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Lot Essay
With its striking black base that effortlessly balances blue, yellow and red discs suspended in the air, Alexander Calder’s Untitled standing mobile is an exquisite example of the artist’s mastery of space, motion and color. In the present work, Calder completely reimagines modern sculpture by using everyday materials to transform a stagnant form into an active yet delicate creation. Executed in 1965, Untitled showcases Calder’s mature style and individuality that cemented his status as a lauded artist in the modern period.
Throughout the 1920s, Calder began experimenting with wire sculptures. He enjoyed the act of tinkering with the material by hand to create intricate forms. The tactile nature of these sculptures thus allowed for natural movement in response to an everchanging environment. After visiting Piet Mondrian’s studio in Paris in the 1930s, Calder became deeply impressed with the idea of repositioning shapes for compositional experiments. Combining this exploratory impulse with his interest in movement, Calder created a kinetic masterpiece referred to as his “mobile” in the Fall of 1931. This new type of sculpture, using different sized shapes, undulates on it owns in response to the air’s currents.
Because of reliance on the environment, the standing mobile allows for constant change and interpretation. In Untitled, viewers are able to interact with the work in endless ways, as there are almost infinite perspectives to observe. At first glance, the triangular black base commands the forefront with the colored discs harmoniously floating to the sides. After longer observation, the circular discs soon become the main focus as they constantly move and interact with the negative space. Calder’s thoughtfully paired down colors gracefully balance with the sculpture’s fundamental shapes and wire lining, suggesting an interchange between imagination and reality. A perfect example of his play on chance and spontaneity, Untitled is a standing mobile that is purely alive with kinetic energy.
Throughout the 1920s, Calder began experimenting with wire sculptures. He enjoyed the act of tinkering with the material by hand to create intricate forms. The tactile nature of these sculptures thus allowed for natural movement in response to an everchanging environment. After visiting Piet Mondrian’s studio in Paris in the 1930s, Calder became deeply impressed with the idea of repositioning shapes for compositional experiments. Combining this exploratory impulse with his interest in movement, Calder created a kinetic masterpiece referred to as his “mobile” in the Fall of 1931. This new type of sculpture, using different sized shapes, undulates on it owns in response to the air’s currents.
Because of reliance on the environment, the standing mobile allows for constant change and interpretation. In Untitled, viewers are able to interact with the work in endless ways, as there are almost infinite perspectives to observe. At first glance, the triangular black base commands the forefront with the colored discs harmoniously floating to the sides. After longer observation, the circular discs soon become the main focus as they constantly move and interact with the negative space. Calder’s thoughtfully paired down colors gracefully balance with the sculpture’s fundamental shapes and wire lining, suggesting an interchange between imagination and reality. A perfect example of his play on chance and spontaneity, Untitled is a standing mobile that is purely alive with kinetic energy.