Alexander Calder changed the course of modern art with his three-dimensional kinetic sculptures, which Marcel Duchamp named “mobiles.” Resonating with tenets of Futurism, Constructivism, and early non-objective painting, Calder’s mobiles consist of boldly colored abstract shapes, which are made from industrial materials and hang in lyrical balance. Calder was an international phenomenon during his lifetime. He won the grand prize for sculpture at the 1952 Venice Biennale, where he represented the United States. He earned the French Legion of Honor and the American Presidential Medal of Freedom, among other honors. Calder has been the subject of solo exhibitions at the Museum of Modern Art, the Rijksmuseum, the Louisiana Museum of Modern Art, and the Museo Reina Sofía. His work regularly sells for eight figures on the secondary market. Though Calder is best known for his mobiles, his diverse practice also encompassed standing sculpture, painting, set and costume design, large-scale public installation, and jewelry-making.

Issue tribute to the artist in collaboration with the Calder Foundation, retracing his relationship with France. 2014 marks the 25th anniversary of Atelier Calder Artist residency, in which more than 40 artists have been able to work. The review includes interviews with some of them, a selection of images of the works of former residents as well as a portfolio of models of sculptures by Monika Sosnowska, resident in 2014. In this special issue, several essays emphasize the relationship maintained between Calder and Christian Zervos. Text by Alexander S.C Rower, grandson of Calder and president of the Calder Foundation, by Susan Braeuer Dam. Participation of Alfred Pacquement, former director of the National Museum of Modern Art, Raphael Bouvier, curator of exhibitions at the Beyeler Foundation, Robert Rubin, architectural historian and Hans Ulrich-Obrist, director of the Serpentine Gallery. These texts are illustrated with photographs of Calder and his works by Ugo Mulas and Agnès Varda.

Founded in 1926 by Christian Zervos at 14, rue du Dragon in the heart of Saint-Germain-des-Prés, Cahiers d’Art encompasses a publishing house, a gallery, and a revue. The Cahiers d’Art Revue was entirely unique when it was introduced, and it still is: a revue of contemporary art defined by its combination of striking typography and layout, abundant photography, and juxtaposition of ancient and modern art.
Between the 1920s and the mid-1970s, Cahiers d’Art published ninety-seven issues of the Revue and more than fifty books on fine art and architecture, as well as the thirty-three volume catalogue raisonné of Pablo Picasso. After its acquisition and relaunch in 2012 by Staffan Ahrenberg, an editorial board comprised of Sam Keller, Hans Ulrich Obrist, Isabela Mora, and Staffan Ahrenberg was created. Cahiers d’Art has since published several new Revues and art books devoted to Ellsworth Kelly, Rosemarie Trockel, Hiroshi Sugimoto, Alexander Calder, Pablo Picasso, Thomas Schütte, Gabriel Orozco, Joan Miró, Lucas Arruda, Ai Weiwei, Arthur Jafa, Frank Gehry, Christo, and others. From the 1920s till today, Cahiers d’Art has maintained a gallery, exhibiting the artists it publishes.
Cahiers d’Art continues to fulfill its mission to be the cultural bridge between the avant-garde of Picasso, Duchamp, and Le Corbusier, and the leading artists and architects of our time.

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