女性裝飾品、首飾的設計三家及路邊攤： 美國 Alexander Calder (1898~1976)和 日本利用稻草設計品 /在她的設計下，鵝卵石成為獨特的珠寶 娜塔莉·馬圖林說，她的孩子們「教會了我如何看待石頭」。 動態雕塑Alexander Calder.(1898~1976)“He wanted a work of art to be an active event, an evolving circumstance.” 插畫 “佳美”(第5集)：女性裝飾品、首飾的設計兩家： 美國 Alexander Calder.(1898~1976)和 日本利用稻草設計品 an artisan weaves it into modern ornaments, redefining straw craftwork. Rice Straw: Beauty within the Prayers of Daily Life
Alexander Calder ‘Untitled’ and Pablo Picasso ‘Bull’s Head’, both 1942
Alexander Calder.
自然物的設計
“佳美”(第5集)：女性裝飾品、首飾的設計兩家： 美國 Alexander Calder (1898~1976)和 日本利用稻草設計品 an artisan weaves it into modern ornaments, redefining straw craftwork. Rice Straw: Beauty within the Prayers of Daily Life
Last month, New Yorkers had the rare opportunity to see aurora borealis, also known as the northern lights, illuminate the sky. At Storm King Art Center, Calder’s monumental stabile The Arch was backlit by a swath of magenta. Further north, at the Empire State Plaza Events, the sky was ablaze with color around his Triangles and Arches. “My grandfather rejected the idea of a work of art as a completed story,” Alexander S. C. Rower writes of the monumental outdoor works. “He wanted a work of art to be an active event, an evolving circumstance.”
Broadcast on February 16, 2023Available until March 31, 2025
Fushimi Inari Taisha holds a festival in November, burning rice straw in gratitude of a plentiful harvest. The straw symbolizes a meaningful connection as the deity of rice is believed to dwell within rice grains, and it is used in prayers for offspring and in New Year's decorations. Rice straw is also used in everyday items, and an artisan weaves it into modern ornaments, redefining straw craftwork. Discover the multifaceted beauty of prayer infused into rice straw throughout the centuries.
André Masson was born on this day in 1896. After fleeing Nazi-occupied France with his family in 1941, the French artist sheltered for a time in Calder’s Roxbury studio. He wrote a poem, embellished with drawings, which he gifted to the Calders. From then on Louisa displayed Masson’s ode to the studio along with Calder’s jewelry on her dressing bureau in Roxbury. An excerpt reads:
Hung from the studio’s rafters,
in the streaks of light a gong sensitive to the caprices of air
is struck only with the greatest caution
With the step of a dove it rings: what hour does it sound?
This is the hour of bustling centipedes
It is also the hour of the child with cherries.
Here the seconds lack the weight of the clock
they do not rest in the grass
they cannot conceive of immobility
they love the rustling of reeds
and the cry of the tree frog who breathes music
they play between your fingers, Calder, my friend.
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