What is it about Alexander Calder sculptures that makes them irresistible to the artists who create architectural renderings?
Much has been seen of the American artist Alexander “Sandy” Calder (1898–1976). And much has been said. Despite the perpetual relevance and freshness of Calder’s art, it is hard to speak about him without descending into cliché-land.
With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
Before people were dropping GIFs into Gmail, letter writers were adding illustrations for that emotional or contextual punch.
It may sound like the beginning of a joke, but members of the US Senate are pondering the mobility of an Alexander Calder mobile.
This World Cup, the Brazilian national soccer team has been taking its characteristic flair to new heights. It has been flying to its games in a Boeing 737 painted by identical twin street artists Otavio and Gustavo Pandolfo, better known as Os Gêmeos.
MENLO PARK, California — I’m going to be honest: I haven’t been much of a fan of Pace Gallery in the past, or many of the blue-chip/dynastic galleries, for that matter; I find the programming too centered on celebrities in an attempt to garner press and sales.
LOS ANGELES — Architects often make good exhibition designers. It may seem obvious, since architects as a rule frame and organize space, but few actually get involved in the design of major museum exhibitions. Frank Gehry is an exception to the rule and the Los Angeles-based architect has for decades been designing exhibitions at the Los Angeles County Museum of Art.
When I was little I went to the Whitney Museum over and over to see “Cirque Calder,” Alexander Calder’s three-dimensional cartoon of performers preening, frozen in mise-en-scène. Walking into Calder Shadows, on view at Venus Over Manhattan, I felt the same childish camaraderie with the artist, only this time it held fear of the bogeyman.
CHICAGO — Have you ever wandered into a Goodwill store, browsed through the clothing (only slightly soiled), moved onto the box with the framed velvet pictures of Elvis, and picked out a print that cost you twelve dollars but turned out to be worth nine thousand? Me neither. But this is exactly what happened to Karen Mallett in Milwaukee, Wisconsin, a few months ago — at least the ‘paying a few bucks for a work of art’ part.
BERKELEY, California — These days, we experience the world on a much more international level. Whether online or through travel, the world feels smaller to us. As this trend continues, artistic experiences hosted online, available for anyone in the world with a internet connection to access, grow increasingly diverse and interesting. Unfortunately, that same diversity can’t be ascribed to the physical counterpart of global space, where the base unit of artistic experience just might be the airport.