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Arp, Calder, and Miro: Modern Masters from the Albright-Knox Art Gallery

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20131006220722-00120131007
The Cone, 1960 Painted Metal 100 X 110 X 65 Inches (254 X 279.4 X 165.1 Cm) © Courtesy of The Tampa Museum of Art
Arp, Calder, and Miro: Modern Masters from the Albright-Knox Art Gallery
Curated by: Holly E. Hughes

120 Gasparilla Plaza
Tampa, Florida 33602
October 5th, 2013 - January 19th, 2014
Opening: October 5th, 2013 11:00 AM - 5:00 PM

QUICK FACTS
WEBSITE:  
http://www.tampamuseum.org
COUNTRY:  
coral gables
EMAIL:  
nancy.kipnis@tampamuseum.org
PHONE:  
(813) 817-6731
OPEN HOURS:  
M,Tu,W,F 11am-7pm/Th 11am-9pm,S&S 11am-5pm
TAGS:  
prints, sculpture

DESCRIPTION

Featuring a comprehensive array of fifty-two works across varied media by Jean (Hans) Arp (French, born Germany, 1886–1966), Joan Miró (Spanish, 1893–1983), and Alexander Calder (American, 1898–1976), this exhibition will highlight the work of three modern masters, who pushed color, line, and form beyond convention. Arp, Miró, and Calder converged early in their artistic careers. Calder, who left New York for France in 1926, first encountered Arp and Miró in Paris, an inspirational destination for artists and a vibrant center of music and dance. Paris was also the creative center for Surrealism—an art movement stressing the subconscious significance of imagery—and Surrealist theory in the visual arts, politics, and society. Calder, though not closely associated with Surrealism, was undoubtedly influenced by the movement’s key players during his time in Paris. It was Arp, in fact, who named Calder’s static constructions “stabiles,” and, in 1931, the Surrealist Marcel Duchamp suggested Calder call his whimsical, kinetic works “mobiles.” But Calder developed the closest friendship with Miró; the two bonded over discussions about Surrealist theory, and through shared interests and influences. These relationships, formed during a period in art history often referred to as “the greatest laboratory of modern art,” resulted in some of the most innovative visual iconographies of the twentieth century.