1.
A Documentary Film about Jazz Guitar
Touchstone PicturesPresents A 347Films production “TheStoryofJazz”ADocumentaryFilm
WyntonMarsalis RayBarbee EsperanzaSpalding SpyroGyra Fourplay DianaKrall
Edited by Joe Black Music by Miles Davis Wynton Marsalis Herbie Hancock fourplay
Watch In Theatres Friday Nov. 7th 2014
Jazz Documentary Poster

2.
Admission
Members Free
Under 18 Free
Seniors & Students $10
Groups of 10+ $12
All other guests $15
5905 Wilshire Blvd.
Los Angeles CA 90036
tel: 323 857-6000
Hours
Monday 11 am–5 pm
Tuesday 11 am–5 pm
Wednesday Closed
Thursday 11 am–5 pm
Friday 11 am–8 pm
Saturday 10 am–7 pm
Sunday 10 am–7 pm
To purchase tickets on line: : http://www.
lacma.org/visit/plan-your-visit
•
• After 3 pm for LA
county residents M-Fri
• On the second Tuesday
of each month
• On federal holidays,
sponsored by Target
• For active duty military
personnel through September
3rd, 2012.
LACMA
Calder&Abstraction
LACMA
Resnick Pavilion
November 24,
2013–July 6, 2014
From Avant-GuardTo
Iconic
He made most of his monumental stabiles and mobiles during this time [when?] at Etablissements Biémont in Tours, France.
Calder would create a model of his work, the research department (headed by M. Porcheron, with Alain Roy, François Lopez,
Michel Juigner ...) would scale it up to final size, and then experienced boilermakers would complete the actual metalwork — all
under Calder’s watchful eye. Stabiles were made in carbon steel sheet metal, then painted in black or in primary colors. Some
lightweight mobiles were made of aluminum or duralumin alloy. An exception was Man (L’homme), stainless steel 24 meters tall,
which was commissioned by International Nickel Company of Canada (Inco).
In 1974 Calder unveiled to the public two sculptures, Flamingo at Federal Plaza and Universe at Sears Tower, in Chicago,
Illinois. The exhibition Alexander Calder: A Retrospective Exhibition at the Museum of Contemporary Art, Chicago, opened
simultaneously with the unveiling of the sculptures.[36] Originally meant to be constructed in 1979 for the Hart Senate Office
Building, Mountains and Clouds was not built until 1985 due to government budget cuts. The massive project, constructed of
sheet steel and weighing 35 tons, spans the entire nine-story height of the building’s atrium in Washington D.C. Calder designed
the maquette in the last year of his life for the U.S. Senate, and designated his assistant Carmen Segretario to construct the
massive stabile.
ArtisticWork
In 1926, at the suggestion of a Serbian
toymerchant in Paris, Calder began
to make toys. At the urging of fellow
sculptor Jose de Creeft, he submitted
them to the Salon des Humoristes.
Later that fall, Calder began to create
his Cirque Calder, a miniature circus
fashioned from wire, string, rubber,
cloth, and other found objects.
Designed to fit into suitcases (it
eventually grew to fill five), the circus
was portable, and allowed Calder to
hold performances on both sides of the
Atlantic. He gave improvised shows,
recreating the performance of a real
circus. Soon, his Cirque Calder (usually
on view at the Whitney Museum of
American Art at present) became
popular with the Parisian avant-garde.
In 1927, Calder returned to the
United States. He designed several
kinetic wooden push and pull toys for
children, which were mass-produced
by the Gould Manufacturing Company,
in Oshkosh, Wisconsin. His originals,
as well as playable replicas, are on
display in the Berkshire Museum in
Pittsfield, Massachusetts. Throughout
the 1930s, Calder continued to give
Cirque Calder performances, but he
also worked with choreographer.
Sculpture
The Cirque Calder can be seen as the start of Calder’s interest in both wire sculpture and kinetic art. He maintained a sharp eye
with respect to the engineering balance of the sculptures and utilized these to develop the kinetic sculptures Marcel Duchamp
would ultimately dub as “mobiles”, a French pun meaning both “mobile” and “motive.” He designed some of the characters in
the circus to perform suspended from a thread. For other sculptures, such as Policeman (1928), Calder transforms the graphic,
all-black wire into an elegant series of loops and twists to create an animated figure.
In 1929, Calder had his first solo
show of wire sculpture, in Paris at Galerie Billiet. The painter Jules Pascin, a friend of Calder’s from the cafes of Montparnasse,
wrote the preface to the catalog. A visit to Piet Mondrian’s studio in 1930 “shocked” him into embracing abstract art. It was the
mixture of his experiments to develop purely abstract sculpture following his visit with Mondrian that led to his first truly kinetic
sculptures, manipulated by means of cranks and pulleys, that would become his signature artworks. Calder’s kinetic sculptures are
regarded as being amongst the earliest manifestations of an art that consciously departed from the traditional notion of the art
work as a static object and integrated the ideas
Multiple Page Document
In addition to sculptures,Calder painted
throughout his career, beginning in
the early 1920s. He picked up his study
of printmaking after moving to Paris
in 1926, and continued to produce
illustrations for books and journals. His
many projects from this period include
pen-and-ink line drawings of animals
for a 1931 publication of Aesop’s fables.
As Calder’s sculpture moved into the
realm of pure abstraction in the mid-
1930s, so did his prints. The thin lines
used to define figures in the earlier prints
and drawings began delineating groups
of geometric shapes, often in motion.
Calder also used prints for advocacy,
as in poster prints from 1967 and 1969
protesting the Vietnam War.
As Calder’s professional reputation
erupted in the late 1940s and 1950s,
so did his production of prints. Masses
of lithographs based on his gouache
paintings hit the market, and deluxe
editions of plays, poems, and short
stories illustrated with fine art prints
by Calder became available for sale.
By 1973, Braniff International Airways
commissioned him to paint a full-size
DC-8-62 as a “flying canvas.” In 1975,
Calder completed a second airplane,
this time a Boeing 727–291, as a
tribute to the US Bicentennial.
Alexander Calder'’s Life and Career
In 1915, Calder decided to study mechanical engineering, and enrolled at the Stevens
Institute of Technology in Hoboken, New Jersey. He was a member of the Delta Tau
Delta fraternity and excelled in mathematics.In the summer of 1916, Calder spent five
weeks training at the Plattsburg Civilian Military Training Camp. In 1918, he joined
the Student’s Army Training Corps, Naval Section, at Stevens and was made guide of
the entire battalion.
Calder received a degree from Stevens in 1919. For the next several years, he held
a variety of engineering jobs, including working as a hydraulic engineer and a
draughtsman for the New York Edison Company. In June 1922, Calder found work
as a mechanic on the passenger ship H. F. Alexander. While the ship sailed from
San Francisco to New York City, Calder worked on deck off the Guatemalan Coast
and witnessed both the sun rising and the moon setting on opposite horizons.
He described in his autobiography, “It was early one morning on a calm sea, off
Guatemala, when over my couch—a coil of rope—I saw the beginning of a fiery red
sunrise on one side and the moon looking like a silver coin on the other.”
The H.F. Alexander docked in San
Francisco and Calder traveled up to
Aberdeen, Washington, where his sister
lived with her husband, Kenneth Hayes.
Calder took a job as a timekeeper at a
logging camp. The mountain scenery
inspired him to write home to request
paints and brushes. Shortly after this,
Calder decided to move back to New
York to pursue a career as an artist.
Calder moved to New York and enrolled
at the Art Students’ League, studying
briefly with Thomas Hart Benton, George
Luks, Kenneth Hayes Miller, and John
Sloan. While a student, he worked for the
National Police Gazette where, in 1925,
one of his assignments was sketching
the Ringling Brothers and Barnum
and Bailey Circus. Calder became
fascinated with the circus, a theme that
would reappear in his later work. In
1926, Calder moved to Paris, visited
the Académie de la Grande Chaumière
and he established a studio at 22 rue
Daguerre in the Montparnasse Quarter.
In June 1929, while traveling by boat
from Paris to New York, Calder met his
future wife, Louisa James (1905-1996),
grandniece of author Henry James and
philosopher William James.
They married in 1931.
While in Paris, Calder met and became
friends with a number of avant-garde
artists, including Joan Miró, Jean Arp,
and Marcel Duchamp. Calder and Louisa
returned to America in 1933 to settle in
a farmhouse they purchased in Roxbury,
Connecticut, where they raised a family
(first daughter, Sandra born 1935,
second daughter, Mary, in 1939). In 1955
Alexander and Louisa Calder travelled
around in India for three months, where
Calder produced nine sculptures as well
as some womens jewellery.
In 1962, Calder settled into his new
workshop Carroi, which was of a
futuristic design and overlooked the
valley of the Lower Chevrière to Saché
in Indre-et-Loire (France). He did not
hesitate to offer his gouaches and small
mobiles to his friends in the country,
he even donated to the town a stabile
trônant, which since 1974 is situated
front of the church: an anti-sculpture
free from gravity. Throughout his
artistic career, Calder named
many of his works in French.
During World War II, Calder attempted to
join the Marines as a camofleur, but was
rejected. Instead, he continued to sculpt,
but a scarcity of metal led to him again
producing work in carved wood. Calder
set about creating new works such as
Seven Horizontal Discs (1946), which he
was able to dismantle and send by mail
despite the stringent size restrictions
imposed by the postal service at the time.
Once the war was over, Calder began
to cut shapes from sheet metal into
evocative forms and would hand-paint
them in his characteristically pure hues
of black, red, blue, and white. Calder
created a small group of works from
around this period with a hanging
base-plate, for example Lily of Force
(1945), Baby Flat Top (1946), and Red is
Dominant (1947). Largely comprising a
range of hanging and standing Mobiles,
his 1946 show at the Galerie Louis
Carré in Paris made a huge impact, as
did the essays for the catalogue which
was especially written, at the artist’s
invitation, by French philosopher Jean-
Paul Sartre and curator James Johnson
Sweeney. By the late 1950s, Calder
produced mobiles almost exclusively
for close friends and family.
In 1951, Calder devised a new kind
of mobile/stabile combination, related
structurally to his constellations. These
“towers,” affixed to the wall with a nail,
consist of wire struts and beams that jut
out from the wall, with moving objects
suspended from their armatures. After
1965, an intermediate maquette, usually
about one-fifth the final size, was often
fabricated to test the wind resistance and
to refine the structure.
In the 1930s, the Berkshire Museum in
Pittsfield, Massachusetts gave Calder
his first public commission, a pair of
mobiles designed for the Museum’s new
theater. In the 1950s, Calder increasingly
concentrated his efforts on producing
monumental sculptures (his self-described
period of“agrandissements”).Notable
examples are .125 for JFK Airport in
1957, La Spirale for UNESCO in Paris
1958 and Man (L’Homme), commissioned
forExpo67inMontreal,Canada. Calder’s
largest sculpture until that time, 20.5 meters
high, was El Sol Rojo, constructed outside
the Aztec Stadium for the 1968 Summer
Olympics “Cultural Olympiad” events in
Mexico City.
Calder made his first outdoor works in
his Roxbury, Connecticut studio, using
the same techniques and materials as
his smaller works. Exhibited outside,
Calder’s initial standing mobiles
moved elegantly in the breeze, bobbing
and swirling in natural, spontaneous
rhythms. In fact, the first few outdoor
works were too delicate for strong winds,
which forced Calder to rethink his
fabrication process.
In 1936, he responded to the problem,
changing his working methods. He began
to create smaller scale maquettes that he
then enlarged to monumental size. The
small metal maquette, the first step in the
production of a monumental sculpture,
was already for Calder a sculpture in its
own right. The larger works were made
under his direction, using the classic
enlargement techniques used in different
ways by traditional sculptors, including
his father and grandfather. Calder began
to draw his designs on brown craft paper,
which he enlarged using a grid. His large-
scale works were created according to his
exact specifications, while also allowing
him the liberty to adjust or correct a
shape or line if necessary.

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Also available from Dorling Kindersley
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guitarmusic ∙ history ∙ players
richard chapman
forward by eric clapton
guitarmusic∙history∙playersrichardchapman
An unrivaled history of the guitar –
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it has inspired, and the artists who
have shaped its evolution.
Features over 300 guitar legends – from
Andrés Segovia and Django Reinhardt to
Jimmy Page and John Mclaughlin.
Encompasses the guitar’s absorbing history
and genres, including classical, folk, blues,
jazz, rock, and beyond.
Includes transcriptions of outstanding solos
by Charlie Christian, the Beatles,
and Eric Clapton.
Conyains evocative photography of key
players, instruments, amplifiers, and
effects devices.
Richard Chapman is widely
recognized as one of the
leading figures in the
guitar world and an authority
on the history of the
guitar and it’s music.
He fell in love with the
instrument when he was eleven and, as
an entirely self-taught player, was inspired
by modern, avant-garde, jazz, and
classical music as well as pop and rock
developements of the 1960’s. He left school
at fifteen to become a professional musician,
performing jazz and contemporary music.
He developed his own approach to teaching
emphasizing helping guitarists to improve
and learn about harmony. Richard is the
guitar, jazz and popular music consultant
to the auctioneers Christie’s in London and
New York. He is the author of the widely
acclaimed international bestseller The
Complete Guitarist, also published by
Dorling Kindersley.
He has frequently appeared on radio and
television in the US and abroad and has
contributed to many projects including the
Microsoft Multimedia Guide to Musical
Instruments. He is currently recording a solo
CD of his work to be titled Twelve Colours.
In this encyclopedic history, leading
authority Richard Chapman combines
superb images and insightful narratives
to trace the story of the world’s favorite
instrument. Featuring over 300 pivitol
players and groups as Merle Travis,
Sabicas, Wes Montgomery, Jeff Black
and more.
For our complete visit
WWW.dk.com
ISBN 0 - 7894- 5963 - 9 $ 24.95
Guitar Book Cover

8.
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AnnexCosta Mesa Friday & SAturday October 26-27
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9.
Multiple Page Document

10.
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andrewskylerrei.info.com
t: 949.201.8478 F: 949.364.6999
21 main street
Portland, Oregon 78453
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