Words and Photos: Stephen Landau
It’s September 13th, 8am, and I’m waiting outside Anthony Randazzo’s house for John Sharkey to arrive. They’re trailering Anthony’s 2009 Fiat Abarth Assetto Corse.
The significance of this hot hatch lies in the fact that it’s one of just 49 factory-built race cars developed by Abarth’s competition division for the Trofeo Abarth one-make series. Built for the track from day one, this model, chassis #34, remains in virtually new condition, having covered only 30 km since its original delivery in France. Recently imported to the United States under an EPA racing exemption, this Assetto Corse, or “Race Trim,” is an authentic race car, not a modified street car, proudly owned and enjoyed by the Randazzo family.
I’m in my ’83 911, headed to the 9th installation of the exclusive automotive celebration that is The Bridge. Arrival is as smooth as last year. I part ways with the guys as they navigate the Fiat to its appointed display spot and make a beeline for the media center. This is the first year for a designated spot, and it doesn’t disappoint—snacks, coffee, and a gorgeous view of the golf course.
After dropping some gear, I run into my buddy Kurt Uzbay. I know Kurt from Lime Rock Park, where he races his 1968 Chevron B16 and 1962 Lotus 23. We’ve met up quite a few times on and off the track. He has a 1971 Ferrari Dino 246GT on display, a car that spent 40 years in British Columbia before restoration was completed in 2011 in Rosso Corsa with a black bucket seat interior.
Kurt pulls me aside to ask about a 911 parked behind his Dino. Without much confidence, I tell him I think it’s a 911 S/T. He fills me in that it belongs to Jerry Seinfeld and that he just had a conversation with Jerry but didn’t ask about the car. Now I’m on a mission to find out if I was correct. I know Porsche stuff, but I’m never fully confident. Unable to find what I want online, I move on.
I brush past the main clubhouse and run into Tori Geddes, Design Project Manager at Daniel Arsham Studio. We’ve worked together on some of Arsham’s Porsche builds at Potzinger Rewerks. She’s unwrapping the “MV Arsham,” an MV Agusta Superveloce rendered in Arsham’s signature “erosion” technique. His method conveys the passing of time through sculptural decay, and the bike wears the notable turquoise green.
Another Arsham piece made specifically for The Bridge stands nearby: a bronze sculpture of a race driver frozen in time. Complete with his signature erosions, the figure is hollow, emptied out as if the driver himself has disappeared, leaving behind only the shell of his presence. The surface carries breaks and marks of time, while the walking stance keeps him alive in motion. Every stitch of the suit was sculpted by hand to capture texture and realism. Placed at the entrance, it greets visitors as they arrive.
I head to the Volvo display next, as they’re a main sponsor this year. I want to see the P1900, the predecessor to my first classic, the P1800E—one Ted Gushue wrote about for Petrolicious in 2016. The P1900 is an oddity. Volvo founder Assar Gabrielsson, inspired by the Chevrolet Corvette, wanted a roadster of his own. Designed by boat builder William Tritt, who helped transition carmakers into fiberglass, only 68 were built. The project was cancelled after new Volvo president Gunnar Engellau deemed it unworthy of Volvo’s quality standards.
Down the hill from Volvo sits Mercedes-Maybach, the presenting sponsor. Oversized, ostentatious luxury isn’t my thing, so I move on. The display field is as eclectic as ever: Mike and Carla Marett’s 1971 Alfa Romeo Giulia Super, a 2025 Ferrari SP3 Daytona, a 1955 Oldsmobile Super 88, six Lamborghini Countaches, and four Ferrari F40s.
Later, John Sharkey looks up Seinfeld’s Instagram and finds his post about the 1970 Porsche 911 S/T, which I had actually liked back in 2016. He points this out just as we walk toward the car and notice the license plate literally reads “1970 S/T.” Facepalm.
As the sun drops, shadows stretch across the golf course. The day always escapes faster than expected. I rush to capture what I can, ignoring makes and models and instead chasing light. Good lighting makes the photograph. Some people are drawn to specific rare cars, but I’m pulled by the way photons dance across curves.
A hill of air-cooled Porsches reminds me of photons moving in waves, each 911 undulating like light itself. I keep shooting, making it to Joe Buzzetta’s 1988 Porsche 944 Turbo Cup car. It glows under a floodlight powered by a generator. Built by the same hands that worked on Porsche’s 962s, these Cup cars were stripped down and fitted with magnesium wheels, intake, and a plastic hood, shedding more than 600 pounds for the track.
Further down, the A1GP Ireland car sits under the spotlights. The A1 Grand Prix, a nation-based one-make series, ran from 2005 to 2009. The Ireland car on display is the last season’s winner, the first and only year powered by Ferrari engines.
As the light fades, I cover what I can before it’s gone. Another Bridge in the books. I know I’ve missed a lot, but there were plenty of talented shooters there. I’ll see it all again, if only digitally.
