Dancin’ & Bridgin’

Café Müller, Pina Bausch’s dreamy masterpiece
The Rite of Spring, Pina’s interpetation of Stravinsky’s groundbreaking work
Brooklyn Bridge, no intro necessary

Three iconic creations, so visionary and inspirational, it is easy to believe they have always been here, evolving organically since the beginning of time. 

In 1984, Tanztheater Wuppertal made its New York debut at BAM, performing what would become the two most iconic works of Pina Bausch’s extraordinary repertoire. More than three decades later, the company returned with a landmark restaging of that historic double bill. 

Images show the transformation of the stage from a café, in which figures dance dreamily to the music by Henry Purcel, to a dirt field where dancers perform a wild ritualistic routine in honour of spring – a transformation that earned the crew their very own, heartfelt applause; alternating with images of one of the City’s most iconic structures, at dusk.

Café Müller/The Rite of Spring, was part of 2017 Next Wave Festival at BAM. The Brooklyn Bridge is part of the City, since 1883.

September 24th, 2017

Do not go gentle into that good night

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

Dylan Thomas

June 25th, 2017

A patio from a Spanish castle, 16th century ceiling tiles and some recent acquisitions

All on view at The Met. Some of humanity’s greatest accomplishments sitting together in one of the world’s greatest museums.

Like these mid-16th century ceiling tiles from Seville.

Or this entire patio from the castle at Vélez Blanco of Almeria, an example of early sixteenth-century Spanish architecture. 

Or these little gems of recent acquisitions 

Katsumi Watanabe
Untitled, 1966, Gelatin silver print

Watanabe was an itinerant portrait photographer who worked in the Shinjuku section of Tokyo during the 1960s and 1970s, mostly in the blue-light district of Kabukicho that was populated nightly with Yakuza, cross-dressers and prostitutes. His pictures, made with a strobe flash, were by necessity collaborative, as his subjects had to be pleased with their likeness before paying his set fee of two hundred yen for three prints. 


Elisabeth Hase
Down Stairs, ca. 1948, Gelatin silver print

In this self-portrait, Hase appears to have tripped, or perhaps to have thrown herself, face-down on a flight of stairs. In her most intriguing work, including this example, the artist experimented with staged scenarios and narratives exploring feminine identity, as would Cindy Sherman half a century later. Another such self-portrait shows her enacting a tearful confession to an anonymous clergyman. Hase turned to photography after beginning her career in the early 1920s as a student of avant-garde graphic design and typography. Despite being a lesser-known photographer, she established a studio in Frankfurt and pursued a variety of subjects, including portraits and still lifes, street scenes, modern architectural views and botanical studies. 


Unknown American Artist
Brooklyn Bridge, New York, ca. 1883, Albumen silver print from glass negative

When it opened for use on May 24, 1883, the Brooklyn Bridge was the longest suspension bridge in the world; it immediately became an essential subject for photographers working in or visiting New York as well as an iconic feature of the city’s skyline. Despite the bridge’s instant landmark status, early large-format view such as this one are rare. Now 133 years old, the soaring granite towers and steel cables of the Brooklyn Bridge carry roughly 150.000 vehicles and pedestrians every day.


The Metropolitan Museum of Art
March 19th, 2017

Yes Love No Locks

Ha…! Says who?

No sooner had the locks been removed from the sides than they reappeared on mast arms of lights over the traffic lanes. This one is right underneath the sign!

Not long before, one of the bridge’s street light wires had snapped under the pressure of the locks attached to it, halting the traffic for a couple of hours.

Ah, the casualties of too much love…

October 23rd, 2016