Since the opening of Pittsburgh International Airport’s new landside terminal late last year, travelers have been greeted by a well-known piece of art presented in a new way. Alexander Calder’s “Pittsburgh” mobile now hangs in the center of the terminal’s main atrium, marking its most prominent display since it was created 70 years ago.
The sculpture, which measures 28 feet and is made from black steel rods and white aluminum paddles, has been part of Pittsburgh’s identity for decades. This time, it is accompanied by an interpretive wall label written by Alex Taylor, associate professor in the Department of History of Art and Architecture at the University of Pittsburgh.
Taylor has researched Calder’s work for over ten years, beginning with his master’s dissertation at Oxford University and continuing through projects with institutions such as Tate Modern. The airport project gives him a chance to share his scholarship with a wide public audience.
“That role of an historian to enrich the stories around a work of art is one that I both take seriously and is a great pleasure,” Taylor said.
Taylor explained that the new placement changes how people see the mobile. In its previous location, architectural features often distracted from the artwork, which was also positioned above natural sight lines. The redesigned atrium was planned to highlight the sculpture’s shifting forms, offering views from different levels throughout the space.
Because air currents and nearby movement keep the mobile in motion, Taylor said its appearance is always changing. “Anytime you see it, it’s going to be a different work of art,” he said.
Taylor also noted that Calder’s use of abstraction, industrial materials, and movement makes “Pittsburgh” well-suited for an airport setting and reflects Pittsburgh’s history as a center for steel and aluminum production. He emphasized that public artworks like this evolve over time due to changes in placement, conservation efforts, and public interest. His wall label outlines the sculpture’s journey at the airport: originally installed in 1952 where it was later repainted without Calder’s permission, then restored before being moved to its current location. The label invites viewers to think about both the form of the mobile and what goes into preserving public art.
With its current display in a bright atrium designed for public engagement, Taylor said there is no missing it: “You can’t miss it,” Taylor said.
