Genova 1981-1983 is the first monograph by Italian photographer Antonio Amato. More than hundred images guide us through the Genoa punk scene of those years, telling about attitude, habits and gestures of people who have been part and created the scene.
In Burma today, punk rock is changing mentalities and speaking out against the government and repressive religious rules.
Photographer Jim Jocoy’s newest book shows a brightly colored and seldom-shown side to the punk scene.
the Bay Area photographer is sharing a collection of images of San Francisco’s punk scene in the 1970s he took while in grad school. The energy Jang captures within his subjects mirrors the blaring music that accompanied the scenes his photos depict
His photographs capture the culture of rock and punk music; the beguiling moments with the Ramones, Patti Smith, Talking Heads, Blondie, Dead Boys, Richard Hell, Lydia Lunch and many more as they made New York’s CBGB club their home in the late 1970s.
Riot Fest hit Denver this weekend with a lineup of 80 bands over three days of craziness. LOCK + LAND was there to document the debauchery. Clad in leather studded jackets, Misfit t-shirts, and mohawks for days, the crowd looked ready to riot, but really for as big as this event was, it was pretty mellow and awesome. It’s the thing about summer festivals…they’re loaded with tons of amazing bands, but you’re running around like crazy just trying to hit every one and stay hydrated. Even for three songs.
The most recent episode from the “Artist Cribs” series features photographer Michael Jang’s sweet San Francisco home. As Jang walks through his place, he takes time to show off images from his archives, his cameras, and what looks like an incredible home darkroom. He also shared anecdotes about the work—like crashing a poetry event to get a portrait of William S. Burroughs.
Still Screaming is a traveling photography exhibition curated by Mark Beemer that documents the history of punk from the late 80s and onward. The show has already begun its run in Philadelphia at Arch Enemy Arts and will soon go on to DC, New York, LA, Detroit, Oakland, and Seattle
Rock Against Racism would be a turning point in British cultural, political and social history. The social movement helped put an end to an alarming ascendance of ultranationalism among white youth and articulated a new generational consciousness that transcended class and race boundaries.
The Michael Hoppen Gallery in conjunction with REX SHUTTERSTOCK is delighted to present PUNK, an exhibition of vintage press prints that document the rise of punk culture in 1970s Britain. Many of the prints included are suitably distressed, with an object quality and intensity that encapsulates the movement.
In 1985, a teenage girl in Orange County ran away from home. She stayed away for one night and came back to her mother, who gave her a camera “as a coming home present.” Thirty years later, that young woman has grown to become photographer Deanna Templeton, but the camera continues to be the thread that ties her to her past as a passionate, punk-loving adolescent from suburbia.
When David Godlis was shooting off-kilter, kinetic photos of bands like Television, Talking Heads and Blondie, he had a sense that the scene unfolding in the Bowery club CBGB was important. But no less vital than the sound being made was the punk aesthetic — urgent and gritty — that Mr. Godlis was helping define.
Iconic images of Black Flag, Minor Threat, Bad Brains and more punk rock legends, untangled by photographer Glen E. Friedman
Energy and passion are two forces that photographer Owen Harvey always strives for in his images. For years now, he’s been documenting youth and subcultures across the UK. Drawn in by their vibrancy and taste, Harvey has found it easy to integrate with these groups, enabling him to develop the intimacy that he’s so well achieved in these shots. Almost as a natural lead-on from his previous series Mod UK, Harvey has shifted the focus onto what he refers to as the Mod’s tougher older brothers, the Skinheads, who form the basis of his new ongoing project Skins.
When Alice Wheeler first came onto the Seattle scene in the early 1980s, most male photographers told her that her style of photography, especially the ways in which she photographed women, wasn’t up to par.
In the last few years, skyrocketing rents and neighborhood changes have killed some of Brooklyn’s favorite DIY, or “do-it-yourself,” music venues. This month, they got one more celebratory send-off with an exhibit, “RIP DIY,” which was on display at Brooklyn’s Cloud City. Featuring the work of 20 photographers, it showed these independent venues during their glory days, when the bands were loud, the drinks were cheap (and often available for those under age), and the party seemed like it might never stop.
Wild Life Press have recently made their archived copies of Sub Culture by Lain Mckell available for the first time in thirty six years. Limited to just 150, Iain McKells revered Sub Culture book focuses on the UK’s 2 Tone movement during the years 1978/79. Initially intended as a self published portfolio for connecting with photographic agencies and galleries only a small number of the original copies were sold to the public through the legendary Claire de Rouen in London at that time. The rest then sat in Iain’s archive while the few in circulation garnered cult status in the secondary market trading from dealer to collector.
Until now, Spot was known as the legendary hardcore punk producer/engineer who worked with such bands as the Misfits, Black Flag and Minutemen (among many others). But as the photos in this newly published book reveal, there was another side to this creative, sensitive mind all along. Besides offering an intriguing view from the perspective of an era’s central figure, the images also paint a wonderful picture of a period, a place, a style and a moment that was intensely lived but now remains with us only through the music, the memories and this newly revealed body of photographs
In 1979, photographer Lucian Perkins, who was at the time an intern for the Washington Post, found himself in the middle of the fast growing DC punk scene
I photographed it because I was a coward — I’ve never asked a stranger if I could take their photograph. I was safe with my friends. That’s why I was a skinhead — because I felt safe, and safe to photograph them. My thoughts at the time about being a professional photographer was doing weddings or whatever! (Laughs) It wasn’t until someone other than my mates saw them and said ‘fucking hell!’”