Art@Site www.artatsite.com Alexander Calder Flamingo
Artist:

Alexander Calder

Title:

Flamingo

Year:
1973
Adress:
Federal Plaza
Website:
www.wikipedia.org:
Despite the large size of the sculpture, its design is such that viewers can walk underneath and around it, thus enabling one to perceive it in human scale. The shape of Flamingo alludes to the natural and animal realm, which is a stark contrast to more literal interpretations in sculpture from previous decades.[
Calder's structure is a prominent example of the constructivist movement, first popularized in Russia in the early 20th century. Constructivism refers to sculpture that is made from smaller pieces which are joined together.
Flamingo, created by noted American artist Alexander Calder, is a 53-foot (16 m) tall stabile located in the Federal Plaza in front of the Kluczynski Federal Building in Chicago, Illinois, United States. It was commissioned by the United States General Services Administration and was unveiled in 1974, although Calder's signature on the sculpture indicates it was constructed in 1973.

www.chicago-outdoor-sculptures.blogspot.nl
The sculpture was received in a public ceremony never before nor since equaled in scale nor in fanfare.

H.W. Janson, Anthony Janson (2004):
One important development which Surrealism produced in the early 1930s were the mobile sculptures of the American Alexander Calder (1898 - 1976).
Called mobiles for short, they are delicately balanced constructions of metal wire, hinged together and weighted so as to move with the slightest breath of air.
Unpredictable and ever-changing, such mobiles incorporate the fourth dimension as an essential element.
Kinetic sculpture had been conceived first by the Constructivists. Their influence is evident in Calder’s earliest mobiles, which were motor-driven and tended toward abstract geometric forms.
Calder was also affected early on by Mondrian, whose use of primary colors he adopted. Like Mondrian, he initially thought of his constructions as self-contained miniature universes.
But it was his contact with Surrealism that made him realize the poetic possibilities of “natural” rather than fully controlled movement. He borrowed biomorphic shapes from Miró and began to conceive of mobiles as counterparts to organic structures: flowers on flexible stems, foliage quivering in the breeze, marine animals floating in the sea. Infinitely responsive to their enironment, they seem amazingly alive.