Alexander Calder: Modern from the Start; through August 7 at MoMA (New York)
Calder is renowned as the “mobile” guy whose shape-shifting sculpture inspired an industry of dangling decorative objects. His prolific public art and high print yield has capped his status as among the most famous American artists of the 20th century, up there with the populist Norman Rockwell and Pop-ist Andy Warhol. Equally feel-good and recognizable in his buoyant modernist metier, he shares with them a conveyed optimistic sensibility. Specifically, Calder offers an accessible snapshot of European-derived abstraction between and immediately following the wars through an American roots lens. This exhibition provides an overview via Calder’s relationship with and presence in the collection of MoMA from early on and throughout his career.
Despite the many NYC venues where one might seek out or run into a Calder at just about any moment, I still appreciate a cache of his art just about any where, as in, most recently, the Whitney’s targeted show “Hypermobility” (2017)– and again here. Ultimately Calder delivers an unpretentious kind of elemental universe–concerned with opacity and transparency, shadow and light, mass and line–but also content-wise as in the actual universe, along with the micro version, our personal space. And therefore not “non-objective” per se; along with astronomical phenomenon, generative subject matter includes, prominently, an array of creatures (including human beings).
Indeed his earliest mature works are small-scale figures of wire and wood (good examples on view), quintessential examples of making art magic with next to nothing, that belie acute visual shorthand, low-tech ingenuity, and a certain humility. His later large-scale steel assemblages cut sinuous contours into space somewhat similarly, stretched out and opaque.
In his day, Calder was part of the art in-crowd (white, male) from the West to East Coast US to Europe and back and forth; exposed to Ashcan School influencers followed by Duchamp and Mondrian; and a recipient of formal training in mechanical engineering and art. Still, much of his oeuvre seems a direct off-shoot of his childhood tinkering and memories, for example, adornments for his sister’s dolls, and formative experiences of the sky. Early commercial gigs included illustrations of the Ringling Bros. and Barnum & Bailey Circus and images for a toy manufacturer—culminating in his famous artist-activated suitcase circus (Calder’s Circus, Whitney Museum) and entrée into the bohemian art crowd in Paris.
Much of Calder’s art is inhabited by a kind of child-like wonder, a vocal if elusive goal of many canonical (again, European, male-coded) modernists, prominently Picasso. Overall, Calder’s output comes across as authentic vis-a-vis art gestures derived from immediate, momentary reflection.