Calder
Alexander Calder’s Three Big Dots (1963), currently displayed at the Baltimore Museum of Art, is typical of many of his other works. Suspended from a central light fixture on the ceiling by fishing wire, this red, steel sculpture is composed of a total of eleven abstract shapes. It takes on an elongated S-shape made up of two major balances on either side of a central rod. Approximately 3’x 3’x 7’ in dimension, Three Big Dots is largely a horizontal piece with a relatively narrow depth. Its ten appendages are all connected at joints, allowing the work to constantly move freely at each axis. This inherent movement is responsible for its classification as a ‘mobile’—a name Marcel Duchamp produced in order to describe Calder’s other similar pieces. Calder uses his ability to construct moving sculptures as a vehicle to explore object’ movements in space—ultimately creating a miniature model of the cosmos within his mobile. However, though Three Big Dots looks merely like a model of the universe, it carries deeper meaning and insight into human nature that can be observed through investigation of his background and the way in which it is constructed.
By creating a miniature universe, Calder explores, not only the science of movement in all forms, but allegorizes it to natural human tendencies. Whether or not it was his intention, within Three Big Dots, Calder has also provided an insight into human nature on many more levels. Within this mobile, we can also see a reflection on mankind’s relationship to other life forms and with our own selves as well. Anything we put importance to diminish the value of things without the same characteristics we celebrate—however, by creating a mobile, in which, one side must balance the other for it to operate. He is not giving an opinion or telling us what to think. He is merely showing us how one part cannot exist without the other and that all parts are necessary to make up who we are, what the world is, and ultimately the universe. The remaining shapes of sheet metal in Three Big Dots suspend perpendicularly to the ceiling plane. They are predominantly quadrilateral and are more geometric than the circular shapes on their opposing side. The first piece is a triangular quadrilateral shape positioned toward the center axis. On the outer end of this rod, hangs another rod in which a triangular piece of sheet metal is suspended. An additional rod and quadrilateral shape are attached to the previous one as the descent continues with the remaining five pieces (an indented quadrilateral, a parallelogram, a triangular quadrilateral, and two small triangles, from top to bottom). The resulting tiers produce a stepladder affect, owing to the distinct pattern the rods and shapes follow. As they move further away from the central axis, they get smaller and shorter, to create a smooth flow throughout the piece. This creates a hierarchy of importance within the frames of the mobile. Three Big Dots successfully manifests this idea through its construction and composition. The central axis of this sculpture is a simple metal rod, the ends of
Some topics in this essay:
Piet Mondrian’s,
Institute Technology,
Museum Art,
Marcel Duchamp,
Dots Calder,
Pennsylvania July,
Calder’s Dots,
rods shapes,
ship guatemala,
insight human nature,
human nature,
ceiling plane,
orbiting planets,
triangular quadrilateral,
insight human,
solar system,
circular shapes,
quadrilateral shape,
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Approximate Word count = 1306
Approximate Pages = 5 (250 words per page double spaced)
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