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He also began his association with the Pierre Matisse Gallery in New York with his first show in 1934. (Calder 1966, 28; CF, Calder 1955–56, 7) Winter: The Calders move to Croton-on-Hudson, New York.

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.

Every piece was small enough to be packed into a large trunk, enabling the artist to carry it with him and hold performances anywhere.

Calder committed to becoming an artist shortly thereafter, and in 1923 he moved to New York and enrolled at the Art Students League.

He also took a job illustrating for the , which sent him to the Ringling Bros.

Even at age eleven, his facility in handling materials was apparent.

Despite his talents, Calder did not originally set out to become an artist.

and Barnum & Bailey Circus to sketch circus scenes for two weeks in 1925.

The circus became a lifelong interest of Calder's, and after moving to Paris in 1926, he created his , a complex and unique body of art.

Indeed, the predated performance art by forty years.

Calder found he enjoyed working with wire for his circus.

The first of these objects moved by systems of cranks and motors, and were dubbed "mobiles" by Marcel Duchamp—in French mobile refers to both "motion" and "motive." Calder soon abandoned the mechanical aspects of these works when he realized he could fashion mobiles that would undulate on their own with the air's currents. Portfolio of lithographs by Calder, Chillida, Guinovart, Miró, Ràfols-Casamada, Tàpies, Vedova, Viladecans. Mother and father were all for my efforts to build things myself—they approved of the homemade . (Calder 1966, 21) 1 January: Calder attends Pasadena's Tournament of Roses, where he experiences the four-horse chariot races.