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| Alexey Brodovitch Untitled (from Ballet Series) ca. 1933-35 gelatin silver print Chrysler Museum of Art, Norfolk, Virginia |
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| Harry Callahan Dancing Nightly, Detroit 1941 dye transfer print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| John Clague Parenthetic Dance 1961 bronze Cleveland Museum of Art, Ohio |
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| Dorothy Dehner Suite Moderne, Fandango 1947 watercolor and gouache on paper Princeton University Art Museum |
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| Theo van Doesburg Dance Form 1915 drawing, with watercolor Centraal Museum, Utrecht |
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| Helen Frankenthaler Final Maquette for Stage Set, Royal Ballet, Covent Garden 1984 acrylic on canvas Kettle's Yard, University of Cambridge |
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| David Smith Ballet 1941 etching Cleveland Museum of Art, Ohio |
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| Roy DeCarava Couple Dancing 1956 photogravure Chrysler Museum of Art, Norfolk, Virginia |
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| Jim Dow Pittsfield School of Dance (Pittsfield, New Hampshire) 1971 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Anthony Fry Dancing Figures No. 4 ca. 1957 oil on canvas Yale Center for British Art |
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| Edward Gorey Ballet before 2000 drawing on newspaper, with gouache Art Institute of Chicago |
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| Valentine Gross Sketch of Vaslav Nijinsky onstage in L'Après-midi d'un Faune (Ballets Russes) ca. 1912 drawing (colored chalks) Victoria & Albert Museum, London |
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| Kate Greenaway Come Dance in the Meadow ca. 1890 chromolithograph Clark Art Institute, Williamstown, Massachusetts |
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| Barbara Morgan American Document (Trio) by Martha Graham 1938 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Eadweard Muybridge Dancing 1887 collotypes National Gallery of Art, Washington DC |
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| Yoshiro Nagase Dancers 1960 color woodblock print Cincinnati Art Museum, Ohio |
Photographs
In the past we listened to photographs. They heard our voice speak.
Alive, active. What had been distance was memory. Dusk came,
Pushed us forward, empting the laboratory each night undisturbed by
Erasure.
In the city of X, they lived together. Always morose, her lips
soothed him. The piano was arranged in the old manner, light entered the
window, street lamps at the single tree.
Emotion evoked by a single light on a subject is not transferable to
photographs of the improved city. The camera, once
commented freely amid rivering and lost gutters of treeless parks or avenues.
The old camera refused to penetrate the unknown. Its heart was soft,
unreliable.
Now distributed is photography of new government building. We are
forbidden to observe despair silent in old photographs.
– Barbara Guest (2002)