拍品专文
This work is registered in the archives of the Calder Foundation, New York, under application number A07399.
"How does art come into being? Out of volumes, motion, spaces carved out within the surrounding space, the universe. Out of different masses, tight, heavy, middling--achieved by variations of size or color. Out of directional line--vectors representing motion, velocity, acceleration, energy, etc.--lines which form significant angles and directions, making up one, or several tonalities. Spaces and volumes, created by the slightest opposition to their mass, or penetrated by vectors, traversed by momentum. None of this is fixed. Each element can move, shift or sway back and forth in a changing relation to each of the other elements in this universe. Thus they reveal not only isolated moments, but a physical law of variation among the events of life. Not extractions, but abstractions: Abstractions which resemble no living thing, except by their manner of reacting" (Alexander Calder, "Comment realiser l'art?," Abstraction-Creation, Art Non-Figuratif, no. 1, 1932, p. 6).
"How does art come into being? Out of volumes, motion, spaces carved out within the surrounding space, the universe. Out of different masses, tight, heavy, middling--achieved by variations of size or color. Out of directional line--vectors representing motion, velocity, acceleration, energy, etc.--lines which form significant angles and directions, making up one, or several tonalities. Spaces and volumes, created by the slightest opposition to their mass, or penetrated by vectors, traversed by momentum. None of this is fixed. Each element can move, shift or sway back and forth in a changing relation to each of the other elements in this universe. Thus they reveal not only isolated moments, but a physical law of variation among the events of life. Not extractions, but abstractions: Abstractions which resemble no living thing, except by their manner of reacting" (Alexander Calder, "Comment realiser l'art?," Abstraction-Creation, Art Non-Figuratif, no. 1, 1932, p. 6).