If, like us, you thought you had seen all there is of Alexander Calder, think again. The iconic American artist is the subject of a new exhibition at New York's Venus Over Manhattan gallery that is uniquely staged in the dark.
Organised with the support of the Calder Foundation, 'Calder Shadows' is a seductive new take on Calder's recognisable creations, which still upholds the principles of abstraction and kinetics that he championed throughout his career.
Presented in an austere, dimly lit space, the exhibition sees eleven works, from 1929 to 1974, ingeniously spot-lit so that each accompanying shadow comes fully into view. Delicate mobiles like 'The New Ritou' (1948) and 'Little Black Flower' (1944) – a privately held piece that represents Calder's mature style and has not been exhibited since the 1940s – hang quietly while larger, ominous shadows loom behind. Thin metal wires are transformed into animated line drawings that oscillate and turn with the slightest movement of air, highlighting the kinetic aspect of Calder's work.
The novel display was inspired by archival images of Calder installing his sculptures in darkness and photographing them using directed light. The images caught the eye of the gallery's founder Adam Lindemann, who decided to reorientate Calder's familiar aesthetic. 'I wanted to somehow evoke Calder as I see him,' he explains. 'I wanted to get in touch with the emotional way that I see these pieces move and stand still.'
In the darkened gallery, even stationary works like 'Mr Loyal (Ringmaster)' (1967) and 'Red Curlicue' (1973) have a larger-than-life presence. Both are maquettes, which reveal a little about how Calder sought to resolve scale issues when he designed his monumental stabiles.
Backed by an instrumental soundtrack, 'Calder Shadows' embodies the qualities of abstraction and exploration that the artist became known for. 'Experimentation is part of Calder's work,' says Lindemann. 'There are the films and the performance aspect of the circus [theme], and so the theatricality that I have brought to it is consistent with Calder's mood and his own spirit.'
The novel display was inspired by archival images of Calder installing his sculptures in darkness and photographing them using directed light. The images caught the eye of the gallery's founder, Adam Lindemann, who decided to reorientate Calder's familiar aesthetic
'I wanted to somehow evoke Calder as I see him,' says Lindemann. 'I wanted to get in touch with the emotional way that I see these pieces move and stand still'
In the darkened gallery, even stationary works like 'Monsieur Loyal (Ringmaster)', 1967, pictured here, and 'Red Curlicue', 1973 have a larger-than-life presence. Both are maquettes, which reveal a little about how Calder sought to resolve scale issues when he designed his monumental stabiles
'Red Curlicue' [maquette], 1973
'Little Black Flower', 1944. This privately held piece has not been exhibited since the 1940s
The works featured range in date from 1929 to 1974, with this piece called 'Untitled', from 1939
Backed by an instrumental soundtrack, 'Calder Shadows' embodies the qualities of abstraction and experimentation that the artist became known for
'Ex-Octopus', 1936, is graphically magnified in size on the wall
The shadow of 'Morning Cobweb' [intermediate maquette], 1967, becomes even more menacing with project
'Untitled', 1929, is constructed of thin metal wires that are transformed into an animated line drawing, which oscillates and turns with the slightest movement of air, highlighting the kinetic aspect of Calder's work
ADDRESS
Venus Over Manhattan
980 Madison Avenue
New York
-
Casa Sanlorenzo debuts in Venice as a new hub for contemporary artThe luxury yachting leader unveils a stunning new space in a palazzo restored by Piero Lissoni – where art, innovation, and sustainability come together
-
Once vacant, London's grand department stores are getting a new lease on lifeThanks to imaginative redevelopment, these historic landmarks are being rebonr as residences, offices, gyms and restaurants. Here's what's behind the trend
-
Get lost in Megan Rooney’s abstract, emotional paintingsThe artist finds worlds in yellow and blue at Thaddaeus Ropac London
-
Out of office: the Wallpaper* editors’ picks of the weekIt was a jam-packed week for the Wallpaper* staff, entailing furniture, tech and music launches and lots of good food – from afternoon tea to omakase
-
Out of office: what the Wallpaper* editors have been up to this weekThis week saw the Wallpaper* team jet-setting to Jordan and New York; those of us left in London had to make do with being transported via the power of music at rooftop bars, live sets and hologram performances
-
Photographer Geordie Wood takes a leap of faith with first film, DiversGeordie Wood delved into the world of professional diving in Fort Lauderdale for his first film
-
New book celebrates 100 years of New York City landmarks where LGBTQ+ history took placeMarc Zinaman’s ‘Queer Happened Here: 100 Years of NYC’s Landmark LGBTQ+ Places’ is a vital tribute to queer culture
-
A major Takashi Murakami exhibition sees the world in kaleidoscopic colourThe Cleveland Art Museum presents 'Takashi Murakami 'Stepping on the Tail of a Rainbow', exploring outrage and escapist fantasy
-
Ai Weiwei’s new public installation is coming soon to Four Freedoms State Park‘Camouflage’ by Ai Weiwei will launch the inaugural Art X Freedom project in September 2025, a new programme to investigate social justice and freedom
-
Leonard Baby's paintings reflect on his fundamentalist upbringing, a decade after he left the churchThe American artist considers depression and the suppressed queerness of his childhood in a series of intensely personal paintings, on show at Half Gallery, New York
-
Desert X 2025 review: a new American dream grows in the Coachella ValleyWill Jennings reports from the epic California art festival. Here are the highlights
