paris, Calder began making mechanical toys. At the insistence of fellow sculptor Jose de Creeft, he handed it to Salon des Humoristes. Calder began making Cirque Calder, a miniature circus made of wire, cloth, rope, rubber, cork, and other objects found. Designed for transport (ends up with five large suitcases), the circus is presented on both sides of the Atlantic. Soon, he
It was a mixture of his experiments to develop a pure abstract statue after his visit with Mondrian leading to his first kinetic sculpture, manipulated by using a crank and a motor, which would be his distinctive artwork. Calder's kinetic sculpture is considered one of the earliest manifestations of art that consciously abandoned the traditional notion of art as a static object and integrates the ideas of gesture and immateriality as an aesthetic factor.
Originally from 1931, Calder's statues of discrete moving parts were supported by baptismal bikes by Marcel Duchamp, a French word meaning "motion" and "motive." However, Calder found that motor work sometimes became monotonous in a determined movement. The solution, arriving in 1932, hung a statue that derived their movement from touch or air currents. They were followed in 1934 by the outer part of the open air. The windshield features an abstract form that is subtly balanced on a rotating rod that moves with the least air currents, allowing for more free, more natural, and shifting spatial forms and connections. At the same time, Calder also experimented with self-supporting, static abstract sculptures, dubbed "stable" by Jean Arp in 1932 to distinguish them from cell phones. In 1935-1936, he produced a number of works mostly made of carved wood. At the Internationale des Arts et Techniques Exhibition dans la Vie Moderne (1937), the Spanish pavilion includes a statue of Calder Mercury Fountain .
Although Calder's statue is not explicitly representational, many of its themes, symbols and shapes are related to the cosmos or natural sugestif. During World War II, Calder continued to sculpt, adapting to the scarcity of aluminum during the war by returning to woodcarvings in the form of a new open statue called "constellations." After the war, Calder began cutting the shapes from sheet metal into evocative shapes and would paint them with pure colors of black, red, blue, and white. Calder created a small group of works from around this period with hanging hanging plates, such as Lily of Force (1945), Flat Top (1946), and Red is Dominant (1947). Calder also began to create new works such as Seven Horizontal Discs (1946), which, like Lily of Force (1945) and Baby Flat Top (1946 ), it can be unpacked and sent by mail despite strict size restrictions imposed by the postal service at the time. His performance in 1946 at the Galerie Louis Carrà © in Paris, consisting largely of hanging and standing, made a huge impact, as was the essay for a catalog written, at the invitation of the artist, by the French philosopher Jean-Paul Sartre. In 1951, Calder discovered a new type of sculpture, which was structurally related to his constellations. These "towers," are attached to the wall with spikes, consisting of struts wire and beams that jut out from the wall, with moving objects hanging from their armatures.
Though not denying Calder's power as a sculptor, an alternative view of the history of twentieth-century art calls Calder the turning in the early 1930s of his wind-driven mobile works as a sign of a decisive moment in the neglect of Modernism. previous commitments to the machine as a critical new element and potentially expressive in human affairs - and a waiver, in essence, a greater purpose of conformity to science and engineering - and this is unfortunate, if not to say the term implications destructive length for contemporary art:
The bigger myth of the phone is that it symbolizes the victory of a kinetic statue, when in reality the phone is different as one might imagine from the initial vision: passive rather than active; not mechanical at all; and random rather than directed in his movements. Indeed, the phone did not attract tremendous technical resources in the 20th century, the deprivation of which is certainly the main inspiration of the original kinetic.
Monumental works
In the 1950s, Calder increasingly focused his efforts on producing monumental sculptures (the "marriage" period he described himself), especially when public commissions grew more frequent in the 1960s. > for the JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques , commissioned for Expo 67 in Montreal, Quebec, Canada, Calder's largest statue at altitude 25 , 7 meters away is El Sol Rojo , built outside the Aztec Stadium for the 1968 Summer Olympic Games in Mexico City.Many of its public works are commissioned by renowned architects; IM Pei commissioned La Grande Voile > (1966), a 25 ton tall stabile, 40 feet tall for the Massachusetts Institute of Technology.
In 1934, Calder made his first outdoor work at Roxbury, Connecticut studio, using the same techniques and materials as his smaller work. Exhibited outside, Calder's early mobile phone moves elegantly in the wind, bobbing and spinning in a natural spontaneous rhythm. In fact, some of the first outdoor works were too smooth for strong winds, which forced Calder to rethink the fabrication process.
In 1936, he responded to the problem, changing his method of work. He started making smaller-scale maquettes which he later enlarged into a monumental size. Small metal maket, the first step in monumental sculpture production, is for Calder, a statue in its own right. Larger work is made under his direction, using classical enlargement techniques used in different ways by traditional sculptors, including his father and grandfather. Calder began drawing his design on a brown craft paper, enlarged with a box. His large-scale works were created according to his exact specifications, while also allowing him the freedom to adjust or correct the shape or line if necessary.
He made the most of his stability and monumental phone after 1962 in Etablissements BiÃÆ' Â © mont in Tours, France. Calder will model his work, the engineering department will enlarge it to the final size under Calder's direction, and then the technician will complete the real metal - all under Calder's supervision. Stable is made in steel plate, then painted black or in color. The exception is Trois disques , in 24-meter stainless steel, commissioned by International Nickel Company of Canada.
In 1958, Calder asked Jean Prouvà ©  © to build a Spirale steel base in France, a monumental phone for the UNESCO site in Paris, while the top was made in Connecticut. In June 1969, Calder attended his monumental monumental service La Grande Vitesse in Grand Rapids, Michigan. This statue is famous for the first civil statue in the United States to receive funding from the National Endowment for the Arts.
Calder created a statue called Bent Propeller, which was installed in 1971 at the entrance of the North Tower of the World Trade Center in New York City. When Battery Park City opened, the statue was moved to Vesey and Church Streets. The statue was standing in front of 7 World Trade Center until it was destroyed on September 11, 2001.
In 1974 Calder publicly introduced two statues, Flamingo at Federal Plaza and Universe at Sears Tower, in Chicago, Illinois. Alexander Calder's exhibition: A Retrospective Exhibition at the Museum of Contemporary Art, Chicago, opened simultaneously with the opening of the statues. Originally intended to be built in 1977 for the Hart Senate Office Building, Mountains and Clouds was not built until 1985 due to government budget cuts. The large project, built of sheet steel and weighing 35 tons, stretches across the nine-story altitudes of the building atrium in Washington, D.C. Calder designed the maquette in his final year of life for the US Senate.
Theater production
Part of Calder's repertoire includes an important stage set for more than a dozen theatrical productions, including Nuclà ©  © a , Horizon , and especially, Martha Graham Panorama (1935), a production of the symphonic drama Erik Satie Socrate (1936), and later, Works in Progress (1968). The production of Socrate sets was a decisive moment in Calder's artistic development which he described as "an indication of much of my next job." Works in Progress is the "ballet" contained by Calder himself and produced at the Rome Opera House, featuring a variety of mobile, stable, and large painted backgrounds. Calder will describe some of his stage sets as dancers performing choreography due to their rhythmic movements.
Paint and create a print
In addition to the statue, Calder painted throughout his career, beginning in the early 1920s. He took his studies of graphic art in 1925, and continues to produce illustrations for books and journals. Many of its projects from this period include pen-line drawings and animal ink for the 1931 publication of the Aesop story. When the statue Calder moved into pure abstract realms in the early 1930s, so did the prints. The thin lines are used to determine the numbers in the previous print and the images begin to describe the geometric shapes, often moving. Calder also used prints for advocacy, such as on poster prints from 1967 and 1969 protesting the Vietnam War.
Because Calder's professional reputation expanded in the late 1940s and 1950s, so did his print production. The mass of lithographs based on his gouache paintings hit the market, and the deluxe edition of drama, poetry, and short stories illustrated by the art prints by Calder became available for sale.
Aircraft & amp; painted; car
One of Calder's most celebrated and unconventional efforts was a commission from Dallas-based Braniff International Airways to depict a full-sized Douglas DC-8-62 jet engine as a "flying canvas". George Stanley Gordon, founder of New York City advertising agency Gordon and Shortt, first approached Calder with the idea of ​​jet painting in 1972, but Calder replied that he did not paint toys. When Gordon told him that it was a real giant plane, he proposed Calder's paint, the artist immediately gave his approval. Gordon felt that Braniff, known to fuse the fashion world and design with the aviation world, would be the perfect company to carry out the idea. Braniff Harding Lawrence's chairman was very accepting and a contract was made in 1973 calling for the painting of a Douglas DC-8-62 jetliner, dubbed Flying Color , and 50 gouaches for a total price of $ 100,000. Two years later, Braniff asked Calder to design aircraft carriers for their fleet to celebrate the USS Bicentennial. The object, a 727-200 jet called Flying Color from the United States , features red, white and blue wavy pictures echoing a flapping American flag.
In 1975, Calder was commissioned to paint the BMW 3.0 CSL, which will be the first vehicle in the BMW Art Car Project.
Jewelry
Calder created over 2,000 pieces of jewelry during his career, many of them as gifts for friends and relatives. Several parts reflect Calder's appeal with art from Africa and other continents. They are mostly made of brass and steel, with pieces of ceramics, wood and glass. Calder rarely used solder; when he has to combine pieces of metal, he connects them with knots, ties them with pieces of wire or ancient rivets. Calder created his first work in 1906 at the age of eight for his sister doll using a copper wire he found on the street.
For his lifelong friend, Joan MirÃÆ'³, he made a fragment of a broken porcelain vessel in a brass ring. Peggy Guggenheim received a huge silver earring earrings and then assigned a silver head hammered with a hanging fish. In 1942, the Guggenheim wore a Calder earring and one by Yves Tanguy to open his New York gallery, The Art of This Century, to show his same loyalty to Surrealists and abstract art, examples of which he displayed in separate galleries. Another person presented with Calder's piece is a close friend of the artist, Georgia O'Keeffe; Teeny Duchamp, Marcel Duchamp's wife; Jeanne Rucar, wife of filmmaker Luis Buà ¥ uel; and Bella Rosenfeld, wife of Marc Chagall.
Exhibition
Calder's first solo exhibition came in 1927, at the Jacques Seligmann Gallery in Paris. In 1928, his first solo performance in the US commercial gallery was at the Weyhe Gallery in New York City. In 1933, he was exhibited with the Abstraction-Krà © ation group in Paris.
In 1935, he held his first solo museum exhibition in the United States at The Renaissance Society at the University of Chicago. In New York, he was championed from the early 1930s by the Museum of Modern Art, and was one of three Americans to be included in the Alfred H. Barr Jr. exhibition. year 1936 Cubism and Abstract Art .
Calder's first retrospective was held in 1938 at George Walter Vincent Smith Gallery in Springfield, Massachusetts. In 1943, the Museum of Modern Art held a well-received Calder retrospective, curated by James Johnson Sweeney and Marcel Duchamp; the show must be extended due to the large number of visitors. Calder is one of 250 sculptures on display at the 3rd International Sculpture held at the Philadelphia Museum of Art in the summer of 1949. His cell phone, International Mobile is the centerpiece of the exhibition. Calder also participated in documentas I (1955), II (1959), III (1964). His main retrospective works were held at Solomon R. Guggenheim Museum, New York (1964), Fondation Maeght in Saint-Paul-de-Vence, France (1969), and Museum of Contemporary Art, Chicago (1974). In addition, both Calder dealers, Galerie Maeght in Paris and Perls Gallery in New York, averaged one Calder per year per show.
Collection
Calder's work is in many permanent collections around the world. The Whitney Museum of American Art, New York, has the largest workforce by Alexander Calder. Other important museum collections include the Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York; Center Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina SofÃÆ'a, Madrid; and National Art Gallery, Washington, D.C.
The Philadelphia Museum of Art offers views of Alexander Calders' three-generation work. From the second floor window on the east side of the Great Stair Hall (on the opposite side of the armor collection) is behind the 3rd generation Ghost mobile phone viewer (born 1898), in front of the Road is the Swann Memorial Fountain by the 2nd generation (born 1870), and more than the statue of William Penn over City Hall of the 1st generation (born 1846).
Recognition and rewards
- 1952 - Calder represents the United States at the Venice Biennale and was awarded the ultimate prize for sculpture
- 1958 - First Prize for Sculpture at Pittsburgh International
- 1974 - Grand Prix National des Art et Lettres, Ministry of Culture, France
- 1975 - U.N. Peace Medal
- 1983 - United States Mint takes out a half-ounce gold medal in honor of Calder
- 1998 - US Postal Service publishes a set of five cents 32 cents that respects Calder
Art market
In the late 1930s and early 1940s, even as Calder's international recognition grew, his works were not yet widely sought, and when sold, money was often relatively small. A copy of a major book of sale of Pierre Matisse in the foundation's archive shows that only a few sections of the 1941 exhibit found buyers, one of them, Solomon R. Guggenheim, paying only $ 233.34 (about $ 3,500 in dollars 2014) for a work. The Museum of Modern Art had purchased its first Calder in 1934 for $ 60, after talking to Calder down from $ 100. In 2010, its metal phone Untitled (Autumn Leaves) , sold at Sotheby's New York for $ 3.7 million. Another phone brought $ 6.35 million at Christie's by the end of that year. Also at Christie's, a mobile phone stand called Lily of Force (1945), which is expected to sell for $ 8 to $ 12 million, was purchased for $ 18.5 million in 2012. Calder's 7 1/2 -foot-long hanging cellphone Poisson volant (Flying Fish) (1957) earned $ 25.9 million, setting an auction record for sculptors at Christie's New York in 2014.
Galerie Maeght in Paris became Calder's exclusive dealer in Paris in 1950 and for the rest of Calder's life. After his dealer in New York, Curt Valentin died unexpectedly in 1954, Calder chose the Perls Gallery in New York as his new American dealer, and the alliance also survived to the end of his life.
Legacy
From 1966 to the present, the winner of the National Magazine Awards was awarded "Ellie", a copper-colored stabili resembling an elephant, designed by Calder. Two months after his death, the artist was posthumously awarded the Presidential Medal of Freedom, the highest civilian honor of the United States, by President Gerald Ford. However, representatives of the Calder family boycotted the January 10, 1977 ceremony "to make a statement supporting the amnesty for the repudiators of the Vietnam War".
Calder Foundation
In 1987, the Calder Foundation was founded by the Calder family. Foundation "is dedicated to collecting, exhibiting, preserving, and interpreting the art and archives of Alexander Calder and billed with an unparalleled collection of his work." The foundation has large holdings, with some works owned by family members and others by foundation supporters. This art covers over 600 statues (including mobile phones, stable, mobile stands, and wire sculptures), and 22 monumental outdoor works, as well as thousands of oil paintings, works on paper, toys, jewelry pieces, and domestic objects. The US copyright representative for the Calder Foundation is the Artist Rights Society.
After working primarily on Calder's catalog of works, the Calder Foundation is now focusing on organizing a global exhibition for artists.
Authenticity issues
The Calder Foundation does not authenticate artwork; instead, owners may submit their work for registration in the Foundation archives and for review. Organizing committees include experts, scholars, museum curators, and Calder family members. The Calder Foundation website provides details on the latest policies and guidelines governing inspection procedures.
In 1993, the owners of Rio Nero (1959), a cellphone sheets-metal and steel-wire pioneered by Calder, went to the United States District Court for the District of Columbia to charge that it was not by Alexander Calder , which have been sold by dealers who sell them to them. That same year, a federal judge ruled that for Rio Nero the burden of proof has not been met. Despite the decision, the phone owner can not sell it because the acclaimed expert, Klaus Perls, has declared it as a copy. The judge acknowledged the problem at the time, noting that Perls' statement would make Rio Nero not be sold. In 1994, the Calder Foundation refused to enter mobile phones in the catalog raisonnÃÆ' Â © on the artist.
Referring to the case of Rio Nero , the New York Supreme Court Appeals Division in 2009 rejected the appeal of an art collector who wanted to sell some stage devices designed by Calder but did not live to see the finish, which was not successfully handed over to the Foundation Calder for authentication. The court found that it did not have the power to declare an authentically recognized Calder's work, or to order the Calder Foundation to include it in the catalog raisonnÃÆ'Â ©.
In 1995, a question arose about another recognized Calder, Two White Dots (this part is distinguished from the same section name, Two White Dots in the Air , created by Calder in 1958). Calder created a 1-foot (0.30 m) tall metal mock in 1973 for an unrealized stabili which he called Two Rain Dots . He gave this magazine to Carmen Segretario, founder and owner of Segrà © Foundry of Waterbury, Connecticut. For decades, Calder has used the services of SegrÃÆ' © Foundry in the making of mobile phones and stability. Each part (no matter how many copies are made) will be personally netted by Calder with white chalk, after which the welder will follow the chalk marks to burn the initials into the paper. Calder died in 1976, without the full-size version of Two White Dots ever made. In 1982, Segretario built the full-size version of Two White Dots, and sold it in 1983 to art dealer Shirley Teplitz for $ 70,000. The Segetario documentation claims that the work was created around 1974 "under the supervision and direction of Artist". Two White Dots were then sold at auction in May 1984 for $ 187,000. Over the next decade, the work was sold repeatedly. In 1995, Jon Shirley (former president of Microsoft and Calder collector) purchased Two White Dots for $ 1 million. When Shirley submitted the work to the Calder Foundation for inclusion in their catalog list, the Foundation debated the authenticity of the work. The AndrÃÆ'  © Emmerich Gallery returned Shirley's money, and demanded SegrÃÆ' © Foundry, who sought bankruptcy protection. The lawsuit was settled out of court in the late 1990s. Two White Dots is now outdoors on a farm near the river outside the small town of Washington, Connecticut.
Packages for Calder Museum
After similar ideas were developed for New York in 1998, plans for a museum devoted to Calder in Philadelphia were announced in 2000. The proposed 35,000-square-foot Calder Museum, designed by Japanese architect Tadao Ando, ​​would be placed on two hectares. The facility, which is scheduled for opening 2008, will cost approximately $ 70 million. The heirs of the late sculptors have approved an unprecedented prize to the museum but in 2005, the plan was abandoned because of failed fundraising efforts.
Quotes
"How can art be realized?
From volume, motion, space bounded by great space, universe.
Out of different masses, tight, heavy, medium - indicated by size or color variations - directional lines - vectors representing speed, speed, acceleration, power, etc...-- This directive makes between them meaningful corners, and the senses, together define one or more large conclusions.
Spaces, volumes, are suggested by the smallest means of contrast with their mass, or even including them, juxtaposed, penetrated by vectors, crossed by speed.
Nothing can be fixed.
Each element is capable of moving, stirring, oscillating, to come and go in relation to other elements in the universe.
It should not be just a moment but a physical bond between the events in life.
Not extraction,
But abstraction
Source of the article : Wikipedia
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