All the Ways to Experience Calder at SAM

Calder: In Motion, The Shirley Family Collection debuted last fall, but we’re still spinning with excitement about this transformative gift of art by Alexander Calder to the collection. This inaugural exhibition is a once-in-a-lifetime opportunity to see all 45 seminal works gifted to SAM on view together. Now, there’s even more reason to check out Calder: In Motion for the first, second, or tenth time following our recent announcement of the exhibition’s extension through Sunday, October 20. Here, we remind you of all the ways you can experience this exhibition and deepen your appreciation of this collection and the stories it tells.

Website
The exhibition microsite is the online home for all things Calder at SAM and offers a robust portal for exploration. The site details the story of the collection’s formation, includes information on each collection object, features a “surprise me” button that randomly selects an object to explore, and highlights the life and career of the artist. Check it out at visitsam.org/calder!

Smartphone Tour
The exhibition audio guide, produced by SAM and available via smartphone, features collector Jon Shirley’s reflections on his 35-year journey of collecting Calder’s works, and object spotlights by Alexander S. C. Rower, Calder’s grandson and the President of the Calder Foundation; Kennedy Yanko, a painter-sculptor based in Bushwick, Brooklyn, who works in acrylic paint skin and metal to explore the limits of material gesture; and José Carlos Diaz, exhibition curator and SAM Susan Brotman Deputy Director for Art.

Catalogue
The clothbound hardcover catalogue is a stunning keepsake that introduces you to the Shirley Family Collection. Fully illustrated with 102 dazzling images, it features contributions from Jon Shirley, Alexander S. C. Rower, José Carlos Diaz, and Elizabeth Hutton Turner, a Calder scholar and University Professor in the Department of Art, University of Virginia. It’s available in person or online at SAM Shop.

SAM Soundtracks
SAM created a playlist, available via three music platforms, that features tracks from Calder’s own collection of jazz, world, and avant-garde music. Wander the Calder galleries while you listen, or put it on anytime to engage with Calder’s creative mind. Find the link via QR code in the galleries or on SAM’s Calder microsite.

Exciting Events & Tours
Since the exhibition’s opening, SAM has hosted various events—including Balancing Act: A Calder Family Festival, SAM Open House, and the Calder Symposium—which offer new and thoughtful ways to engage with Calder’s art. Keep an eye out for additional upcoming Calder-related events on our website. Plus, SAM docents offer guided tours of Calder: In Motion every Saturday and Sunday at the Seattle Art Museum. They’re free with museum admission!

This article first appeared in the February through May 2024 edition of SAM Magazine and has been edited for our online readers. Become a SAM member today to receive our quarterly magazine delivered directly to your mailbox and other exclusive member perks!

Image: Installation views of Calder: In Motion, The Shirley Family Collection, Seattle Art Museum, 2023, © 2024 Calder Foundation, New York / Artists Rights Society (ARS), New York, photos: Chloe Collyer.

Calder Smartphone Tour: Constellation with Red Knife

With his typical artistic materials in short supply at the height of World War II, Alexander Calder sought out alternatives. His resourcefulness led to the debut of an important series of carved wood and wire forms in 1943.

In 1943, James Johnson Sweeney and Marcel Duchamp, who were in the midst of curating a major retrospective of Calder’s work at the Museum of Modern Art in New York, proposed calling these new sculptural works ‘Constellations.’

“[The Constellations] had a suggestion of some kind of cosmic nuclear gases—which I won’t try to explain,” Calder once noted. “I was interested in the extremely delicate, open composition.”

Gaze upon Calder’s Constellation with Red Knife by visiting Calder: In Motion, The Shirley Family Collection at SAM. Then, tune in to the exhibition’s free smartphone tour to learn more about the artist’s universe of constellations—along with his passion for woodcarving—via our SoundCloud.

Constellation with Red Knife, 1943

JOSÉ CARLOS DIAZ: Constellation with Red Knife is a singular work in this exhibition that really highlights the assemblage of carved wooden forms.  

NARRATOR: José Diaz:

JOSÉ CARLOS DIAZ: As a youth, Calder was experienced with carving with wood, and it’s a material that actually is found in a lot of his sculptural practice.  

ALEXANDER S. C. ROWER: He was fascinated by not just the look of the wood, but the particular kind of grain of the wood, the way a grain would be straight or wavy and have characteristics.

NARRATOR: Sandy Rower:

ALEXANDER S. C. ROWER: The central object, which is the tallest piece of wood in the composition, is kind of the shape of a palette knife like a painter might use to mix paint.

NARRATOR: The work is one of a series called Constellations. The name didn’t come from Calder himself but from the artist Marcel Duchamp, and the curator James Johnson Sweeney. 

ALEXANDER S. C. ROWER: Calder referred to them as an open form composition like some kind of nuclear gases, and then he said, “But I won’t try to explain.” 

NARRATOR: The work may reflect Calder’s interest in time and space, but it is important to note that he wasn’t concerned with the observable universe (the sun, moon, earth, etc.). Rather, he was describing a universe. Or rather, the universal—an exploration of the unifying force posited by physicists today as string theory. 

JOSÉ CARLOS DIAZ: When one thinks about constellations, there is an assumption that this is a specific reference to planets and stars and elements in our known universe. However, Calder’s really interested in a universe, his universe. 

ALEXANDER S. C. ROWER: They are objects tied together with these wire lines, existing in space in three dimensions.

– Lily Hansen, SAM Marketing Content Creator

Image: Installation view of “Calder: In Motion, The Shirley Family Collection,” Seattle Art Museum, 2023, © 2024 Calder Foundation, New York / Artists Rights Society (ARS), New York, photo: Chloe Collyer.

Muse/News: Going Mobile, Deep Roots, and Mother Wit

SAM News

“Hope you like mobiles!!” The Stranger’s Everout names SAM’s first-ever Calder Symposium one of “The Best Things To Do in Seattle This Month: May 2024.” With a talk by renowned Alexander Calder biographer Jed Perl on Friday evening and a day of tours, lectures, and screenings about Calder’s genius all day Saturday, you won’t want to miss it.

And save the date: SAM’s summer exhibition, Poke in the Eye: Art of the West Coast Counterculture, opens in just over a month. 425 Magazine mentioned it in their “This Week in A&E” spotlight. 

Local News

In her latest ArtSEA post, Cascade PBS’s Brangien Davis sees arts venues “putting on a good face”; some of her recommendations have passed but some are ongoing—don’t miss out!

Via Sarah Stackhouse for Seattle Magazine: “Rebuilding Re-Sole 206.”

“One Reel, former Bumbershoot producer, closing; its art paper survives”: Chase Hutchinson for The Seattle Times with an update on the 52-year-old nonprofit arts organization.

“In an email, Elisheba Johnson, One Reel’s board president, spoke of the organization’s ‘roots that are long and deep in the community. Almost every events/music employee in this region has worked at One Reel at some point of their career,’ Johnson said. ‘One Reel will be remembered as the incredible convener of arts and culture in Seattle for over 50 years.’

Inter/National News

Artnet rounds up the best looks inspired by art history at the Met Gala.

Via Ad Age: “Apple apologized Thursday for a new iPad Pro commercial that was met with fierce criticism from creatives for depicting an array of creative tools and objects—from a piano, to a camera, to cans of paint—being destroyed by an industrial crusher.”

Via Evan Nicole Brown for T: The New York Times Style Magazine: “Betye Saar Remains Guided by the Spirit.”

“Saar, who is 97, decides what to reach for based on something she has referred to over the years as “mother wit”: she feels when a wooden statue, antique doll or rusted dagger is calling to be used. Saar considers this selection process to be a sacred one.”

And Finally

“10 Times Artists Hid Themselves in Their Paintings.”

– Rachel Eggers, SAM Associate Director of Public Relations

Photo: Installation view of Calder: In Motion, The Shirley Family Collection, Seattle Art Museum, 2023, © 2024 Calder Foundation, New York / Artists Rights Society (ARS), New York, photo: Alborz Kamalizad.

Calder Smartphone Tour: Little Yellow Panel

Although it was never publicly exhibited in his lifetime, Little Yellow Panel exemplifies Alexander Calder’s desire to create “paintings in motion.” This exotic wall sculpture’s origin can actually be traced to a significant moment in Calder’s development that inspired him to experiment with movement: his visit to the studio of Dutch painter Piet Mondrian in October 1930.

The artist recalled being impressed not by Mondrian’s paintings but by the environmental space of his studio: “Light came in from the left and from the right, and on the solid wall between the windows there were experimental stunts with colored rectangles of cardboard tacked on. Even the victrola, which had been some muddy color, was painted red. I suggested to Mondrian that perhaps it would be fun to make these rectangles oscillate. And he, with a very serious countenance, said: ‘No, it is not necessary, my painting is already very fast.’” 

In the wake of his visit, Calder began to work in the abstract. Beginning the following year, he explored the frontal formality of painting in three dimensions but with actual motion—elements in oscillation—usually by way of simple motors. Eventually, he experimented more freely with the possibilities of movement, suspending elements to be activated by air within wood frames or in front of panels made of painted plywood. Little Yellow Panel showcases how Calder ingeniously blurred the lines between painting and sculpture to reflect a choreography of nonobjective imagery.

Supplement your visit to Calder: In Motion, The Shirley Family Collection at SAM and learn more about Little Yellow Panel by tuning in to the exhibition’s free smartphone tour. Access it now on our SoundCloud or by scanning the QR code next to select works on view when exploring the museum’s galleries.

Little Yellow Panel, ca. 1936

NARRATOR: Little Yellow Panel is part of a series of works from the mid-1930s that explored the concept of ‘paintings in motion.’ The work blurs the lines between painting and sculpture: viewed from the front, its various elements appear to be positioned against a defined yellow background. But these elements can be moved around—so the composition changes. Artist Kennedy Yanko:

KENNEDY YANKO: What I like about it is that it’s perfect. It’s a perfect piece. Where the colors show up: they’re placed perfectly with just the right amount of randomness. It’s ironic. It’s calling upon all these different things. It captures, you know, an entrance into a more minimal thought of color and form. And it also holds his curiosity. And this really feels kind of like a pivotal moment of clarity.

NARRATOR: This was an intense period of innovation for Calder. In 1930, he visited the Dutch abstract artist Piet Mondrian. Calder was excited by the way the older artist had arranged his studio: Mondrian had pinned rectangles of colored cardboard to the walls, as he experimented with different compositions. For Calder, the whole space became an installation.

Following this visit, he made his first wholly abstract compositions. It was also at this time that he invented the kinetic sculptures we know as mobiles. It was his friend the French artist Marcel Duchamp who suggested the term. Sandy Rower:

ALEXANDER S. C. ROWER: He suggested it because in French the word mobile: it refers not only to motion, but it also means your motivation or your motive—Calder’s motivation, Calder’s motions, Calder’s motives. It was like that. It was a pun.

– Lily Hansen, SAM Marketing Content Creator

Image: Installation view of Calder: In Motion, The Shirley Family Collection, Seattle Art Museum, 2023, © 2024 Calder Foundation, New York / Artists Rights Society (ARS), New York, photo: Alborz Kamalizad.

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