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"Springsteen, Bruce Portraits."
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Bruce Springsteen : from Asbury Park, to Born to Run, to Born in the USA
\"An unprecedented look at Bruce Springsteen and the E Street Band on their path to becoming rock legends, from the group's early New Jersey Shore days in 1973, to their meteoric rise, to the band's seminal Born in the U.S.A. tour. David Gahr (1922-2008) was tapped by Columbia Records designer John Berg to shoot cover art for Springsteen's second album, The Wild, the Innocent and the E Street Shuffle. Gahr's earliest photographs of the musician showcase a youthful Bruce Springsteen, not even aged twenty-three, in New Jersey, on the eve of a career breakthrough. Gahr befriended the rising star, and from 1973 to 1986 he photographed Springsteen countless times both on and off stage. Rare captures include Springsteen recording music, performing at the famous West Village venue The Bottom Line weeks before the release of his seminal 1975 album Born to Run, and playing to legions of fans during his Born in the U.S.A. tour\"--Jacket flap.
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The New Chimpanzee: A Twenty-First-Century Portrait of Our Closest Kin by Craig Stanford
Trade Publication Article
Biko’s Ghost: The Iconography of Black Consciousness
Paper $29.95 (9780816676378) The conviction and vitality with which Shannen L. Hill explores visual culture as an agent of change shaped by Black Consciousness (hereafter, BC) and embodied in ideas and images of its leading advocate, Stephen Biko, took me back to late 1980s South Africa when I, a bright-eyed freshman, optimistically threw myself into the student liberation movement at the University of the Witwatersrand in Johannesburg. [...]the strength of the study lies in Hill’s treatment of artworks and the interdisciplinary and expanded treatise of a visual culture to include discussions of poetry, manifestos, newsletters, press statements, public letters, literature, posters, t-shirts, graffiti, sculpture, prints, painting, and installation, many of which are discussed in existing art-historical works as examples of nonracialism and here reframed through the lens of BC. The reading from two perspectives of state-commissioned portraits of Biko published in the press as props supporting an Apartheid state agenda, but also as agents of strength, catharsis, and trauma when published in alternative press venues, is particularly noteworthy for an understanding of the context-driven and fluid nature of BC agency and Hill’s ability to hold in play competing readings. While the specifics of BC ideals are perhaps not entirely evident in the book’s sections on portraiture and trauma, they come to the fore in chapters 4 and 5 where Hill shows the continued relevance of BC to liberation visual culture of the 1980s, a period in which it was overtly and intensely silenced, ironically by both the apartheid state and...
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