
With Alexander Calder showing in two places at the same time on the Upper East Side it was more than worth making a mad-dash (calderdash), first to the Whitney where the show highlights Calder's years in Paris from 1926-1933. The place where Calder became Calder. He came to Paris as a painter and left a Calderer. That's the only thing you can call it. Some would say he is a sculptor, some would even call him a craft maker. But I'll stick with Calderer. Paris must have made him feel like a child in a candy store, because that is exactly why his work has always made me happy. The whimsical childish energy and imagery that he creates. It makes you happy, it makes everyone happy. The show is complete with wire sculptures, mobiles, toy-like gadgets, a wonderful playground of imaginary reverie. And it seems Calder didn't grow old as he grew older, a wonderful video of an elderly Calder setting up the infamous, La Grande Cirque Calder, the arena that has been displayed at the Whitney for years, is enthralling. He's on the floor setting up the circus like a kid in the sandbox, it is a wonderful depiction of a man who knew who is inner child was. I left feeling happy and continued my calderdash to the Metropolitan to see the other Calder show, Calder's jewelry, and as steeped in joy was the Whitney show, the jewelry show was laden with sophistication, elegance, beauty and a touch of the primitive. Necklaces, bracelets, broaches all contagious with metallic idolatry that made me want to steal one so that I might have a bit of the magic this man was full of. A couple of pieces I truly adored were, The Jealous Husband, a necklace that twists and turns and looks like a flight of fancy that a beautiful woman, wanting to make her husband jealous, might fly; the other piece is entitled, Caged Crockery, a necklace that has broken pieces of crockery enveloped in precious metal. It's the bomb. And with a fused energy of joy and elegance, I walked out of the Metropolitan feeling both childish and sophisticated...




