Alexander Calder, Untitled, 1966, ink and gouache on paper, 29-1/2" × 43-1/4" (74.9 cm × 109.9 cm) © 2020 Calder Foundation, New York / Artists Rights Society (ARS), New York; Harry Callahan, Kleenex and Penny on Opal Glass, c. 1952, vintage gelatin silver print mounted to board, 3-3/4" × 4-5/8" (9.5 cm × 11.7 cm), image and paper, 14-3/8" × 11" (36.5 cm × 27.9 cm), mount © The Estate of Harry Callahan Calder, Callahan, and the Intensified Image Despite mastering different mediums while operating in distinct artistic milieus, Alexander Calder and Harry Callahan shared a sensitivity to the fundamentals of art—form, color, and line, among others—that led to their invention of uniquely modern visual idioms.In his statements on photography, Callahan repeatedly expressed a desire “to see freshly and feel intensely.” “I’m interested in revealing the subject in a new way, to intensify it,” he explained, elaborating elsewhere, “The difference between the casual impression and the intensified image is about as great as that separating the average business letter from a poem.” In linking his artistic pursuit of intensity to a modernist, lyrical distillation, Callahan was not alone. Calder, too, observed that in art “the elimination of other things which are not essential will make for a stronger result.” Similarly to Callahan, Calder believed that “an abstraction, sculpted or painted,” represented “an intensely exciting arrangement of planes, spheres, nuclei without meaning.” He later concluded, “To most people who look at a mobile, it’s no more than a series of flat objects that move. To a few, though, it may be poetry.” Organized into three subsections drawn from Callahan’s words, this online exhibition explores the poiesis or means by which both artists achieved an “intensified image” across different mediums, pushing modern art toward radically new horizons. Read More Alexander Calder, Untitled, 1956, oil on canvas, 35" × 51-1/4" (88.9 cm × 130.2 cm) framed, 37-1/8" × 53-3/16" x 2-3/8" (94.3 cm × 135.1 cm) Learn More Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Alexander Calder Untitled 1956 oil on canvas 35" × 51-1/4" (88.9 cm × 130.2 cm) framed, 37-1/8" × 53-3/16" x 2-3/8" (94.3 cm × 135.1 cm) Price Upon Request Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Interior of Calder’s house in Saché, 1976, Photograph by Pedro Guerrero © The Estate of Pedro E. Guerrero Compositions “Filled with Conflict and Choices”Whether exploring in-camera multiple exposures or unorthodox materials such as tissue, Callahan consistently mined new photographic techniques. By reshooting on sheet film, for example, he opened his work to chance, creating dynamic and gossamer superimpositions with an almost surrealistic quality. A germane experimental will motivated Calder to alternate between his sculptural practice and two-dimensional mediums. Whereas his airy mobiles move in subtle ways, energy reaches a feverish pitch in his densely packed oil paintings, where vividly colored shapes jostle for dominance. This coupling of what Callahan terms “conflict and choices,” or risk-taking and calculation, propelled the oeuvres of both artists, yielding daring yet sophisticated compositions. Harry Callahan, Eleanor, Chicago, 1953, vintage gelatin silver print mounted to board, 3-5/8" × 4-5/8" (9.2 cm × 11.7 cm), image and paper 8" × 10" (20.3 cm × 25.4 cm), mount Learn More Close modal Harry Callahan Eleanor, Chicago 1953 vintage gelatin silver print mounted to board 3-5/8" × 4-5/8" (9.2 cm × 11.7 cm), image and paper 8" × 10" (20.3 cm × 25.4 cm), mount $30,000 Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Alexander Calder, The Yellow Disc, 1958, oil on canvas, 35" × 48" (88.9 cm × 121.9 cm) Learn More Close modal Alexander Calder The Yellow Disc 1958 oil on canvas 35" × 48" (88.9 cm × 121.9 cm) How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Alexander Calder, White Counterbalance, 1948, sheet metal, wire, and paint, 10-1/2" x 10" x 3" (26.7 cm x 25.4 cm x 7.6 cm) Learn More “Objects behind other objects should not be lost to view but should be shown through the others by making the latter transparent. The wire sculpture accomplishes this in a most decided manner.”Alexander Calder Close modal Alexander Calder White Counterbalance 1948 sheet metal, wire, and paint 10-1/2" x 10" x 3" (26.7 cm x 25.4 cm x 7.6 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Harry Callahan, Eleanor, Chicago, c. 1952, gelatin silver print, 3-5/8" × 4-3/4" (9.2 cm × 12.1 cm), image, 5" × 8" (12.7 cm × 20.3 cm), paper, print made 1970s Learn More “I’m trying to answer the unexpected. When I continued on that basis . . . [my art] drifted into something else. By working at it . . . by doing it, that’s the only way you discover. And that’s the only way for me.”Harry Callahan Close modal Harry Callahan Eleanor, Chicago c. 1952 gelatin silver print 3-5/8" × 4-3/4" (9.2 cm × 12.1 cm), image, 5" × 8" (12.7 cm × 20.3 cm), paper, print made 1970s $20,000 Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Alexander Calder, Untitled, 1966, ink and gouache on paper, 29-1/2" × 43-1/4" (74.9 cm × 109.9 cm),framed, 31-3/4" (80.6 cm) x 44-13/16" (113.8 cm) x 2-3/16" (5.6 cm) Learn More Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Carousel slide 9 Carousel slide 10 Carousel slide 11 Carousel slide 12 Alexander Calder Untitled 1966 ink and gouache on paper 29-1/2" × 43-1/4" (74.9 cm × 109.9 cm),framed, 31-3/4" (80.6 cm) x 44-13/16" (113.8 cm) x 2-3/16" (5.6 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Harry Callahan, Kleenex and Penny on Opal Glass, c. 1952, vintage gelatin silver print mounted to board, 3-3/4" × 4-5/8" (9.5 cm × 11.7 cm), image and paper 14-3/8" × 11" (36.5 cm × 27.9 cm), mount Learn More Close modal Harry Callahan Kleenex and Penny on Opal Glass c. 1952 vintage gelatin silver print mounted to board 3-3/4" × 4-5/8" (9.5 cm × 11.7 cm), image and paper 14-3/8" × 11" (36.5 cm × 27.9 cm), mount $25,000 Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back To me the most important thing in composition is disparity. Alexander Calder Alexander Calder, Lines of Flow, 1947, oil on canvas, 30" x 40" (76.2 cm x 101.6 cm) Learn More “Going Abstract” with ColorBy applying color to his mobiles and stabiles, Calder further dissolved the boundary between sculpture and painting, which the pronounced linearity of his “drawings in space” had already initiated. In his painted works, color often plays a dominant role by, for example, gaining sculptural density as saturated blocks or overtaking the entirety of the picture plane. Though Calder used secondary colors, such as pink and orange, his predilection for an unnaturalistic and reductive palette points to his dialogue with eminent abstract painters in his entourage, notably Piet Mondrian and Fernand Léger. Nonfigurative painting similarly informed Callahan, who felt that color photographs could easily look “goofy” when straightforwardly representational. Reminiscent of Neoplasticism and the New York School, his trailblazing color photography structures and balances its chromatic expanses through an almost architectonic understanding of geometry and line, indicative of the additional influence of architect Mies van der Rohe. Close modal Alexander Calder Lines of Flow 1947 oil on canvas 30" x 40" (76.2 cm x 101.6 cm) Price Upon Request Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Harry Callahan, Providence, 1971, dye transfer print, 11-1/4" × 10-7/8" (28.6 cm × 27.6 cm), image 15-1/4" × 13-1/2" (38.7 cm × 34.3 cm), paper I want things to be differentiated. Black and white are first—then red is next . . . It's really just for differentiation, but I love red so much that I almost want to paint everything red. Alexander Calder Alexander Calder, Untitled, 1972, ink and gouache on paper, 29-1/2" x 43-1/8" (74.9 cm x 109.5 cm), framed, 31-1/2" (80 cm) x 45-1/4" (114.9 cm) x 1-3/4" (4.4 cm) Learn More Close modal Alexander Calder Untitled 1972 ink and gouache on paper 29-1/2" x 43-1/8" (74.9 cm x 109.5 cm), framed, 31-1/2" (80 cm) x 45-1/4" (114.9 cm) x 1-3/4" (4.4 cm) How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Harry Callahan, New York, 1974, vintage gelatin silver print, 10" × 9-7/8" (25.4 cm × 25.1 cm), image 12" × 11" (30.5 cm × 27.9 cm), paper Learn More Close modal Harry Callahan New York 1974 vintage gelatin silver print 10" × 9-7/8" (25.4 cm × 25.1 cm), image 12" × 11" (30.5 cm × 27.9 cm), paper $15,000 Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Harry Callahan, Kansas City, 1981, dye transfer print, 9-1/2" × 14-3/8" (24.1 cm × 36.5 cm), image, 20" × 23-3/4" (50.8 cm × 60.3 cm), paper, Edition of 12 + 5 APs, print made 1970s Learn More Close modal Harry Callahan Kansas City 1981 dye transfer print 9-1/2" × 14-3/8" (24.1 cm × 36.5 cm), image, 20" × 23-3/4" (50.8 cm × 60.3 cm), paper, Edition of 12 + 5 APs, print made 1970s $8,000 Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Harry Callahan, Sunlight on Water, 1943, vintage gelatin silver print, 3-1/4" × 4-1/2" (8.3 cm × 11.4 cm), image 4" × 5" (10.2 cm × 12.7 cm), paper Learn More Line on “the Edge of Nothingness”A spare beauty characterizes the work of Callahan and Calder, especially in terms of line. By overexposing his photographs or playing with shutter speed, Callahan skillfully captured the evanescent and unnoticed—from humble weeds in the snow to ethereal whorls of light refracted in pools of water—thereby pushing his chosen medium, as well as perception itself, to its limits. “I think nearly every artist continually wants to reach the edge of nothingness—the point where you can’t go any further,” he mused. With similar ingenuity, Calder harnessed the optical and physical lightness of wire to devise a type of sculpture open to space and movement, thus breaking with a longstanding sculptural tradition largely limited to carving and modeling static volumes. Through their swift brushstrokes of varying thickness, his gouaches also reveal his sensitivity to the delicate vitality of the natural world that, as with Callahan, resonated with his work. Close modal Harry Callahan Sunlight on Water 1943 vintage gelatin silver print 3-1/4" × 4-1/2" (8.3 cm × 11.4 cm), image 4" × 5" (10.2 cm × 12.7 cm), paper $40,000 Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Alexander Calder, Untitled (Cartoon for Centre Square, Philadelphia Banner), 1975, gouache and ink on paper, 43-1/8" × 14-3/4" (109.5 cm × 37.5 cm), framed, 53-1/8" (134.9 cm) x 24-5/8" (62.5 cm) x 7/8" (2.2 cm) Learn More Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Alexander Calder Untitled (Cartoon for Centre Square, Philadelphia Banner) 1975 gouache and ink on paper 43-1/8" × 14-3/4" (109.5 cm × 37.5 cm), framed, 53-1/8" (134.9 cm) x 24-5/8" (62.5 cm) x 7/8" (2.2 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Harry Callahan, Weed Against Sky, Detroit, 1948, gelatin silver print, 7" × 6-7/8" (17.8 cm × 17.5 cm), image 10" × 8" (25.4 cm × 20.3 cm), paper Learn More Close modal Harry Callahan Weed Against Sky, Detroit 1948 gelatin silver print 7" × 6-7/8" (17.8 cm × 17.5 cm), image 10" × 8" (25.4 cm × 20.3 cm), paper Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Harry Callahan © Rhode Island School of Design Archives “I like the simple things. I don't know why. I'm that way. I came from a simple place.”Harry Callahan Alexander Calder, Untitled, 1969, sheet metal, wire, and paint, 79" x 61" (200.7 cm x 154.9 cm) Learn More Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Carousel slide 9 Alexander Calder Untitled 1969 sheet metal, wire, and paint 79" x 61" (200.7 cm x 154.9 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Harry Callahan, Aix-En-Provence, 1958, vintage gelatin silver print mounted to board, 7-7/8" × 6-1/8" (20 cm × 15.6 cm), image and paper 14-1/2" × 11-1/2" (36.8 cm × 29.2 cm), mount Learn More Close modal Harry Callahan Aix-En-Provence 1958 vintage gelatin silver print mounted to board 7-7/8" × 6-1/8" (20 cm × 15.6 cm), image and paper 14-1/2" × 11-1/2" (36.8 cm × 29.2 cm), mount $30,000 Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Harry Callahan, Aix-en-Provence, 1958, Atlanta. Hands: Harry Callahan, 2/10/94, 1994, Photograph by John Loengard, Collection Center for Creative Photography, The University of Arizona © 1994 John Loengard Wire, rods, sheet metal have strength, even in very attenuated forms. Alexander Calder Alexander Calder, Tentacles, 1947, sheet metal, wire, and paint, 22" x 36" x 38" (55.9 cm x 91.4 cm x 96.5 cm) Learn More Close modal Alexander Calder Tentacles 1947 sheet metal, wire, and paint 22" x 36" x 38" (55.9 cm x 91.4 cm x 96.5 cm) Price Upon Request Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Harry Callahan, Camera movement on flashlight, Chicago, c. 1949, gelatin silver print, 6-1/4" × 4-1/2" (15.9 cm × 11.4 cm), image, 9-3/8" × 7" (23.8 cm × 17.8 cm), paper, print made 1970s Learn More Close modal Harry Callahan Camera movement on flashlight, Chicago c. 1949 gelatin silver print 6-1/4" × 4-1/2" (15.9 cm × 11.4 cm), image, 9-3/8" × 7" (23.8 cm × 17.8 cm), paper, print made 1970s How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back To inquire about works by Alexander Calder or Harry Callahan, please email inquiries@pacegallery.com.All works by Alexander Calder © 2020 Calder Foundation, New York / Artists Rights Society (ARS), New YorkAll works by Harry Callahan © The Estate of Harry Callahan Read More Calder in his Roxbury studio, 1941, Photograph by Herbert Matter © 2020 Calder Foundation, New York / Artists Rights Society (ARS), New York Alexander CalderAlexander Calder (1898–1976) is one of the most acclaimed and influential artists of the twentieth century. His wide body of work includes sculptures, paintings, drawings, prints, book illustrations, jewelry, tapestries, and costumes as well as set designs for ballets and theatrical productions. He is most celebrated for his invention of wire sculpture—described by critics as “drawings in space”—and the mobile, a kinetic sculpture of suspended abstract elements whose actual movement creates ever-changing compositions. Calder’s stabiles, which suggest implied rather than actual movement, similarly transform their surrounding space and the experience of the viewer. Calder also devoted himself to making outdoor sculpture on a grand scale from bolted sheets of steel, many of which stand in public plazas in cities throughout the world. Pace Gallery has worked closely with the Calder estate since 1984.Learn More Harry Callahan © Stephan Brigidi Harry CallahanHarry Callahan (b. 1912 in Detroit, Michigan; d. 1999, Atlanta, Georgia), one of the foremost American photographers of the 20th century, began his photographic career as a self-taught amateur in 1938, at the uncommonly late age of 26. He devoted himself to the medium after attending a Detroit Photo Guild workshop taught by Ansel Adams in 1941 and an ensuing meeting with Alfred Stieglitz in 1942. He soon became recognized for his arresting photographs, which emphasized the formal elements of composition and structure; evinced pronounced graphic or painterly qualities; and captured the emotional depth of their subject matter. Callahan repeatedly returned to the same subjects—his wife Eleanor and daughter Barbara, the urban environment, and nature—throughout his prolific six-decade career while devising new methods to depict these.Learn More Past, Calder, Callahan, and the Intensified Image, Jul 14, 2020