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Barcelona: Fundació Joan Miró–Centre d'Estudis d'Art Contemporani, 1975. Museum at Large and the Whitney Museum of American Art, New York. Directed and produced by Paul Falkenberg and Hans Namuth; narration by Louisa Calder, Tom Armstrong, and John Russell. Calder's parents move to a ranch in Oracle, Arizona, leaving Calder and his sister Peggy in the care of Dr. Calder befriends Riley, an elderly man recuperating at the ranch who shows him "how to make a wigwam out of burlap bags pinned together with nails." (Calder 1966, 16) Fall: The Calders move to Pasadena, California.
Portfolio of lithographs by Calder, Chillida, Guinovart, Miró, Ràfols-Casamada, Tàpies, Vedova, Viladecans. So I sent them another dollar and told them, “Look again.” They corroborated the first statement., in Philadelphia. (Calder 1966, 13) Spring: Stirling Calder contracts tuberculosis. (Calder 1966, 15; Hayes 1977, 18) End of March: Nanette picks up Calder and Peggy and they rejoin their father in Oracle.
(Calder 1966, 48–49) Fall: Calder joins the staff of magazine in St. The efficiency engineers—Miller, Franklin, Basset, and Co.—hire Calder to do fieldwork for the Truscon Steel Company in Youngstown, Ohio.
Texts by René Barjavel, Gérard Bauër, Michael Butor, Jean Cassou, Jean Cocteau, Raymond Cogniat, Pierre Daninos, Pierre De Latil, Michel Del Castillo, Guy Dorans, Albert Ducrocq, Florent Fels, Georges Friedmann, Pierre Gascar, Waldemar George, Isis Kischka, André Labarthe, Henri Mondor, Jean Rostand, Adam Saulnier, Georges Simenon, Francis Viaud. (CF, certificate of graduation; Lipman 1976, 329) Calder holds jobs with an automotive engineer named Tracy in Rutherford, New Jersey, and with New York Edison Company as a draftsman. (Calder 1966, 48–50) Summer: Calder works for Nicholas Hill, a hydraulics engineer, coloring maps for a water-supply project in Bridgeport, Connecticut.
Produced and directed by Hans Richter, assisted by Miriam Reaburn; cinematography by Arnold Eagle; music by Louis Applebaum. Sponsored by New World Films and Motion Picture Stages. (Calder 1966, 53–55; CF, Patterson to ASCR, 26 April 2010) Mid-June: Arriving in San Francisco, Calder takes a lumber schooner to Willapa Harbor, Washington, where he catches the bus for Aberdeen and meets his sister Peggy and her husband, Kenneth Hayes.
Directed and cinematography by Herbert Matter; produced and narrated by Burgess Meredith; music by John Cage. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.
(Calder 1966, 36–37; Hayes 1977, 43–44) Spring: Stirling and Nanette move to Berkeley to be near Stirling's next commission, the Oakland Auditorium.
But my grandfather Milne’s birthday was on August 23, so there might have been a little confusion.
(Hayes 1977, 42) The Calders move to Spuyten Duyvil, New York. (Calder 1966, 34–35) 14 August: Stirling is appointed as the acting chief of the department of sculpture of the Panama-Pacific International Exposition in San Francisco. (Calder 1966, 36) June: The Calders move to San Francisco.
Texts by James Johnson Sweeney, Michel Butor, Jean Davidson, Giovanni Carandente, Pol Bury, Gabrielle Buffet-Picabia, and Francis Miroglio; reprinted texts by Jean-Paul Sartre and Fernand Léger. The challenge is to move the animals from their pens without having two animals in the same pen at once. Stirling rents a studio in New York City on 51 West Tenth Street.
Part of the series "Festival du court-métrage." Société Nouvelle Pathé-Cinema, Paris. Calder's workshop consists of a tent with a wooden floor. (CF, Nanette to Trask, 30 March; Calder 1966, 26–27) Fall: The Calders return to Philadelphia.
(Calder 1966, 22) Spring: The Calders move to a new house on 555 Linda Vista Avenue.