Alexander Calder
Big, Big Black, 1957
Hanging mobile: painted metal, 117 × 223 inches (297.2 × 566.4 cm)
Alexander Calder
Untitled, 1956
Hanging mobile: painted metal, 26 × 173 inches (66 × 439.4 cm)
Karen Wong charts the journey of Alexander Calder’s Quatre lances (1964) from its intended site at the Fondation Maeght, Saint-Paul-de-Vence, France, to the Centennial Hall in Monaco, and now to its permanent home in a new single-artwork museum designed by Renzo Piano at the Nouveau Musée National de Monaco. Wong examines the sculpture’s interaction with architecture and environment as part of a larger story of the artist’s relationship with architects.
In this video, Gagosian director Serena Cattaneo Adorno celebrates the installation of Alexander Calder’s monumental sculpture Flying Dragon (1975) at Place Vendôme in Paris, detailing the process and importance of this ambitious project.
Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.
Jed Perl takes a look at Alexander Calder’s lifelong fascination with dance and its relationship to his reimagining of sculpture.
The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.
Inspired by a visit to the Fondation Louis Vuitton’s exhibition Charlotte Perriand: Inventing a New World, William Middleton explores the life of this modernist pioneer and her impact on the worlds of design, art, and architecture.
The first authorized biography of Alexander Calder was published this past fall. Biographer Jed Perl and Alexander “Sandy” S. C. Rower, president of the Calder Foundation, discuss the genesis of the book, the nature of genius, and preview what’s to come in the second volume with the Quarterly’s Wyatt Allgeier.
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
While Alexander Calder is regarded as the originator of mobile art works, his works on paper exhibit a mastery of two-dimensional abstraction. With a show of his gouaches closing in the Davies Street, London gallery, Derek Blasberg celebrates some of the artist’s pieces that didn’t require a welding helmet.
