Calder/Tuttle @ Pace Gallery, Los Angeles - Tentative

Calder/Tuttle:Tentative

Pace Gallery, Los Angeles

January 21 – February 25, 2023

Pace presents an exhibition of work by Alexander Calder, selected and installed by artist Richard Tuttle, at its Los Angeles gallery. The show, titled Calder/Tuttle: Tentative, is presented in collaboration with the Calder Foundation. Brought to life through Tuttle’s vision, the exhibition focuses on Alexander Calder’s artistic output in 1939, bringing together small- and medium-scale sculptures—including a masterful untitled mobile that is being exhibited for the first time—as well as a selection of works on paper created by the artist that year. 

Concurrently with the exhibition at Pace, David Kordansky Gallery in LA presents works made by Richard Tuttle as freewheeling analogies to Alexander Calder’s storied practice and the contexts in which the artist worked. 

Best known for his mobiles, which transformed the modern conception of sculpture, Alexander Calder is widely regarded as one of the most important artists of the 20th century. He was also a favorite collaborator of the greatest architects of his time, and works related to three architectural commissions from 1939 will be included in the exhibition: Calder’s six intimately scaled maquettes made to complement architect Percival Goodman’s design for the Smithsonian Gallery of Art Architectural Competition, each of which feature lively forms poised on wires extending from trapezoidal bases; the nearly seven-foot-tall stabile Sphere Pierced by Cylinders (1939), created as part of Oscar Nitzschke’s architectural proposal for the Bronx Zoo; and finally, a hanging mobile related to Calder’s commission, Lobster Trap and Fish Tail (1939), for the main stairwell of Philip L. Goodwin and Edward Durrell Stone’s new building for The Museum of Modern Art on West 53rd Street in New York. The latter mobile makes its public debut at Pace in LA.

Additional highlights of the Calder exhibition at Pace in LA include Gothic Construction from Scraps (1939), a standing mobile that the artist constructed from rough-hewn metal forms discarded while making other works; Black Petals (1939), a freestanding black sculpture with elongated, abstract forms situated in a diagonal formation that seems to propel itself upwards; The Tuning Fork (ca. 1939), not exhibited for the past 40 years, in which an amalgam of differently weighted forms dynamically interact in myriad ways; and Little Mobile for Table’s Edge (ca. 1939), an unusual study of precarity and balance. In the way of works on paper, which represent a lesser known but significant aspect of Calder’s practice, the show will feature five vibrant compositions that examine relationships between otherworldly forms. Imbued with a dreamlike sensibility, these works, along with one monochromatic pencil drawing that serves as a study for an untitled mobile in the show, can be understood in conversation with Calder’s sculptures—featuring spirals, discs, flourishes, and other motifs that appear elsewhere in his oeuvre.

Richard Tuttle’s approach for the show at Pace in LA focuses on Alexander Calder’s intentions for his 1939 works and the greater context in which he produced them. The sculptures and works on paper by Calder in this exhibition were all made amid the outbreak of World War II. Tuttle questions the ways that aesthetic and philosophical exchanges between Europe and the United States in this period reflect in Calder’s practice. On a formal level, Tuttle explores enactments of verticality and horizontality—as well as plays of light and shadow—in Calder’s work. Tuttle’s vision for this exhibition, which centers on the ways that space discovered in the mobiles flows into two-dimensional abstract expressionist painting, disrupts long and widely held ideas about Calder’s impact on viewers and other artists during his lifetime and since his death.

Richard Tuttle has written a poem for his concurrent exhibitions in LA:

Tentative

Nothing is more

individual than

two artists. The

worth of one is

present behind

thoughts that keep the

other accustomed

in dance and light.

Art dies without

art to live its

life. Old helps new.

New helps old see.

Over the past six decades, Richard Tuttle has nurtured an idiosyncratic and diverse practice through which he investigates the ways in which light, scale, and systems of display flow into the world and make it better. Reveling in visual and logical quandaries, the artist has cultivated a developmental approach to art making that grows in range and inquiry with each new project. Much of Tuttle’s art defies easy categorization within any single medium, and his work is always marked by unconventional uses of beauty and poetry. At Pace in LA, Tuttle meditates on the fundamental formal elements that make up Calder’s two- and three-dimensional compositions. In the exhibition of his own work at David Kordansky Gallery, Tuttle reimagines Calder’s lyrical language of abstraction as concrete through his own distinctive, and utterly contemporary, artistic vocabulary. The show will feature a series of wall-based sculptures entitled Black Light and another group of works entitled Calder Corrected. Together, these presentations speak to the enduring presence and power of modernist abstraction in art today.

On the occasion of Calder/Tuttle:Tentative, Pace Publishing and David Kordansky Gallery produce a catalogue featuring new texts and poems by Richard Tuttle and a poem by Alexander S. C. Rower, president of the Calder Foundation and grandson of the artist.

RICHARD TUTTLE’s (b. 1941, Rahway, New Jersey) direct and seemingly simple deployment of objects and gestures reflects a careful attention to materials and experience. Rejecting the rationality and precision of Minimalism, Tuttle embraced a handmade quality in his invention of forms that emphasize line, shape, color, and space as central concerns. He has resisted medium-specific designations for his work, employing the term drawing to encompass what could otherwise be termed sculpture, painting, collage, installation, and assemblage. Overturning traditional constraints of material, medium, and method, Tuttle’s works sensitize viewers to their perceptions. His working process, in which one series begets the next, is united by a consistent quest to create objects that are expressions of their own totality.

ALEXANDER CALDER (b. 1898, Lawnton, Pennsylvania; d. 1976, New York, New York) utilized his innovative genius to profoundly change the course of modern art. Born into a family of celebrated, though more classically trained artists, he began by developing a new method of sculpting: by bending and twisting of wire, he essentially “drew” three-dimensional figures in space. He is renowned for the invention of the mobile, whose suspended, abstract elements move and balance in changing harmony. Coined by Marcel Duchamp in 1931, the word mobile refers to “motion” and “motive” in French. Some of the earliest mobiles moved by motors, although these mechanics were virtually abandoned as Calder developed objects that responded to air currents, light, humidity, and human interaction. He also created stationary abstract works that Jean Arp dubbed stabiles.

From the 1950s onward, Calder turned his attention to international commissions and increasingly devoted himself to making outdoor sculpture on a grand scale from bolted steel plates. Some of these major commissions include .125, for the New York Port Authority in John F. Kennedy Airport (1957); Spirale, for UNESCO in Paris (1958); Teodelapio, for the city of Spoleto, Italy (1962); Trois disques, for the Expo in Montreal (1967); El Sol Rojo, for the Olympics in Mexico City (1968); La Grande vitesse, which was the first public artwork to be funded by the National Endowment for the Arts (NEA), for the city of Grand Rapids, Michigan (1969); and Flamingo, for the General Services Administration in Chicago (1973).

Alexander Calder’s work is in the collections of The Museum of Modern Art, New York; Whitney Museum of American Art, New York; National Gallery of Art, Washington, D.C.; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Art Institute of Chicago; San Francisco Museum of Modern Art; Musée National d’Art Moderne, Centre Pompidou, Paris; Louisiana Museum of Modern Art, Humlebæk, Denmark; Leeum, Samsung Museum of Art, Seoul; and other major art institutions around the world. Long-term installations of Calder’s monumental sculptures can be found at the Walker Art Center, Minneapolis; Storm King Art Center, Mountainville, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; Moderna Museet, Stockholm; Kunstmuseum Basel; Tehran Museum of Contemporary Art; National Museum of Art, Osaka, Japan; Museo de Bellas Artes, Caracas; and elsewhere.

Recent exhibitions dedicated to Alexander Calder’s work have been held at The Museum of Modern Art, New York; Neue Nationalgalerie, Berlin; The Museum of Fine Arts, Houston; and the Montreal Museum of Fine Arts. A permanent exhibition is on view at the National Gallery of Art, Washington, D.C.

PACE LOS ANGELES

1201 South La Brea Avenue, Los Angeles, CA

www.pacegallery.com

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Richard Tuttle @ David Kordansky Gallery, Los Angeles - Calder/Tuttle:Tentative

Richard Tuttle 

Calder/Tuttle:Tentative 

David Kordansky Gallery, Los Angeles 

January 21 – February 25, 2023 

David Kordansky Gallery presents Calder/Tuttle:Tentative, an exhibition featuring work by RICHARD TUTTLE inspired by the seminal American artist, Alexander Calder. Concurrently, Pace Gallery, in collaboration with the Calder Foundation, presents an exhibition of Alexander Calder works from 1939 selected and installed by Richard Tuttle. 

Calder/Tuttle:Tentative comprises several parts. At David Kordansky Gallery, Richard Tuttle presents a series of wall-based sculptures entitled Black Light and a group of works entitled Calder Corrected. Informed by an ongoing engagement with Calder’s work, aesthetic philosophy, and observational temperament, both series find Tuttle exploring a range of phenomena that are among the fundamental features of visual art: the visual and physical experience of color, the perception of geometry and mass, and the associative communications between abstract and natural forms. The works are not so much meditations on Calder as they are responses to—and from—the contexts in which Calder’s project emerged. In this sense, Richard Tuttle employs his own artistic vocabulary to refresh the contemporary take on Calder’s, shedding clarifying light not only on the abiding presence of modernist abstraction in art today, but on timeless facets of art’s presence in human lives.

This approach also guides Richard Tuttle’s curatorial process at Pace, where he has installed works by Calder in an attempt to foreground the intentions with and conditions under which they were made. While Tuttle has taken formal and historical considerations into account—focusing, for instance, on works made on the brink of World War II and reflecting on aesthetic and philosophical crosscurrents in Europe and the United States—he also creates space for foundational concepts of verticality, horizontality, light, and shadow to appear with bracing clarity. There are cases in which this process disrupts long-held ideas about why Calder’s work has made such an impact on viewers, and especially other artists, over the decades.

In the Black Light works, Richard Tuttle transposes these concerns into multivalent constructions that reveal craft and concept to be inseparable, if distinct, modes of understanding how art connects to its viewers and the world. The exhibition’s title serves as a waypost: if every aesthetic proposition or material experiment puts into motion a cascading series of effects and counter-effects, the experience of an artwork is always a tentative affair. Richard Tuttle’s objects address this condition by posing questions about how and where color appears, and reveling in its propensity for simultaneously containing, occupying, and portraying space. The Black Light works constitute a continuation of Tuttle’s reflections on the possibilities inherent in beams and beam-like forms, which found recent expression in a series of large- and small-scale sculptures the artist produced in 2022. However, they also provide a forum in which the artist can directly address the choreography of visible and invisible elements which provides a through-line in Calder’s project. In both cases, they find Richard Tuttle reframing concerns, particularly about art’s paradoxical relationship to dematerialization, which have preoccupied him for decades. Many of the works’ compositional details, including the pencil-drawn letters, numbers, and arrows that guided their making, as well as their varied brushwork, highlight the impossibility of separating surfaces from interiors. These two-dimensional elements carry palpable weight, leaving room for the planar paper elements that define their silhouettes to function as a kind of three-dimensional drawing.

The Calder Corrected drawings, meanwhile, are also sites where three-dimensional effects occur in what are ordinarily considered two-dimensional places. The vertical line that bisects each work, and that results when Tuttle removes facing pages from a sketchbook, is both a distinct physical presence and a felt void where lines, shapes, and colors seem to momentarily hide from view. In their gaps, the drawings harbor possibilities, prompts for the imagination to invent alternate readings even as it concedes the limitations of the physical world. Here too, Tuttle brings a variety of materials together, showing how ideas translate into facts—and vice versa—and how colors and shapes adhere to—and resist—the intentions according to which they are manipulated. For all of these reasons, and like the curatorial orientation Tuttle brings to rethinking Calder’s legacy more broadly, the works on view in this exhibition place emphasis on the processes by which artistic potentials become actualized. In so doing, they offer precise, and therefore tentative, representations of phenomena like gravity, language, emotion, and change that are as pervasive as they are abstract.

In 2022, Bard Graduate Center presented What Is the Object?, an exhibition co-curated by Richard Tuttle and Peter N. Miller from Tuttle’s collection of objects, which was presented alongside a series of never-before-exhibited artworks by the artist. Since the 1970s, Tuttle has been the subject of numerous solo exhibitions at museums throughout the world, including M WOODS, Beijing (2019); Phillips Collection, Washington, D.C. (2018); Kunstmuseum aan Zee, Ostend, Belgium (2017); Museo de Arte de Lima (2016); Metropolitan Museum of Art, New York (2016); and Whitechapel Gallery and Tate Modern, London (2014). In 2005–2007, a retrospective exhibition organized by the San Francisco Museum of Modern Art traveled to five additional institutions, including the Whitney Museum of American Art, New York, and The Museum of Contemporary Art, Los Angeles. His work is included in over sixty permanent collections, including the Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; Dallas Museum of Art; and Museum Boijmans Van Beuningen, Rotterdam, the Netherlands. Richard Tuttle lives and works in New York and Abiquiú, New Mexico.

DAVID KORDANSKY GALLERY

5130 W. Edgewood Pl., Los Angeles, CA 90019

www.davidkordanskygallery.com

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