Alexander Calder at Tate Modern on The Art Channel

[@paxwallacejazz]

One of the absolute coolest most fascinating abstract expressionists.

[@19Wstarlight]

I was 16 when visited the Museum of Modern Art NY. And I was very impressed about Calder's Art. All that game with light movement and balance brought me to joy!

[@latetodagame1892]

We don't care how old you were and your stupid stories. Does anyone remember MOMA's marching outside the Museum because they didn't feel they were being treated fairly, in the late 90's? There was a person in a rat costume. One of the employers begged me not to go.

[@latetodagame1892]

Red Panel? I didn't know about this and similar pieces. Beautiful!

[@udomatthiasdrums5322]

still love his work!!

[@byrondavis3772]

i love everything about this piece on Calder at Tate Mondern. Calder is a bad boy and thats good in urban expression

[@axolod1175]

Wow good arts

[@1927chet]

Another wonderfully enlightening presentation. Thank you so much for sharing and I look forward to more soon!

[@TheArtChannel1]

+Doug Lolik Thanks, Doug, for the support and appreciation. Josh

[@axolod1175]

Gracias

[@rr7firefly]

Thomas Wolfe wrote some very unflattering things about Piggy Logan's circus in his novel "You Can't Go Home Again." As a young man I saw Calder's wire circus figures at the old Whitney Museum and right away I made the connection. I have become an enthusiastic admirer of Sandy's later work, beginning with his "Morning Star" from 1943. At times I have imagined the Russians taking inspiration from this sculptural group when they designed Sputnik.

[@karaamundson3964]

Interesting connection. As I'm a massive fan of Calder and (as a reader & writer) not too red-hot on Wolfe, I appreciate your eventual love of Calder.

[@colourheists5587]

my head exploded with delight

[@DiamondCutter423]

When Calder was offered a commission to do a mobile for Guggenheim, they wanted it in gold but Sandy insisted on black. He didn't get the commission.

[@karaamundson3964]

"Suck it, Guggenheim...!"

[@brandons9536]

Is there anyway that I can get ahold of you? I have what I believe to be some of his artwork. I would like to get it verified.

[@TheArtChannel1]

We can't authenticate any artwork. It's best to contact an auction house.

[@rodd22]

As usual another outstanding review by the captivating Grace and Joshua! Their simple and succinct review's are presented in an interesting and highly educational synopsis - thank you!!!!! I have recently been enamoured with Calder's jewellery - and this exemplary presentation reinforced my appreciation of these two superb presenters, and the genius of Alexander Calder - #WONDERFUL

[@stephengiorgio9875]

nobody cares

[@miiichelleolo8572]

Thank you so much

[@popogast]

Thanks for sharing.

[@andreaandrea6716]

Oh! I think the wire sculptures are even more interesting than the mobiles, which are elegant ... but the wire sculptures are more charming.

[@EndOfEntertainment]

Cool stuff :)

[@Hitler_Boy-sg6yo]

I'm doing a report for this. Does anyone know what could be the messages and meanings to his Circus?

[@DiamondCutter423]

Never grow up, the message is for the forever child.

[@karaamundson3964]

Calder made his own toys as a child growing up in a house of artists. He always had a kit of tools. When Calder was in his 20s, he was employed by a newspaper to draw cartoon sketches of what he saw around town, which he enjoyed greatly (Calder enjoyed almost everything tremendously). One day his editor assigned him to go to the circus. He loved it and returned again and again, drawing everything he could from trapeze artists to elephant acts to clowns and strongman and, of course, the ringleader. His Circus grew out of these drawings; he began recreating them by "drawing" them in wire and soon moved on to adding other features. As he created it, he began demonstrating it to his friends, who drank and ate as they watched the entertaining spectacle. Calder performed his Circus for many years, from the early '20s 'til sometime in the '50s.

[@furrystep]

There's something so odd about two art critics being in accord

[@NeskyTheRaccoon]

coool

[@magpie16]

anyone else think both presenters were judging each other way too harshly yet trying to seem polite and engaged the entire time

[@TheArtChannel1]

Laura, that's an interesting observation because both presenters are friends who respect each other's opinions. We often feel that we might be agreeing too much. Trust us, there's no rivalry here and we are trying to be focussed on the experience of each exhibition and the artworks we look at.

[@mementomatrix]

@@TheArtChannel1 blblablablablablablablablabla and not seeing just masturbation

[@shangaming6220]

@@mementomatrix lol

[@PrinceBlake]

I write on Quora. After suffering several assaults and injustices in California, my wife and I moved to Texas and into a house I had lived in as a college student. I was aware of the image of Christ inside it as it has been my guide stone, but my wife saw it for the first time. It reminded her of the markings on bizenyaki pottery which occur naturally from the kiln on its unglazed surface. Her uncle is Japan's most prized Bizenyaki potter Kei Fujiwara. In the same home was a box of notes from a high school math project I had taken on independently. It was a youthful attempt at a coordinate system without the use of negative integers and it effectively necessitated a spiraling expansion of intervals. The center showed signs of overlapping. The further I progressed, the more stunning the symmetries. I erased the middle and tried again but ultimately I left it blank for another day. My wife began using 935 to sign her artwork after we got married. After seeing the image of Christ and hearing the story of the empty tomb of a math problem, the vexing middle that I couldn't work out, she offered her numerical name into the model's core. Her name matched every sequence requirement in the North-South compass directions. However, in the East-West compass directions, her name also showed signs of promise, provided the object's first four intervals were so curled up (only from one perspective, not another) that they occupied one core space. After seeing the image of Christ, Kumiko's simultaneously artistic and mathematical inspiration ultimately sent us combing the Bible and our new home for clues to the mysterious mathematical object. We found a match in John's description of the throne room in Revelation 4. In it, John describes four beasts, each with eyes all around, like the first four intervals of the object, in the sense that each of the four intervals curls over an imaginary x and y axis multiple times and is comparable to the eyes of each of the four beasts. This is from one perspective. From another, these curled-up intervals flow in tandem with their parent intervals at the object's orbital path. John describes each beast as having six wings. This matches the expansion rate of the object in Fibonacci multiples of six from core to re-birth where the orbital path and ever-expanding paths intersect in tandem with the point of closest return between the two paths, one expanding, one orbiting. Further, John describes an audience of four-and-twenty cheering and praising wise elders sitting on four-and-twenty even seats. This is a match for the object's orbital path of forty-eight intervals, half of which are odd, like the wise Oddfellows, and half of which are even, like the seats upon which the elders sit. It should be stated that the mathematical details long preceded the discovery of their match with John's description. After hearing of the discovery of this object, my father was inspired to create folk art sculptures most of which were studies in precarious balance and in a similar vein to Sandy Calder's work on balance and gravity through mobiles. My wife's discovery is set to replace Big Bang cosmology with her model of a universe in an eternal, regenerative flow. Kumiko's is a mathematical extension of Saint Helena's discovery of a True cross of healing at Golgotha. It is a stunning model of the Holy Spirit and Christ Himself. A likeness of the name Christ 935US appears within the model both at the core and in the sum of the cross intervals from one generation to the next which is 935.