George Balanchine (1903-1983) c. 1950

Curator: Here we have a photograph by George Platt Lynes, titled "George Balanchine." Lynes, born in 1907, was known for his surrealist and homoerotic photography, often engaging with themes of masculinity and performance. Editor: My initial reaction is one of disquiet. The wooden arm holding a hammer seems so detached, almost aggressive in juxtaposition with Balanchine’s poised expression. It’s quite unsettling. Curator: The image plays on Balanchine's role as a choreographer, a maker of movement. Lynes might be commenting on the labor involved in artistic creation, the crafting and building involved in dance. Editor: It's interesting how the tools represent the "making" of dance, but there's a very real contrast between the organic body and the inorganic tools, as well as that carved wooden hand. I think that hand, especially, highlights the constructed nature of artistic identity. Curator: I agree. The photograph invites us to consider how artistic personas are manufactured. The tools and the wooden arm contribute to the overall effect of artifice. Editor: Absolutely. It makes me think about the physical demands of ballet, too – the strain, the repetition. It's as if the tools are extensions of Balanchine's body, both enabling and controlling it. It gives me a different perspective of ballet.