Empty spaces, eerily quiet. Lincoln Center was sparkling as usual, as if the bright lights could chase away the loneliness.
Earlier that day, Governor Cuomo had reported the first two deaths related to coronavirus.
March 14th, 2020
Grand Central Terminal Two Minutes To Nine
On my way to work, walking crosstown and taking a shortcut through the Terminal.
Normally absolutely packed at this time on a working day, it was almost empty. New Yorkers were being asked to avoid public transport and, those who could, were abiding by the guidelines.
Only the previous day, on March 11th, WHO had finally declared the outbreak a pandemic.
Infection numbers were on the rise, and new guidelines were issued daily: events with more than 500 people had to be cancelled or postponed.
Broadway went dark.
The City felt numb.
New York City
March 12th, 2020
Avoiding densely populated places
An impossible feat in Manhattan but, for a few days at the start of the pandemic – before New Yorkers were ordered to stay at home – Hudson River Greenway between Hell’s Kitchen and Lincoln Center, normally as busy as it gets, fell strangely quiet.
March 8th, 2020
Countryside, The Future
”Countryside, The Future was an exhibition addressing urgent environmental, political, and socioeconomic issues through the lens of architect and urbanist Rem Koolhaas and Samir Bantal, Director of AMO, the think tank of the Office for Metropolitan Architecture (OMA).
A unique exhibition for the Guggenheim Museum, Countryside, The Future explored radical changes in the rural, remote, and wild territories collectively identified as “countryside,” or the 98% of the Earth’s surface not occupied by cities, with a full rotunda installation premised on original research. The project presented investigations by AMO, Koolhaas, with students at the Harvard Graduate School of Design; the Central Academy of Fine Arts, Beijing; Wageningen University, Netherlands; and the University of Nairobi. The exhibition examined the modern conception of leisure, large-scale planning by political forces, climate change, migration, human and nonhuman ecosystems, market-driven preservation, artificial and organic coexistence, and other forms of radical experimentation that are altering landscapes across the world.” [source]
It would be our last pre-Covid-19 exhibition, and the last outing in a crowed place. On that same day, March 7th 2020, the then NY Governor Andrew Cuomo declared a state of emergency. One day later, on March 8th, NYC issued guidelines to avoid densely packed buses, subways, and trains.
Wojciech Fangor, M 37, 1969, Oil on canvas 
From left: Andy Warhol, David Whitney, Philip Johnson, Dr. John Dalton, and Robert A. M. Stern in the Glass House in 1964. Photograph by David McCabe
In 1949, American architect Philip Johnson built his Glass House in New Canaan, Connecticut. In some photographs, he staged himself as a hermit in the woods. But to Johnson, the countryside was not only a place of retreat and reflection – it was also the contrary: a place of feasts and banquets, of an ongoing discourse with artists and students and fellow gay friends, a salon, sometimes almost an academy, and a refuge.
March 7th, 2020
This dazzling virtuosa
Yuja Wang, in an unforgettable recital. It would be our last pre-Covid-19 one.
“I believe that every program is a living organism, so it should be in sync with how I’m feeling in that moment, so it is truly alive. I want the music to surprise me and to surprise the audience” – said Miss Wang as she entered the stage, and she proceeded to do just that, changing the sequence of the printed programme and keeping the audience hanging from every move of her flying fingers hitting those notes, for the next two hours.
Carnegie Hall, New York
February 28th, 2020
Dwarfed
Yet always stunning
The Chrysler – Midtown Manhattan
February 24th, 2020
Tawny Chatmon @Fotografiska
Black Beauty in 24-karat gold leaf
Castles, 2019 
Reigning, 2016/2019 
Eden’s Playdress, 2019 
3:31, 2019 
Blossom, 2019 
Braiding Hour/Barrettes, 2017-2018 
Covered/Vienna?, 2017-2019 
The Second Sunday, 2018-2019 
Inheritance, by Tawny Chatmon (American, b. 1979), invites the viewer to look beyond the decorated and nuanced portraits to examine issues of race and the historical positioning of African American portraiture in the absence of subjugation of the “black body” in Western art.
Chatmon, a mother of three black children, draws from her life experiences and belief that children inherit our memories, beliefs, traditions, and the world that we leave behind. Through her photographs, she conveys a message to her children, and to all black children, that they are precious, valued, and loved.
While the camera is her primary tool of communication, Chatmon takes a multi-layered approach in producing her photographs—her process does not subscribe to conventional photography. The photographs are often manipulated and hand-embellished with acrylic paint and 24-karat gold leaf, inspired by Gustav Klimt’s (1862-1918) “Golden Phase.” The use of gold and ornamentation in Klimt’s work evokes feelings of grace, magnificence, and beauty within Chatmon and has remained in the artist’s consciousness. These are the emotions Chatmon seeks to convey to those viewing her photographs. Her portraits are staged vignettes with models, who at times are her own children wearing elegant garments. Chatmon experiments with various art practices and does not restrict herself to follow any set of rules, allowing her to create instinctually and fluidly. The result is a beautiful and powerful iconography that speaks to “the disparities that continue to affect black people around the world.” [source]
Fotografiska, New York
February 22nd, 2020
A pretty little walk in New Hope
Delaware Canal Trail
New Hope, PA
February 17th, 2020
The spirit of Halloween is very much alive in Doylestown
All year round
Doylestown, PA
February 16th, 2020
One of the most peculiar, unexpectedly Halloween-worthy Museums in the U.S., is in Doylestown
The Mercer Museum is a six-storey reinforced concrete castle designed by Henry Mercer (1856-1930), completed in 1916. Henry Mercer was a child of Doylestown who, having started his professional life as a lawyer, went on to become an archeologist, historian, avid collector, dog lover and a successful tile-designer.
By 1897, Mercer realised that handmade objects were being discarded in favour of new machine-made ones, and felt the need to collect and preserve them, and with them, parts of the daily life in America before the Industrial Revolution. He gathered almost 30,000 items ranging from hand tools to horse-drawn vehicles and, in 1913, began working on plans to build a museum to house his huge collection and share it with the world.
Among the oldest artifacts in the Mercer Museum are a 2,000 year old whale oil lamp and Native American implements dating to 6,000-8,000 BC.
Tip: if you visit on a chilly day, leave your coat on! I think we were the only ones that used the cloakroom, not realising the building is so drafty, we might as well have been outdoors.
February 16th, 2020
The Humble Fabulist 