A unique tribute from David Bowie s official photographer and creative partner, Mick Rock, compiled in 2015, with Bowie s blessing.
In 1972, David Bowie released his groundbreaking album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. With it landed Bowie s Stardust alter-ego: A glitter-clad, mascara-eyed, sexually-ambiguous persona who kicked down the boundaries between male and female, straight and gay, fact and fiction into one shifting and sparkling phenomenon of 70s self-expression. Together, Ziggy the album and Ziggy the stage spectacular propelled the softly spoken Londoner into one of the world s biggest stars.
A key passenger on this glam trip into the stratosphere was fellow Londoner and photographer Mick Rock. Rock bonded with Bowie artistically and personally, immersed himself in the singer s inner circle, and, between 1972 and 1973, worked as the singer s photographer and videographer.
This collection, featuring around 50 percent previously unpublished images, brings together spectacular stage shots, iconic photo shoots, as well as intimate backstage portraits. With a lenticular cover of different headshots, it celebrates Bowie s fearless experimentation and reinvention, while offering privileged access to the many facets of his personality and fame. Through the aloof and approachable, the playful and serious, the candid and the contrived, the result is a passionate tribute to a brilliant and inspirational artist whose creative vision will never be forgotten.
Mick Rock was the man who photographed rock 'n' roll in the seventies, especially glam. He was the official photographer of David Bowie through all his personas.
A photographer best known for his iconic shots of rock and roll legends such as Queen, David Bowie, Syd Barrett, Lou Reed, Rocky Horror Picture Show, Iggy Pop and The Stooges, The Sex Pistols, The Ramones, Joan Jett, Talking Heads, Roxy Music, Crossfade, Thin Lizzy, Motley Crue, and Blondie. Rock has had major exhibitions in London, Liverpool, Berlin, Manchester, New York, Los Angeles, Oslo, Stockholm, Amsterdam, Rotterdam, Tokyo, San Francisco, and Las Vegas.
Sprinkl’d glitter thru effervescent Soho night time mists / teamed with luxurious Germano-print makes a finite + Lush iconographic tome. Its made with mechanics. Its created by biologic feel and curated by reflexive talent from triangular letters in parties. Really a manifestation of London and ‘Ziggy Stardust and the Spiders from Mars (1972)’ as can be seen by its rendition of a track-by-track basis as with black lacquered grooves. As can be seen with the setting - its fog and its hard paved postwar servitude came contentious, challenging light. (There are not but four corners of the Earth, but there may well be for all the legacy that remains within it). This is not art for that petty pretty sake but a recrimination for staunch herringbone and wax black feeling. Luckily, the photographer was in the correct standpoint for a mirrored glimpse at some one who did connect the fame with visual sonic creation. An effective record of 20 Century moving and transition and if little else a portfolio of a time of electric chrysanthemums. The essay, early and grounded, is printed for its markets and is well pieced. Individuals expect expectations from a fine publisher these of which are smilingly met.
A beautiful table book that not only shows the excitement and creativity or Bowie buy how physically draining and intrusive his life became, hence his real need for Ziggy to die.
Todos deberíamos dejar de comer por dos semanas o un mes para comprarnos este libro: es bellísimo en todos los sentidos. Desde su muerte, no puedo oír sus discos ni ver fotos suyas sin llorar. Bowie era un gran hombre, tanto como para usar una bolsa de basura y aún así tener ondita. Las fotos de Mick Rock lo demuestran. Taschen debería aprovechar los sacrificios de los fans de Bowie y editar un libro así para cada faceta. Yo sería capaz de vender mis riñones con tal de ver reproducciones con esta calidad de la época del Heroes y del Scary Monsters.
Pretty great photos. Bowie was more athletic than I was expecting him to be. And wow those crowds! They were tiny. Amazing to think of seeing such a small show for such a historic album
This book is a combination of some breath-taking prints of some of Mick Rock's iconic photographs of Ziggy-era Bowie, and a shocking amount of filler. It's all worth it to have such clear copies of a handful of really worthwhile shots -- Bowie 'fellating' Ronson's guitar, them eating on the train, Bowie applying makeup etc. The interview with Rock is mildly interesting. The rest is filler -- quotes from the interview or lyrics given a page each sentence, actually blank pages, photos which repeat each other less successfully, a pretentious, empty introduction.
So this is well worth having for Ziggy fans. But it's been padded out cynically.
This huge book (XL size according to Taschen) is a glorious celebration of the rise of David Bowie to fame during the Ziggy Stardust phase of his career, through the iconic images of legendary photographer Mick Rock, many of which were unpublished before. You can't really go wrong with Taschen publications, as is the case here too. I certainly enjoyed this and keep coming back to it. And did I mention the lenticular cover?