Ed Lefkowicz photography

Show Navigation
  • Portfolio
  • About
  • Stock and Archive
    • All Galleries
    • Search
    • Cart
    • Lightbox
    • Client Area
  • Fine Art Prints
  • Contact
  • Portfolio site
  • Quirky

Search Results

Refine Search
Match all words
Match any word
Prints
Personal Use
Royalty-Free
Rights-Managed
(leave unchecked to
search all images)
{ 1572 images found }

Loading ()...

  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. Pictured here is a performance of Bob Marley's “No woman no cry”.
    EJL-170630-1269.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. Pictured here is a performance of Bob Marley's “No woman no cry”.
    EJL-170630-1231.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. Pictured here is a performance of Bob Marley's “No woman no cry”.
    EJL-170630-1177.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. Pictured here is a performance of Bob Marley's “No woman no cry”.
    EJL-170630-1162.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator. At th end of the performance, after a period with all the lights out, a plastic tarp is lowered, lit by gelled lights.
    EJL 191211 1298.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator. At th end of the performance, after a period with all the lights out, a plastic tarp is lowered, lit by gelled lights.
    EJL 191211 1295.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator. Props being moved backstage to be reset for the next performance.
    EJL 191211 1260.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator. The participantys enter the space prior to the performance.
    EJL 191211 1009.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance.
    EJL-170630-1726.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance.
    EJL-170630-1786.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance.
    EJL-170630-1544.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. This exuberant piece was set to a ragtime tune.
    EJL-170630-1281.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance.
    EJL-170630-1593.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance.
    EJL-170630-1528.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. This exuberant piece was set to a ragtime tune.
    EJL-170630-1436.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. This exuberant piece was set to a ragtime tune.
    EJL-170630-1420.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. This exuberant piece was set to a ragtime tune.
    EJL-170630-1301.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. This exuberant piece was set to a ragtime tune.
    EJL-170630-1294.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. This exuberant piece was set to a ragtime tune.
    EJL-170630-1278.jpg
  • Dread Scott reading at Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1225.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1033.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance.
    EJL-170630-1627.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance.
    EJL-170630-1522.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance.
    EJL-170630-1484.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. This exuberant piece was set to a ragtime tune.
    EJL-170630-1426.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. This exuberant piece was set to a ragtime tune.
    EJL-170630-1350.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. This exuberant piece was set to a ragtime tune.
    EJL-170630-1336.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance. This exuberant piece was set to a ragtime tune.
    EJL-170630-1285.jpg
  • Brooklyn, NY - 30 June 2017. The BRIC Celebrate Brooklyn! Festival summer concert series featured a performance by Garth Fagan Dance, choreographed by the Tony and Olivier award-winning choreographer of the Broadway hit The Lion King, Garth Fagan. The troupe performed two new pieces, In Conflict and A Moderate Cease, along with some revival pieces, all featuring the company's blend of modern, Afro-Caribbean, and classical dance.
    EJL-170630-1127.jpg
  • A member of the audience after the performance of "Dread Scott Decision" at BAM.
    EJL-121011-1316.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1213.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1190.jpg
  • Dread Scott reading at Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1186.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1180.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1142.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1089.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1030.jpg
  • Members of the audience after the performance of "Dread Scott Decision" at BAM.
    EJL-121011-1301.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1253.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1246.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1239.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1227.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1215.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1188.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1175.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1169.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1164.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1132.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1119.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1044.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1008.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1005.jpg
  • Members of the audience after the performance of "Dread Scott Decision" at BAM.
    EJL-121011-1311.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1267.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1257.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1234.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1223.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1196.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1183.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1166.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1127.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1101.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1077.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1064.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1046.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1024.jpg
  • Dread Scott Decision, a participatory performance that looks at "the contradiction of a country that was ostensibly founded on democracy but that also has slavery woven into its founding document," at the Brooklyn Academy of Music's Fishman Space.
    EJL-121011-1284.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.  Props, including a cleaver and what seems to be a hank of human hair backstage.
    EJL 191211 1281.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.  Props, including a mason's hammer, a deer hoof, and a block of granite backstage.
    EJL 191211 1271.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1249.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1289.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1228.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1215.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects—here a sealed container of yellow liquid and a red gelatinous blob—or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1125.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects—here a sealed container of yellow liquid and a red gelatinous blob—or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1114.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects—here a block of granite—or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1077.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1218.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects—here squeeze bottles filled with different scents—or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1134.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects—here a bunch of grass—or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1106.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1238.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.  Props, including a cleaver, a bird's claw, and some dried seahorses backstage.
    EJL 191211 1275.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator. Detail of two props.
    EJL 191211 1255.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1219.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1214.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.  At this point, the table covering is rolled up, and participants wash their hands one at a time.
    EJL 191211 1204.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects—here a mason's hammer—or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1079.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator. Here a long tape is passed down the table.
    EJL 191211 1022.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.  Props, including hank of what seems to be humn hair backstage.
    EJL 191211 1278.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator. Props, including a mason's hammer, a deer hoof, and a block of granite backstage.
    EJL 191211 1270.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator. Props, including a bunch of grass, backstage.
    EJL 191211 1266.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator. A basin of washwater backstage.
    EJL 191211 1265.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator. At this point, the table covering is rolled up, and participants wash their hands one at a time.
    EJL 191211 1191.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator. Here a facilitator blows the remains of a green powder from his hand.
    EJL 191211 1168.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1161.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1151.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects—here a sealed container of yellow liquid and a red gelatinous blob—or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1120.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects—here a bunch of grass—or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1100.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects—here a cleaver—or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1087.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects—here rocks of varying shapes and sizes—or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1064.jpg
  • Brooklyn, NY - 11 December 2019. A performance of In Many Hands in BAM's Fishman Space, by Kate McIntosh in collaboration with Arantxa Martinez and Josh Rutter; sound design by John Avery; lighting design by Joëlle Reyms. The piece involves participants sitting at 3 long, narrow tables, with facilitators at each end, and either passing along objects or repeating hand movements in the manner set by a facilitator.
    EJL 191211 1030.jpg
Next