A picture is worth a thousand words and, as inquisitive humans, we like to look. My first exposur... more A picture is worth a thousand words and, as inquisitive humans, we like to look. My first exposure to the visual side of rock and roll occurred when I was 11 years old. I saw Led Zepplin’s concert movie The Song Remains the Same at the Odeon in Tufnell Park Road in 1976. Even though this was a movie and the performers were not present, my imagination immediately transported me into the arena at Madison Square Gardens. Rock and Roll became a saturation of images. Who Shot Rock & Roll is a collection of photographic masterpieces from some of the greatest photographers of our time. Exhibited at the Auckland City Art Gallery, it captures something of the power of image making in a world predicated on spectacle. This is the first time this exhibition has been seen outside of the US and with 173 photographs from over 100 photographers (including Barry Feinstein, Roberta Bayley, Henry Diltz, Alfred Wertheimer, Jim Marshall and Linda McCartney) it presents us with both surface spectacle and its undercurrent of enigma. The exhibition traces rock and roll from a series of images of Elvis Presley taken in 1955 to the present day. The exhibition is divided into seven rooms and, although these are not strictly themed, as you move between walled divisions sounds and images greet you like fractured memories. In the first room, a life size projection of Elvis Presley performing consumes an entire wall. In the centre of another room, TV monitors stacked on top of each other re-cycle Björk’s seminal 1993 video clip Big Time Sensuality. These fusions of image and sound form an audio–visual counterpoint to a diversity of photographic genres. Commercially shot images for posters and promotional literature (Bob Gruen), photographic art for the LP covers (Storm Thorgerson and Jean-Paul Goude), photojournalism capturing the emotion and anguish of performance (Ian Tilton and Pennie Smith), and the subtle portraits of humanity behind the veneer of public exposure (Baron Wolman) cover white walls in a contemporary homage to the photograph’s ability to suggest more than image. 518287 VCJ0010.1177/1470357213518287Visual Communication research-article2014
... Jasna Romic I would like to acknowledge Jasna for her time and expertise in helping me throug... more ... Jasna Romic I would like to acknowledge Jasna for her time and expertise in helping me through this research project. Jasna's knowledge of library systems enabled me to locate journals and useful citations used in this project. ...
A picture is worth a thousand words and, as inquisitive humans, we like to look. My first exposur... more A picture is worth a thousand words and, as inquisitive humans, we like to look. My first exposure to the visual side of rock and roll occurred when I was 11 years old. I saw Led Zepplin’s concert movie The Song Remains the Same at the Odeon in Tufnell Park Road in 1976. Even though this was a movie and the performers were not present, my imagination immediately transported me into the arena at Madison Square Gardens. Rock and Roll became a saturation of images. Who Shot Rock & Roll is a collection of photographic masterpieces from some of the greatest photographers of our time. Exhibited at the Auckland City Art Gallery, it captures something of the power of image making in a world predicated on spectacle. This is the first time this exhibition has been seen outside of the US and with 173 photographs from over 100 photographers (including Barry Feinstein, Roberta Bayley, Henry Diltz, Alfred Wertheimer, Jim Marshall and Linda McCartney) it presents us with both surface spectacle and its undercurrent of enigma. The exhibition traces rock and roll from a series of images of Elvis Presley taken in 1955 to the present day. The exhibition is divided into seven rooms and, although these are not strictly themed, as you move between walled divisions sounds and images greet you like fractured memories. In the first room, a life size projection of Elvis Presley performing consumes an entire wall. In the centre of another room, TV monitors stacked on top of each other re-cycle Björk’s seminal 1993 video clip Big Time Sensuality. These fusions of image and sound form an audio–visual counterpoint to a diversity of photographic genres. Commercially shot images for posters and promotional literature (Bob Gruen), photographic art for the LP covers (Storm Thorgerson and Jean-Paul Goude), photojournalism capturing the emotion and anguish of performance (Ian Tilton and Pennie Smith), and the subtle portraits of humanity behind the veneer of public exposure (Baron Wolman) cover white walls in a contemporary homage to the photograph’s ability to suggest more than image. 518287 VCJ0010.1177/1470357213518287Visual Communication research-article2014
... Jasna Romic I would like to acknowledge Jasna for her time and expertise in helping me throug... more ... Jasna Romic I would like to acknowledge Jasna for her time and expertise in helping me through this research project. Jasna's knowledge of library systems enabled me to locate journals and useful citations used in this project. ...
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