tag archives: sculpture

have you ever noticed that people are mesmerized by movement?

alexander calder: performing sculpture, an exhibition at the tate modern museum in london from 11 november 2015 – 3 april 2016, could be described as mesmerizing.  it’s the largest calder exhibition ever shown in great britain, with eleven galleries displaying approximately 100 works.

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alexander calder: performing sculpture | tate modern museum | london, united kingdom | 11 november 2015 – 3 april 2016

saint paul’s cathedral and the millenium bridge in the background

photo credit lisa walsh | innerspace

american sculptor, alexander calder (1898-1976), may be best known for transforming sculpture into a kinetic art form.

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alexander calder (1898-1976) | antennae with red and blue dots | hanging mobile | aluminum and steel wire | circa 1953

collection of the tate modern museum | london, united kingdom

photo credit (c) 2015 calder foundation, new york / DACS, london via BBC

his kinetic sculptures could also be described as performance art.

at the beginning of his career, calder gained fame, received introductions, and made friends through cirque calder, the miniature mechanical circus that he created and performed in paris and new york from 1926-1931.

calder’s friends included artists joan miró (1893-1983) and fernand léger (1881-1955), as well as composer edgard varèse (1883-1965).  my husband, bob, and i were captivated by calder’s three dimensional wire caricatures of them.

‘i think best in wire.’  -alexander calder

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alexander calder (1898-1976) | joan miró | wire | circa 1930

on loan from a private collection

photo credit courtesy of the calder foundation via the new centrist

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alexander calder (1898-1976) | varése | wire | 1930

on loan from the whitney museum of american art | new york, NY

photo credit (c) calder foundation via the whitney

Fernand Legersmall

alexander calder (1898-1976) | fernand léger | wire | 1930

on loan from a private collection

photo credit (c) calder foundation, new york / DACS, london via the arts desk

at the tate modern, the installation and the illumination capture the shadows cast by the suspended sculptures.

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room 3 | alexander calder: performing sculpture | tate modern museum | london, united kingdom | 11 november 2015 – 3 april 2016

photo credit joe humphrys, tate photography / courtesy: calder foundation, new york / DACS, london via wallpaper

calder began creating abstract sculptures, most commonly made from wire and sheet metal, following a visit to the paris studio of dutch painter piet mondrian (1872-1944) in 1930.  he began suspending his abstract sculptures, and using airflow or touch, instead of mechanics or motorization, to generate movement.  another one of his friends, artist marcel duchamp (1887-1968), called calder’s suspensions mobiles, a pun on the french words for movement and motive.

like other viewers, bob and i were magnetized by the movement of the mobiles.

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room 9 | alexander calder: performing sculpture | tate modern museum | london, united kingdom | 11 november 2015 – 3 april 2016

photo credit joe humphrys, tate photography / courtesy: calder foundation, new york / DACS, london via wallpaper

some mobiles move silently.

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alexander calder (1898-1976) | snow flurry I | hanging mobile | painted steel sheet and steel wire | 1948

on loan from the collection of the museum of modern art | new york, NY

photo credit (c) 2016 calder foundation, new york / artists rights society (ARS), new york via MOMA

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alexander calder (1898-1976) | gamma | hanging mobile | painted sheet metal and steel wire | 1947

on loan from the collection of jon a. shirley | seattle, WA

photo credit calder foundation, new york / DACS, london via wsj

while, the movement of other mobiles creates sound.

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alexander calder (1898-1976) | triple gong | hanging mobile | brass, sheet metal, wire and paint | circa 1948

on loan from the collection of the calder foundation | new york, NY

photo credit calder foundation, new york / art resource, new york / ARS, new york / DACS, london via wsj

does silence somehow seem more eloquent?

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alexander calder (1898-1976) | black widow | hanging mobile | wire and painted metal | circa 1948

on loan from the institute of architects of brazil | säo paulo, brazil

photo credit joe humphrys, tate photography / courtesy: calder foundation, new york / DACS, london via wallpaper

our visit to london conveniently coincided with the post war and contemporary art auctions, which prominently featured works by alexander calder.

the auction previews provided an opportunity to view calder’s hanging and standing mobiles more closely.

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alexander calder (1898-1976) | untitled | hanging mobile | painted sheet metal and wire | 1967

sold for £962,500 (US$ $1,396,588) | lot 2 | sale 11795 | post war and contemporary art evening auction | 11 february 2016 | christie’s king street | london, united kingdom

photo credit lisa walsh | innerspace

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alexander calder (1898-1976) | crag with yellow boomerang and red eggplant | standing mobile | painted sheet metal and wire | 1974

sold for £1,874,500 (US$ 2719,900) | lot 3 | sale 11795 | post war and contemporary art evening auction | 11 february 2016 | christie’s king street | london, united kingdom

photo credit lisa walsh | innerspace

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alexander calder (1898-1976) | the black mountain | oil on canvas | 1945

sold for £602,500 (US$ 874,228) | lot 1 | sale 11795 | post war and contemporary art evening auction | 11 february 2016 | christie’s king street | london, united kingdom

photo credit lisa walsh | innerspace

you could say that calder performed rather well…

one of my favorite 2015 venice art biennale collateral events.  six sculptures by american artist, ursula von rydingsvard, installed in the giardino della marinaressa.

modular assemblages.  constructed from uniform cedar beams.  individually marked and cut.  then, patinaed with graphite.

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ursula von rydingsvard | for martin f. | cedar and graphite | 2013

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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ursula von rydingsvard | scratch | cedar and graphite | 2013-14

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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ursula von rydinsgvard | anastazia | cedar and graphite | 2013-14

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

cast in bronze, from a wooden model.

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ursula von rydingsvard | bronze bowl with lace | bronze | 2013-14

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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ursula von rydingsvard | heart in hand | bronze | 2014

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

cast in resin, from a wooden model.

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ursula von rydingsvard | elegantka II |  urethane resin | 2013-14

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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anish kapoor | gathering clouds | fiberglass and paint | 2014

alberto giacometti (1901-1966) | the cube | bronze | 1934-1935

proportio | palazzo fortuny | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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ettore spalletti | untitled, upside down | colored slip on alabaster | 2000

proportio | palazzo fortuny | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credit lisa walsh | innerspace

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joana hadjithomas & khalil joreige | latent image, diary of a photographer, 2009-2015 (part III of the project wonder beirut) | 177 days of performances, 354 artist books, timeline shelves

2015 venice art biennale-arsenale | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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shuji mukai | space of signs selfie studio | installation in situ | 2015

proportio | palazzo fortuny | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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daniel boyd | untitled (TI1) | oil, charcoal, and archival glue on polyester | 2015

daniel boyd | untitled (TI2) | oil, charcoal, and archival glue on polyester | 2015

2015 venice art biennale-arsenale | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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nairy baghramian | retainer | cast aluminum, silicon, polycarbonate, chromed metal, print, painted metal, rubber | 2013

slip of the tongue | punta della dogana | 2015 venice art biennale-collateral event | 12 april 2015-10 january 2016 | venice, italy

photo credits lisa walsh | innerspace

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ursula von rydingsvard | elegantaka II | resin | 2013-14

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 5 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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luciano vistosi. scultore | museo del vetro | 2015 venice art biennale-collateral event | 9 february 2015-17 january 2016 | murano, italy

photo credits lisa walsh | innerspace

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cy twombly | untitled (new york city) | oil based house paint and wax crayon on canvas | 1968

cy twombly. paradise | ca’ pesaro | 2015 venice art biennale-collateral event | 6 may-13 september 2015 | venice, italy

photo credit lisa walsh | innerspace

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eduardo basualdo | grito (shout) | paper, graphite, and metal | 2015

2015 venice art biennale-arsenale | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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sean scully | doric asceding | oil on aluminum | 2012

sean scully. land sea | palazzo falier | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

there is usually a showstopper room at the san francisco decorator showcase.  last year, it was the master bedroom by antonio martins interior design, who paneled the bedroom in blue and white portugese tiles, called azulejos.

click here to read my previous post about the 2014 san francisco decorator showcase.

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master bedroom | antonio martins interior design | 2014 san francisco decorator showcase

24″ x 24″ azulejos wall panels | painted by linda horning and katherine jacobus

photo credit lisa walsh | innerspace

this year, i thought that the dining room by cecilie starin design, with a black and white mural painted by street artist ian ross, was the most innovative room.

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Ian Ross ArtSan Francisco

street soirée dining room | cecilie starin design | 2015 san francisco decorator showcase

ian ross | black and white mural | 2015 san francisco decorator showcase

ian ross | freelon mural 2 | 41 freelon street | san francisco, CA

photo credits lisa walsh | innerspace, david duncan livingston, and ian ross art

the pair of spray can sculptures that flank the fireplace are also by ian ross.

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street soirée dining room | cecilie starin design | 2015 san francisco decorator showcase

ian ross | spray can sculptures

photo credits lisa walsh | innerspace

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interior designer cecilie starin

photo credit david duncan livingston

the street soirée dining room is also an homage to orlando diaz-azcuy, and the dining room that he designed for the 1998 san francisco decorator showcase.

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dining room | orlando diaz-azquy (odada) | 1998 san francisco decorator showcase

light ring pendant lights | NIDO living | san francisco, CA

street soirée dining room | cecilie starin design | 2015 san francisco decorator showcase

tabletop

photo credits robin weiner, david duncan livingston, david duncan livingston, and lisa walsh | innerspace

do you think that the 1998 diaz-azcuy design could still be considered innovative?

2015 san francisco decorator showcase

3630 jackson street | san francisco, CA 94118

25 april-25 may 2015

you may think of jean prouvé (1901-1984) as a mid-century french furniture designer.  the standard chair, which he designed during the 1930’s, is a modern classic that is now produced by vitra.

jean prouvé | standard chair | circa 1950 | laffanour galerie downtown/paris | paris, france

photo credit 1st dibs

for the standard chair, prouvé designed a metal frame, with tubular front legs and tailfin shaped back legs.  he fabricated the hollow frame from sheets of steel, a thin but strong material that is commonly used in the automobile industry.

you may also know that jean prouvé was an architect.  he believed that:

‘in their construction there is no difference between furniture and buildings.’ 

-jean prouvé

both the furniture and the buildings that he designed used similar construction systems.  as a result, both could be easily modified, moved, or dismantled.

jean prouvé | deconstructed standard chair | circa 1950

photo credit the row on instagram

two of prouvé’s demountable buildings were exhibited at design miami and design miami/basel in 2013 and 2014 by paris dealer, galerie patrick seguinfrom 27 february-4 april 2015, galerie patrick seguin is exhibiting two more in collaboration with gagosian gallery in new york.  at gagosian, both buildings are surrounded by and filled with john chamberlain (1927-2011) sculptures.  chamberlain’s sculptures are constructed from salvaged automobile parts.  tailfins, fenders, and hoods that he bent, crushed, twisted, welded, and painted.

‘the mangle is the message.’  

-john chamberlain

john chamberlain | constantpunchline | 2008

photo credit lisa walsh | innerspace

do you think that the demountable structures and the mangled metal sculptures are a dynamic juxtaposition?

jean prouvé | demountable house portal frames

photo credits lisa walsh | innerspace

jean prouvé | model | demountable offices for ferembal | nancy, france | 1948

bent steel frame with five axial portal frames set on a pressed steel floor

held together by ridge beams, which support the purlins and aluminum roofing slabs

facade constructed of prefabricated double sided wood panels, which slot together interchangeably

structure rescued from the demolition of the fermebal site in 1983

adapted by french architect, jean nouvel

photo credits lisa walsh | innerspace

john chamberlain | euphoriainahat | 2010

photo credits lisa walsh | innerspace

john chamberlain | cloudedleoparoexpresso | 2010

photo credits lisa walsh | innerspace

john chamberlain | magnesium revolt | 1977

photo credit lisa walsh | innerspace

john chamberlain | battsy beeker | 1983

photo credits lisa walsh | innerspace

john chamberlain | dhuha ditty | 1983

photo credits lisa walsh | innerspace

jean prouvé | model | temporary school of villejuif | paris, france | 1956

constructed from prefabricated components

sheet steel props support the curved, cantilevered, laminated wood roof

facade constructed of glazed panels divided by sheet steel sections that act as stiffeners and provide ventilation

after the school was dismounted, the components were reused in other buildings

photo credits lisa  walsh | innerspace

john chamberlain | entirelyfearless | 2009

photo credits lisa walsh | innerspace

john chamberlain | tasteylingus | 2010

photo credits lisa walsh | innerspace

 from 18-21 june 2015, another jean prouvé demountable house will be exhibited at art | basel.

jean prouvé | model | 6×6 demountable house | 1944

original structure with the addition of modern living facilities modern additions include external bathroom and kitchen pods

and, a series of service trolleys that provide hot water and solar electricity
adapted by british architect, richard rogers | rogers stirk harbor + partners

photo credits lisa walsh | innerspace

27 february-4 april 2015

chamberlain | prouve

gagosian gallery

555 west 24th street

new york, NY 10011

tuesday-saturday 10 am-6 pm

18-21 june 2015

art | basel

messeplatz 10

4005 basel, switzerland

11 am-7pm