Alexander Calder

Last week I reviewed The World Goes Pop.  If you are considering going to a paid exhibition at Tate Modern, then my suggestion would be to go to this one.  It is much better, much more interesting and at 11 rooms, greater value for money.

Before I went I was only really familiar with Alexander Calder as producing large modernist mobiles (like the one top left).  There are plenty of those on display so it does not disappoint.  The exhibition also takes you on a largely chronological journey showing Calder’s changing styles and interests.  It is a well laid out exhibition so credit to the curator. 

You start with wire frame sculpture, such as Medusa.  I like these.  Calder’s idea of only providing an outline rather than a solid sculpture is a good one and encourages your brain to fill in the gaps itself.  Couple with this the shadow (and this goes for almost all his works) forms a separate piece of art on the wall behind. 

The next room contained what he called Cirque Calder. Various works on the theme of the circus and circus acts.  The Brass family greets you just as you go in and a striking group they are.  Other figures such as the Torrero and the very sweet dog (made with a clothes peg) grab your eye. As you leave you pass the acrobats made of wire and rod, with the smaller, female acrobat made of gold wire.  

Room 4 and we start to see more abstract works.  I really like these and my favourite was the spider.  The air currents in the room move them around and it is quite a thrill to see them expose different aspects to you.  Some of them are like auspicious planetary alinements. 

Room 5 were sweet little works, once powered by motors, now sadly consigned to stillness.  Videos are provided to show you how they once moved.

Room 6 Calder provided colour backgrounds for these works.  My initial reaction was that I preferred the blank wall then the enforced colour.  I found they grew on me.  This may well be that this room was one of only two with a bench in it, allowing you to sit and peruse the works at more leisure.  There is no doubt a worthy and tedious thesis that could be written on the effect of gallery furniture on the experience of art.

It was quite meditative thought to watch the mobiles slowly spin. Small children should be encouraged to run around to stir the air up more.  A small corridor is too cramped to see the display about Calder seeing a fountain and the crush of people propels you into the next room.  Here you find mainly tripod, planetary style constructions, as well as static wall mounted pieces. 

The exhibition continues and we start seeing the classic mobiles that are the bedrock of Calders fame. Room 9 is the largest room and has a number of these hanging from the ceiling and other pieces such as Red Twigs protruding from the floor, like some minimalist, futurist idea of a limestone cave.  The one that capture me the most was Snow Flurry,  a series of white shapes in a tree like, or indeed snow flake configuration, again slowly turning.  I spent quite some time in the room. 

Finally you see sculptures that incorporate cymbals and no doubt sound, if vigorously provoked enough and the exhibition says goodbye to you with a large piece usually hanging in a building in Brazil.  It approaches monumental in size. 

It is a great time.  It is great art.  Even if you don’t like it as art, you will enjoy it.  There is a joy in these pieces that is infectious.