It would be poetic, I think, if I were to effuse that I’ve been fascinated with mobiles since I was an infant gazing at one dangling above my crib. But in reality, my introduction to mobiles came in grade school, thanks to a hippie art teacher who smelled of patchouli and patiently taught her ham-handed students how to make dancing (if lopsided) sculptures from twigs, painted acorns, and twine. I thought of her this morning when I read about the Nasher Sculpture Center’s exhibition of the works of Alexander Calder (1898-1976), whose first kinetic sculptures were dubbed “mobiles” by colleague and friend Marcel Duchamp. (Interestingly, fellow experimental artist Jean Arp called Calder’s stationary artworks “stabiles.”)
The Nasher’s show, Alexander Calder and Contemporary Art: Form, Balance, Joy, runs through March 6. Along with more than 30 of Calder’s works, the exhibition also highlights seven contemporary artists who were influenced by Calder’s creative reuse of materials, hands-on production methods, and explorations of form, balance, color, and movement.
I can’t think of a more pleasant place to experience Calder’s graceful sculptures. With its spare and light-filled interior galleries and al fresco sculpture garden filled with beautiful and thought-provoking installations, the Nasher makes artworks accessible and relevant to life’s experiences. So I know that when I next make it to Dallas, and when I walk amongst the mobiles as they rotate on gossamer threads, I’ll be back in art class, surrounded by classmates with braces and awkward hairdos, assembling sculptures from garden flotsam. The weight of one acorn could throw the whole thing off-balance. Alter one variable, and the whole project shifts. Could I have known back then that a mobile could be a metaphor for life itself? For more on the Nasher, see www.nashersculpturecenter.org.