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Word traveled about the inventive artist, and in 1928 Calder was given his first solo gallery show at the Weyhe Gallery in New York.
This exhibition was soon followed by others in New York, Paris, and Berlin; as a result, Calder spent much time crossing the ocean by boat.
James Johnson Sweeney, who had become a close friend, wrote the catalogue's preface. Part of the series "Festival du court-métrage." Société Nouvelle Pathé-Cinema, Paris. Calder has a cellar for his workshop and attends Croton Public School.
The assemblage included diminutive performers, animals, and props he had observed at the Ringling Bros. Fashioned from wire, leather, cloth, and other found materials, was designed to be manipulated manually by Calder.Calder's renderings of his circus often lasted about two hours and were quite elaborate.Indeed, the predated performance art by forty years.Calder found he enjoyed working with wire for his circus.He soon began to sculpt from this material many portraits of his friends and public figures of the day.
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In the fall of 1931, a significant turning point in Calder's artistic career occurred when he created his first truly kinetic sculpture and gave form to an entirely new type of art. At that time, on Euclid Avenue in Pasadena, I got my first tools and was given the cellar with its window as a workshop. My workshop became some sort of a center of attention; everybody came in.