“Calder: The Conquest of Time”, The Early Years: 1898-1940, by Jed Perl.
The American sculptor Alexander Calder has two claims to fame: in the first half of his career he invented the “mobile”, so-named by his Parisian friend Marcel Duchamp in 1931, though the term originally referred to Calder’s motor-driven assemblages rather than the arrangement of hanging shapes now a familiar sight in every nursery; and in later career he pioneered the placement of large-scale abstract sculptures in the public arena, mostly “stabiles”, a term coined by another friend, Jean Arp, perhaps in rather ironic riposte. Jed Perl’s new book, the somewhat hubristically titled “Calder: The Conquest of Time”, deals with the former period, up to 1940. The second volume, we are led to believe, is out in a couple of years and is to be called “The Conquest of Space”. Onward and upward!
There is a big push on at the moment to heighten the reputation and profile of Calder, to move him up from blue-chip to gilt-edged status, and it’s all emanating from the artist’s Foundation in the US, headed up by the artist’s grandson and rather rakish President, Alexander S. C. Rower. Linked to this is the release of Jed Perl’s part 1 biography. The Tate showed his work last year, the Whitney this year. Rower and Perl, an odd couple, are out and about, talking at various venues, promoting the book. And Calder is, according to the PR, now “America’s Most Beloved Sculptor”. Wow; a sculptor, “beloved”! Maybe it has a different nuance in the states. Do we have a “beloved” UK sculptor? Certainly Caro wasn’t, nor even Henry Moore. Gormley? Yes, perhaps Gormley. But even he divides opinion, and I can’t imagine anyone ever hating the work of Calder in quite the same way that many – myself included – hate Gormley’s, whose Crosby Beach figures I’d be happy to stamp upon until ten feet below the tide. By contrast, Calder ticks the minimalist/modernist design boxes that people these days are hooked into (and that even I am occasionally partial to, design-wise if not art-wise), so it’s hard to imagine anything from this artist that would fail to please or amuse, never mind cause actual offence (perhaps some of the later, monster-sized plaza sculptures?). And it’s ever so easy to be charmed by some of the little mobiles and stabiles: https://twitter.com/calderfdn/status/911336348237406209.