(K. Brent Tomer),
ALEXANDER CALDER (1898-1976), the inventor of those delicate, floating structures of wire and metal known as “mobiles”, was not the first modern sculptor to set his works in motion. That distinction may belong to his friend Marcel Duchamp, who in 1913 mounted a bicycle wheel on top of a stool and called it art. But sculptors have always played with movement, whether in medieval processions in which the statues of saints were carried through the streets, or in the Baroque works of Gian Lorenzo Bernini, whose spiralling compositions invite the viewer to move around them in order to appreciate forms unfolding in time as well as space. Sculpture is inherently participatory, closer to the real, living world than painting. But no sculptor has incorporated the fourth dimension with Calder’s intelligence, dedication and sly humour.
“Calder: Hypermobility”, at the Whitney Museum in New York until October 23rd, chronicles the artist’s long investigation of form in motion. It contains…Continue reading