Word: calders
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...movements, one sees the Constructivist concern for space rather than for mass reiterated, especially in the French group, La Groupe de la Recherche Visuele, that includes such pioneers as La Parc and Agam. From Gabo and Pevsner's use of spatial structure comes spatial drawing as manifested in Alexander Calder's mobiles and stabiles, Anthony Caro's I Beams or even Picasso's wire sculptures...
Would that the film makers had Chief George's ingenuousness or Hoffman's technique. For Calder Willingham (End as a Man) has provided a scenario that begins with robust rawhide humor, turns to profundity−and then collapses into petulant editorial. In the era of occupied Alcatraz, surely it is no news that the white man spoke with forked tongue, that the first Americans were maltreated as the last savages. The Battle of Little Bighorn, which should be the film's climax, is its weakest point. General Custer is pure Pig on the Prairie, babbling insanely...
...zest they add to the city. Many European streets have the texture of roughhewn stone and are decorated as well. By contrast, sidewalks in the U.S. are merely straight and narrow paths of relative safety. Yet they can be more, as New Yorkers learned last week when "the Calder Sidewalk" suddenly appeared...
...February three building owners on upper Madison Avenue realized that their sidewalk was crumbling and had to be replaced. Since all three buildings housed art galleries, one owner suggested that the new sidewalk "ought to be interesting." His neighbor, Art Dealer Klaus Perls, replied: "Maybe I can persuade Alexander Calder to design it for us." The celebrated sculptor was delighted. "We will do Rio one better," he said, and charged no fee for his services. By May, Calder's sketch of a series of vivid geometrical shapes (including his initials) was translated into engineering drawings. Then one night recently...
...started out as a secretary to the late Curt Valentin, one of New York's most successful public dealers. "Do you paint?" asked Valentin when he interviewed her. "No." "Then you're hired." She soon was much more than a secretary, working with Valentin's artists-Calder, Lipchitz, Moore, Arp-on their shows. She became vice president of Marlborough-Gerson Gallery before going into business for herself. In judging the value of a painting or sculpture, she never seeks other opinions, relies exclusively on her own years of experience. "You just know," she says...