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Did anyone popularize post-modern dance in the 1990s — and simultaneously prove its *relevance* by using its language to address contemporary concerns, singularly making dance a player in so-called ‘identity politics’ — as much as Bill T. Jones? No surprise, then, that Jones found a photographer to match his mettle in popular appeal in Herb Ritts, who once said, “If we look to the past, (for example) at Paul Outerbridge and Man Ray, many of their best photographs started out as commercial assignments.” Ritts’s singular portrait (above), “Bill T. Jones, Los Angeles, 1995” is among the iconic Ritts oeuvres on view at the Maison Européenne de la Photographie of the City of Paris September 10 through October 15. Copyright Herb Ritts Foundation. 

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