winkel en torengeb

Lynn Saville specializes in photographing cities between twilight and dawn, when the daylight gives way to moonlight, neon, and street light. Her night-time wanderings have taken her to ambiguous, transitional areas, leading her to capture sites and neighborhoods that are often deserted or overlooked. Stripped of human presence, our focus is drawn to fundamental elements of the city, such as bridges, billboards, and walls, that exist in Saville’s photographs for their own sake rather than components of urban living.


In de stad is een archeologie van de nacht een verhelderende activiteit: eens de menselijke aanwezigheid is teruggedrongen en verlichte straten en pleinen overblijven, begin je vrijwel dadelijk sporen te ontdekken van hun net voorbije aan-of afwezigheid.
In korte tijd zal het nachtelijk landschap je vertellen van slechte of goede economische tijden, merk je de pogingen tot herstel of het tevergeefse van het voorbije.

close shop

In her photographs of New York at night, the city appears suspended in time, as Saville captures the moment when one state of being is on the brink of becoming something else, when day turns to night, and night to day. In a more literal sense, Saville’s photographs map the transformation of the city as formerly industrial areas give way to residential developments. Shuttered storefronts and empty streets, often bathed in ambient, artificial light, acknowledge a rarely seen aspect of these urban landscapes, both mysterious and unsettling.

Born in Durham, North Carolina, Lynn Saville lives and works in New York City. She earned her BA from Duke University and her MFA from Pratt Institute. Her work has been widely exhibited in the US and abroad, including at The Photographers’ Gallery, London; the Brooklyn Museum, New York; Mint Museum, Charlotte, North Carolina; Tucson Museum of Art; and Nasher Museum of Art, Duke University. Her work can be found in numerous major public collections including National Portrait Gallery, London; International Center of Photography, New York; Brooklyn Museum, New York; Los Angeles County Museum of Art; and Museum of Fine Arts, Houston, among others.


Het idee dat de levenden voor het overgrote deel in een bekende ‘bewusteloze staat’ verkeren, al dan niet veilig in hun huizen, hier en daar nog zichtbaar achter een raam, vergroot het melancholische gevoel dat wat nu nog tussen licht en schaduw zichtbaar is, het resultaat is van hun vroegere bedrijvigheid of het tekort daaraan. Elke nacht is het museum van het voorbije open.

green hand

It’s not that the city becomes uninhabited; more that it is inhabited by itself, by premises and windows, walls and doors, all of which seem to exist for their own sakes, not as conduits to or components of social interaction…Occasionally there is evidence of what might be called the archaeology of overnight: resting tools, tired steps, dreaming brooms, sleeping shadows…Stripped of contemporary merchandise and tell-tale signage, empty premises become difficult to date so that they seem sometimes to have dropped not only out of time but of history…The vacancy is both spatial and temporal-and Dark City is full of it.

–Geoff Dyer, from his introduction to Dark City, “The Archaeology of Overnight”-

smalle strook

“I was photographing round the clock, day and night.” In search of material, she began to explore the periphery of the city, often taking a late-night walk or a bus ride to find a new place to shoot. For trips into unfamiliar territory or unsafe neighborhoods, she’d bring a friend, but more often, she traveled alone. “I learned I appreciated my own private moments, walking alone like a flaneur and meditating on the city,”


“Watching the city transform itself “is like watching your mom grow old,I loved the way you looked 20 years ago, and also the way you look now.’ It’s a natural tide; we just have to accept it.”

“Looking at the sky and water at night you start becoming almost spiritual about it,” Saville said. “I can get spiritual about that glow; the universe comes to you and in the city you don’t get that very often.”


De nacht schuift de stad in een black box. Er is geen gewelf van lucht of wolken om te ontsnappen.
In haar drukke aders probeert ze de illusie van de dag op te roepen door overdadige belichting, maar je moet maar iets hoger kijken om te weten dat het een leugen is.