Every piece was small enough to be packed into a large trunk, enabling the artist to carry it with him and hold performances anywhere.Its first performance was held in Paris for an audience of friends and peers, and soon Calder was presenting the circus in both Paris and New York to much success.Word traveled about the inventive artist, and in 1928 Calder was given his first solo gallery show at the Weyhe Gallery in New York.This exhibition was soon followed by others in New York, Paris, and Berlin; as a result, Calder spent much time crossing the ocean by boat.Calder's renderings of his circus often lasted about two hours and were quite elaborate.Indeed, the predated performance art by forty years.Paper costumes for A Nightmare Side Show, one of thirteen group processions performed during Paper Ball: Le Cirque des Chiffonniers, First Hartford Festival, Wadsworth Atheneum, Hartford, Connecticut, 15 February 1936 Standing, left to right: André Masson, Kay Sage, and Calder; sitting, left to right: André Breton, Susanna Perkins Hare, Louisa Calder, Rose Masson, Diego Masson, Charlie Prescott, Mary Calder, and Teeny Matisse, Roxbury, 1941 Alexander Calder was born in 1898, the second child of artist parents—his father was a sculptor and his mother a painter.Because his father, Alexander Stirling Calder, received public commissions, the family traversed the country throughout Calder's childhood.
Even at age eleven, his facility in handling materials was apparent.
In the fall of 1931, a significant turning point in Calder's artistic career occurred when he created his first truly kinetic sculpture and gave form to an entirely new type of art. At that time, on Euclid Avenue in Pasadena, I got my first tools and was given the cellar with its window as a workshop. My workshop became some sort of a center of attention; everybody came in.
The first of these objects moved by systems of cranks and motors, and were dubbed "mobiles" by Marcel Duchamp—in French mobile refers to both "motion" and "motive." Calder soon abandoned the mechanical aspects of these works when he realized he could fashion mobiles that would undulate on their own with the air's currents. Portfolio of lithographs by Calder, Chillida, Guinovart, Miró, Ràfols-Casamada, Tàpies, Vedova, Viladecans. Mother and father were all for my efforts to build things myself—they approved of the homemade . (Calder 1966, 21) 1 January: Calder attends Pasadena's Tournament of Roses, where he experiences the four-horse chariot races.
Calder's earliest attempts at large, outdoor sculptures were also constructed in this decade. The duck is kinetic, rocking back and forth when tapped.
These predecessors of his later imposing public works were much smaller and more delicate; the first attempts made for his garden were easily bent in strong winds. Corder; produced and written by David Idema; cinematography by Werner Schneider; narrated by Tom Saizan; edited by Bill Prins. (Sweeney 1943, 57; Hayes 1977, 41) Before 11 January: For his father's birthday, Calder makes , a game consisting of five painted animals—a tiger, a lion, and three bears—and a wooden board with nails divided into six pens.