mobile sculptures

André Kertész :: Calder with Eucalyptus, 1940. (Image © Ministère de la Culture / Médiathèque de Patrimoine, Dist. RMN-Grand Palais) 

“He didn’t see an eucalyptus tree and those long beautiful leaves and think, ‘I want to interpret that in a sculpture.’ He made a sculpture, and he looked at it, and he saw that it looked kind of like eucalyptus leaves” – Sandy Rower 

Although often evocative, Calder’s titles are not guides for interpretation. The artist named his abstract sculptures after they were created simply as a means to identify or differentiate. “I give names to the things I’m working on just like license plates,” Calder once said. © 2017 Calder Foundation, New York / Artists Rights Society [ARS], New York)

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What if a sculpture could think?

That’s what a group of architects and IBM teamed up to find out. The result is the world’s first thinking sculpture, which debuted at this year’s Mobile World Congress in Barcelona. To make the sculpture reflect its surroundings, Watson learned about renowned Spanish architect Antoni Gaudi and Barcelona’s architectural heritage. Watson’s insights then helped inspire the sculpture’s colors, materials and shape. The sculpture is also being shaped by the emotion of conference attendees’ social posts through a real-time light display—because it can do more than think, it can feel too.


See how it was made →

Happy birthday to artist Alexander Calder! The exact date of Calder’s birth is a bit of a mystery—Philadelphia’s City Hall, the doctor who delivered him, and his own family all offer differing accounts as to whether it’s on July 22 or August 22. As for Calder, he celebrated both. Who can argue with that?

[Alexander Calder with Gamma, 1947, and Sword Plant, 1947, Alexander Calder, Buchholz Gallery/Curt Valentin, New York, 1947. © 2017 Calder Foundation, New York / Artists Rights Society (ARS), New York]

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“Just as one can compose colors, or forms, so one can compose motions.“
Alexander Calder

Don’t miss the must-see exhibition Calder: Hypermobility, which The New York Times called "a high-spirited showcase.” On view through Monday only, the exhibition features major examples of Alexander Calder’s work—from early motor-driven abstractions to hanging mobiles.

Between 1960 and 1965, five standing mobiles by Alexander Calder were picked up from the artist’s studio in France and sent to his dealers in New York and Paris. According to Calder Foundation, the top of each standing mobile was mismatched with the base of one of the other sculptures it had departed with. One of these mobiles, currently untitled and undated, was purchased by the Calder Foundation at auction this year. It is the intention of the Foundation to reunite the top with its original base in the future. Until that time arrives, the sculpture has been placed in artist Jill Magid’s long term care. Today, as part of Calder: Hypermobility, Magid will activate the standing mobile by passing through its transitory states, setting the work into motion beyond Calder’s intention. Live activations will take place at the top of the hour from 1–5 pm in our theater! 

[Jill Magid, Awaiting Alexander Calder, 2017. Gif. © Jill Magid. All works by Alexander Calder © 2017 Calder Foundation, New York / Artists Rights Society (ARS), New York]

the pride of lions  3  -   the chain bridge

during the siege of Budapest, retreating units of the Wehrmacht demolished the chain bridge.  The lions were later recovered from the banks of the Danube, and restored to their original positions when the bridge was rebuilt.

source: flaneurissimo