Rouge et bleu 1975

Curator: Looking at "Rouge et bleu" from 1975, I’m immediately drawn to the whimsical composition—the simple, bold shapes and primary colours feel almost childlike in their directness. What’s your first take? Editor: It strikes me as remarkably sparse. Calder, primarily known for his mobiles, here gives us a lithograph where simplicity borders on schematic, yet it has a dynamic quality. The orchestration of basic shapes seems almost playful. Curator: Given that Calder created this work relatively late in his career, I wonder if "Rouge et bleu" serves as a commentary on societal constructs during that period. The use of these flat shapes could signify an attempt to deconstruct established norms and power structures. What do you think about that idea? Editor: Possibly, but more interesting for me is the dynamic tension between the static composition and the suggestion of movement through the off-kilter placement of the circles and triangles. The colours pop, and there is an undeniable graphic appeal to how these shapes create balance with positive and negative space. Semiotically, it's pure formalism! Curator: And the artist seems invested in breaking from conventional formalism by introducing shapes associated with childhood and perhaps happiness: balloons and playful objects. It reminds us to deconstruct and reimagine hierarchies. How effective do you think his re-framing of those societal norms and expectations would have been in 1975? Editor: In purely structural terms, the tension is brilliantly realised, as Calder creates an interesting, pleasing image, even though the shapes appear almost haphazardly assembled. Perhaps that is part of your comment, too: its looseness signals that breaking away from expectations can also be visually satisfying. Curator: Well, examining it from a feminist perspective, you could almost consider how he democratises high art by embracing these accessible, playful forms and motifs, perhaps echoing feminist critiques of art historical traditions! Editor: Fascinating points; nonetheless, from my viewpoint, it is Calder's control over spatial arrangement and color contrast that is most appealing. Thank you for offering a very stimulating overview that helps the viewer to look beyond that first visual hit. Curator: Likewise; those shapes make it more visually and historically intriguing.