While most of Calder’s outdoor sculptures are stabiles, the artist also made standing mobiles such as Five Empties, captured here in gentle motion. The siting of these sculptures requires a particular delicacy, as heavy winds can cause them damage. At over twenty-three feet high and completed just three years before the artist's death in 1976, Five Empties is an example par excellence of the monumental sculpture that dominated the artist’s late career. For more information: https://tinyurl.com/2

Calder’s oeuvre features spectacular shifts in scale; there are standing mobiles less than two inches high and stabiles over eighty feet high. Jed Perl writes, “[Calder] had a preternatural sensitivity to matters of size and scale, whether the relation of the part to the whole within a single sculpture or the relation of the sculpture to the men and women who looked at it, touched it, and walked around it and sometimes even through it.” The standing mobile seen here in action, Toadstool with Fea

Alone in a tower filled with the world’s largest display of sculptures by Alexander Calder. ✨ In this room filled with moving sculptures by Calder, giant mobiles are suspended in the sky. They turn and dance as you cohabit their space. One of the most extraordinary things about these deceptively gravity-defying objects is that they are supported by a force the size of your thumbnail: a tiny hook. In the mid-1930s, in addition to developing his classic mobiles, Calder began to explore the concept

Experiencing Calder’s mobiles firsthand is the only way to fully comprehend their multisensory brilliance, but this footage of Black Mobile with Hole in motion is an apt substitute. Unlike a photograph, the clip reveals how the sculpture carves new forms by way of its movements. As Sartre wrote in 1946, “These hesitations and resumptions, gropings and fumblings, sudden decisions, and, most especially, marvellous swan-like nobility make Calder’s mobiles strange creatures, mid-way between matter a