Tag Archives: Modernism

a journey of delight : calder at tate modern.

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‘There’s something totally joyous and unpretentious about the work which communicates to people,’ she added. ‘He’s one of the few artists who can sit in both camps: the public and the elite world.’ Farah Nayeri, NY Times

For those who have not lost their childish fascination with colours and shapes, movement and balance, Calder’s work remains a delight and inspiration. There is little darkness in his work, only a restless, fascinated mind, immersed in a journey of delight.

Calder plays it straight. Calder’s work is exactly what it appears to be. The strength of his work is this directness, without subtext; a refreshing lack of hidden meaning. We see Calder’s delicate mercury sculpture sitting with the vast canvas of Guernica in the background; Picasso’s dark genius and Calder’s lightness working brilliantly together. Picasso’s primary themes are those of humanity; Calder’s are of nature; he plays with lines, mass, force and momentum.

Calder emerged in an era when art was still catching up with the discoveries of 19th Century science and the technology of the 20th – not least the moving image. Calder’s work brings movement centre stage into art in a way that surpasses other artists often unsatisfactory attempts of that era to incorporate time (I’m thinking of cubism). Apart, of course, from the most successful new art form of the 20th Century, the movie itself.

Human visual aesthetics is derived from a highly developed appreciation of the body in both movement and poise. Calder’s unflinching preoccupation with mechanics; his exploration of the fine line between balance and movement, his testing of how far a rod or sinew can be stretched and still hold, resonates with what we naturally find beautiful and satisfying.

Calder does all this, and brings it into delicate and playful fusion with the rawness of his materials, the formal language of late Matisse and a touch of the surreality of Miro. I’m going back for more.

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You can read Farah Nayeri’s article, here:

Alexander Calder: Performing Sculpture, Tate Modern, until 3 April, 2016

Guest post by Jeremy Walker, architect and cardboard sculptor (HeathWalker Studio). Photos: owl’s house london using iPhone 6.

today’s image.

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The beautiful garden at Royal College of Physicians, Regents Park, for Modernist Monday.

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The elegant, lyrical foyer of Highpoint Two, the modernist delight designed by Berthold Lubetkin in 1937-38. Highpoint is open as part of London Open House next weekend; details, here:

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a very modern hotel.

Futurist, modernist, dynamic: the gull-winged TWA terminal at JFK airport is the epitome of mid-century design. Evoking a bird in flight, it is also a force in concrete construction. It was certainly a major influence on me during my architectural studies, as I poured over the images of this and other iconic modernist imagery by architectural photographer Ezra Stoller.

The TWA terminal was the last project by Finnish born architect Eero Saarinen (completed in 1962), who said of it:

All the curves, all the spaces and elements right down to the shape of the signs, display boards, railings and check-in desks were to be of a matching nature. We wanted passengers passing through the building to experience a fully-designed environment, in which each part arises from another and everything belongs to the same formal world.

It is this all inclusive design that gives the building its streamlined, organic quality; everything is considered, everything belongs (I particularly adore the sunken, built-in seating). It is perhaps this that became the building’s downfall; it was unable to adapt and expand.

The terminal is about to undergo a complete refurbishment as a hotel and museum. The photographer Max Touhey was given access to document the building alongside a team of surveyors using 3-D laser scanners. Touhey made 700 photographs, a few hundred of which were bracketed (several exposures of each shot are used to ensure the light is correct), or used in a time lapse video.

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TWA terminal, Eero Saarinen. Photographs by Max Touhey. Via wired.com; lattimes.com; somewhereiwouldliketolive.com

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The mighty Royal Festival Hall, via owl’s house london instagram. Follow me, here.

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View from the penthouse of the wonderful Isokon building, from a private tour at the weekend.

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