Alexander Calder (1898–1976), Dancers and Sphere (maquette for 1939 New York World's Fair) set in motion in Calder's "small shop" New York City storefront studio, 1938. © 2017 Calder Foundation, New York / Artists Rights Society (ARS), New York. Photograph by Herbert Matter, courtesy Calder Foundation, New York

In the early 1930s, Alexander Calder (1898–1976) invented an entirely new mode of art, the mobile—a kinetic form of sculpture in which carefully balanced components manifest their own unique systems of movement. These sculptures operate in highly sophisticated ways, ranging from gentle rotations to uncanny gestures, and at times trigger unpredictable percussive sounds.

Calder: Hypermobility, opening on June 9, 2017, at the Whitney Museum of American Art, focuses on the extraordinary breadth of motion achieved by Calder from the moment he turned to radical abstraction in 1930 and continuing throughout the subsequent decades of his career.

This exhibition brings together a rich constellation of key works, some of which will be activated regularly in the gallery to more fully elucidate their inherent motion and their relationship to performance as well as the theatrical stage. In addition to the gallery display, a central component of the exhibition is an expansive series of performances and events, including a number of episodic, one-time demonstrations of additional rarely seen works overseen and led by the Calder Foundation as well as concerts, screenings, and special programs. New commissions will bring contemporary artists into dialogue with Calder as these artists interplay their own practices with Calder’s innovations, revealing the many ways in which his art continues to challenge and inform new generations.


Calder: Hypermobility encompasses major examples of Calder’s work, including his early motor-driven abstractions and wall panels with suspended active elements, as well as his sound-generating Gongs and standing and hanging mobiles, among others. Newly restored motorized sculptures will be activated for the first time in 80 years, including at least one work that has never previously been exhibited, revealing their original movements and intentions. Influenced in part by the artist’s fascination and engagement with choreography, Calder’s sculptures contain an embedded performativity that is reflected in their idiosyncratic motions and the perceptual responses they provoke in the viewer. Even in his stationary works, a sense of implied movement, deliberate staging and unfolding complexity is palpable.

The Whitney has long been dedicated to the work and legacy of Alexander Calder. As a young artist, Calder became a member of the Whitney Studio Club and soon after, in 1926, he participated in the Studio’s Eleventh Annual Exhibition. Following his inclusion in numerous Whitney Annuals in the 1940s, the museum began to grow deep holdings of the artist’s work. In the 1970s, Calder lent one of his most beloved works to the Whitney—the Cirque Calder, which the museum purchased in 1983 and committed further resources to restoring in the 2000s. Calder has been the subject of many exhibitions at the Whitney, including Alexander Calder: Tapestries (1971), Calder’s Circus (1972), Three Sculptors: Calder, Nevelson and Smith (1974), Alexander Calder: Sculpture of the Nineteen Thirties (1987–88), Celebrating Calder (1991), I Think Best In Wire: Alexander Calder (2006), Alexander Calder: The Paris Years, 1926–33 (2008–09), and Collecting Calder (2014). In 1976, the Whitney mounted a major retrospective on Calder, which opened just before the artist’s death. Today, the Whitney’s collection is the largest repository of Calder’s work in the world.

About Andrea Hammer 209 Articles
Andrea K. Hammer, founder and director of Artsphoria Magazine, is a Philadelphia-based freelance writer. She has published articles in international publications. Through this expanded edition of Artsphoria, she invites fellow artists, writers, innovators and creative thinkers to join our conversation!