“You can touch it…” “Really?” The little girl hesitatingly reached up and pulled down on a steel rod at the base of small steel dragonfly mounted on the wall. Suddenly the insect’s delicate, sculptured wings opened and separated – as if it were about to fly. “Wow,” she whispered. Then, her friend tried, moving the crank more rapidly, creating a somewhat more agitated dragonfly. The girls were enchanted. Though the experience of cranking open the eyes of mysterious face mounted at eye-level next to the dragonfly they had to admit had been, well, “pretty scary.”
Parody as a technique of satire ought to suit theatrical dance well. Irish poets, known as some of the greatest masters of this form, in imitating and reversing the meter of their victim’s poems in order to devastate them are said to have used the same technique as Russian witches: "they walk quietly behind their victim, exactly mimicking his gate; then when in perfect sympathy with him suddenly stumble and fall, taking care to fall soft while he falls hard."  Sidi Larbi Cherkaoui and Damien Jalet's piece Babel (words) takes on the modern world, in a deliberate mixture of satire, serious avant-garde dance, science fiction, declamatory monologues and something bordering on a three-ring circus.
These digitally re-formed images are the fruit of Joanna Gabler's two recent visits to Venice, a city of which she is especially fond—and the only one where she could actually get lost!
A selection of vintage prints from Leonard Freed’s book, Police Work (1980) recognizes the gift of Freed’s widow, Brigitte Freed of this material. As powerful an observer of human life as he was a photographic artist, Freed spent eight years …