GUILD

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Gabriel Fauré, Pavane Op. 50, 1887

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Henri Cartier-Bresson, Truman Capote (New Orleans), 1947

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Let me begin by telling you that I was in love. An ordinary statement, to be sure, but not an ordinary fact, for so few of us learn that love is tenderness, and tenderness is not, as a fair proportion suspect, pity; and still fewer know that happiness in love is not the absolute focusing of all emotion in another: one has always to love a good many things which the beloved must come only to symbolize; the true beloveds of this world are in their lover’s eyes lilac opening, ship lights, school bells, a landscape, remembered conversations, friends, a child’s Sunday, lost voices, one’s favourite suit, autumn and all seasons, memory, yes, it being the earth and water of existence, memory.

Truman Capote, Other Voices, Other Rooms

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Elbaite, Priatnoe Mine, Tajikistan

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Melancholy

Igor Pjörrt, Recent Photographs

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True Blue

Selected Results, Google Images Search, ‘Yves Klein Blue’

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Derek Jarman, Blue, 1993

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…especially the young ones, come into the canyon for the first time, quiet as deer, some of them, coming to your hand for salt: their dark eyes wide and gleaming with the wonder and the fear we had all felt at seeing for the first time life as our dreams had always imagined it… at seeing so many people with whom they could fall in love. The old enchantment composed of lights, music, people was transfixing them for the first time, and it made their faces even more touching.

Andrew Holleran, Dancer from the Dance

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Shadows & Light

United Visual Artists, ‘Momentum’, 2014

London’s Barbican Gallery commissioned United Visual Artists to create a new work for the Curve in 2014. Coinciding with their 10th anniversary, UVA presented ‘Momentum’, an immersive installation that combines light, sound and movement.

Drawing on physics and digital technology, UVA turned the Curve into a spatial instrument, installing a sequence of pendulum-like elements throughout the 90 meter long gallery to create an evolving composition of light and sound. The pendulums – sometimes moving in unexpected ways – project shadows and planes of light across the 6 meter-high walls and curved floor of the space. Visitors were invited to explore the room at their own pace, and their movement through the gallery shapes their individual experience.

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Artist in Residence, No. 22

Massimiliano Fuksas and Doriana Fuksas, Place des Vosges, Paris

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Dancer

Sergei Polunin by Sølve Sundsbø for iD Magazine

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This is what history is: all those centuries of bodies, moving over these canals, twisting and blooming into life in these houses, these streets; all that flesh hungering, coming together, separating, continuing, accumulating, relinquishing, aging and breaking down. Bodies as tulips bent to the demands of light, colored into blossom, spent.

Mark Doty,  Still Life with Oysters and Lemon: On Objects and Intimacy

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Great Masterwort “Ruby Star” (Astrantia major)

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Solo

Sergei Polunin for Ports 1961 Fall Presentation, Milan Fashion Week, 2016

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Living for beauty is all very fine, but it’s a hard regimen and burns up the heart very quickly.

Andrew Holleran, Dancer from the Dance

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Take A Seat, No. 17

Jean Royère, ‘Yo-Yo’ Stools, ca. 1950