How did you come to photograph Alexander Calder’s work? And how was it different from working with Wright?
When Mr. Wright died, I was rudderless. I didn’t know what I was going to do with my life. ... When he died, there was a space of a year or so where the magazines were going crazy trying to get Frank Lloyd Wright’s work. ... But by that time, I was doing a lot of interior work for House and Garden and Vogue and Harper’s Bazaar and places like that. I was assigned to go photograph Calder’s kitchen, of all things. ... I didn’t know anything about Alexander Calder. I knew his work, but I didn't know him. When I arrived at the Calder house, I was absolutely stunned at how different the whole thing was from the experiences that I had with Frank Lloyd Wright. Frank Lloyd Wright was methodical; everything was in its place. Only his furniture fit his houses. And he didn’t want pictures on the walls. When I got to Sandy Calder’s, it was absolute chaos ... But I fell instantly in love with this new experience.
I knew when I arrived at that place with the kitchen editor that House and Garden was never going to use the work because there wasn’t anything that they could sell advertisements on. He [Calder] had three stoves in this kitchen. There wasn’t one that was newer than 30 years; a couple of them weren’t even working. It was absolutely beautifully designed as far as I was concerned—trays made out of olive oil cans put on a wooden frame. If Louisa Calder needed a big spoon for soup, he went into the studio and made one out of aluminum and brought it back within an hour. ... Wright said, ‘‘Give me the luxuries and I’ll learn to live without the necessities.’’ Alexander Calder made his necessities, and they became luxuries. I couldn't stop photographing.