Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Mick Rock Puts His Diversity On Display at Morrison Hotel Gallery

Legendary photographer Mick Rock has a new book out, Mick Rock Exposed: The Faces of Rock n Roll and accompanying exhibit up at the Morrison Hotel Gallery in the old CB’s Gallery space just south of Bowery and Bleecker. It’s a must-see: the book is out just in time for the holidays and ought to do just as well if not better than his previous Bowie and glam-themed collections. As he explained before the show’s celebrity-packed opening Tuesday night, this is an eclectic book: he’s never been swayed by popular trends. Although Rock will forever be associated with iconic images like the covers of Lou Reed’s Transformer and the Stooges’ Raw Power, his portraiture over the last forty-plus years is extraordinarily diverse, ranging from Japanese kabuki theatre stars, to a somewhat notorious, self-referencing show featuring Kate Moss in all kinds of provocative poses, to bands as dissimilar as German proto-punks Can, current-day blues belter Shemekia Copeland and gypsy punk stars Gogol Bordello.

As much as Rock has an eye for drama, he often goes for understatement. The best of the most recent images here are an absolutely hilarious Snoop Dogg, looking old yet ganjifically defiant in a George Clinton kind of way (Rock and Snoop seem to have a great mutual appreciation), and a considerably clever spin on an otherwise cliched PR shot of Lady Gag “passed out” in a dirty, trashed bathtub. That shirtless guy standing over her, face out of view? That’s Jack White.

Fans of Rock’s legendary glam-era photography won’t come away disappointed. A Ziggy-era David Bowie is captured in black-and white, pensive and shirtless in an empty room; on the train to Aberdeen with guitarist Mick Ronson; onstage performing “guitar fellatio” as Ronson solos, and in an absolutely brilliant if worrisome 1972 shot where he joins Lou Reed (hiding behind his shades) to support a completely trashed Iggy Pop, who has a pack of Lucky Strikes stuffed in his mouth.

Iggy and the Stooges also figure prominently. A black-and-white shot from 1972 captures the band looking particularly young and vulnerable, a skinny Ron Asheton taking a stab at trying to appear menacing behind his innocuous wireframe glasses (this was before he discovered aviators). The most wrenching of all the photos here is a color headshot of Iggy onstage in 1977, dripping with angst and longing: it’s the visual equivalent of Gimme Danger. There are also a couple of vividly sad Syd Barrett black-and-whites, one where he strikes a karate-like pose in an empty room – he alone knows what it means, if anything – and another with him reclined haggardly on the hood of a battered old Buick convertible (look closely – it’s parked in front of a sparkling new MGB-GT coupe) somewhere in England. By contrast, Rock had the presence of mind to capture Madonna in black-and-white in 1980 (wearing a 1979 Pittsburgh Pirates World Champions tee, licking her shoulder lasciviously – she already knows she’s a star). Everything here that isn’t sold out already is on sale at depression-era prices (a limited edition Transformer print signed jointly by Rock and Reed is three grand). The Morrison Hotel Gallery is open Wednesday-Sunday, noon to 7 PM: shows here turn over fast, go now if you’re thinking about it.

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October 28, 2010 Posted by | Art, Music, music, concert, photography, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment