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Debbie Harryof Blondie  live - 1978 Zurich - Limited of 6

VIEW IN MY ROOM

Debbie Harryof Blondie live - 1978 Zurich - Limited of 6 Photograph

Bruno Stettler

Switzerland

Photography, Gelatin on Paper

Size: 23.6 W x 35.4 H x 1.2 D in

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About The Artwork

Customized manufacture; if you ordering more than 6 photographs. Up to 20 more unpublished pictures from the corresponding year/concert are available per artist or band. As a top collector, I am pleased to be able to offer you these works exclusively. Contact the photographer by Saatchi art. ------------------------------------------------------------------------- Freshly uncovered after two decades in storage, Bruno Stettler’s photography showcases the biggest stars of the 1970s and ’80s. On October 1, 1977, the Clash played Switzerland for the very first time. Their 15-track set at Kaufleuten in Zürich began with “London’s Burning” and “Complete Control” — and somewhere in the audience, 16-year-old Bruno Stettler was taking his very first concert photographs. Over the next decade, Stettler would go on to take 20,000 photographs at nearly 100 rock concerts around town, capturing the raw intimacy of live shows long before they became overproduced spectacles. In his new book, Als War’s Das Letze Mal (Sturm & Drang), Stettler takes us on a magical trip through the looking glass, back in the late 1970s and ’80s, when legends like Bob Marley, David Bowie. Iggy Pop, Debbie Harry, Nina Hagen, and Kraftwerk called the shots. Posted Thursday 14th March, 2019 Text by Miss Rosen Photography © Bruno Stettler https://www.huckmag.com/art-and-culture/photography-2/forgotten-shots-of-germanys-underground-music-legacy/ ---------------------------------------------------------------------- Between 1978 and 1988, Swiss photographer Bruno Stettler captured around 100 rock and pop concerts in and around Zürich, resulting in a trove of 20,000 pictures. The names read like a "Who's Who" of music history: AC/DC, ABBA, Ramones, Queen, Blondie, The Clash, Bob Marley, David Bowie, The Runaways, The Who, Led Zeppelin, Kraftwerk, Nena, Nina Hagen, Genesis, Roxy Music, Plasmatics, Iggy Pop and Swiss acts like Krokus and the Swiss punk scene. Bruno Stettler was a witness and documentarist of a time of musical awakening, when the distance from stage to audience was only a few meters. Today the stars are shielded, barricaded in their backstage zones and hotel rooms. Flash photography was often difficult, so highly sensitive 400 ASA films were essential. He pushed them up to 800-1000 ASA. Photo retouching, as it is so easy to do on screen with a few mouse clicks today, did not exist for the amateur. He worked with negatives, not with slides, because original photo prints in the format 9x13 could be produced economically and sold with a mail-order business. The imperfections of the time translate into authenticity today. After a good four decades of slumber, the negatives were gradually digitized. Many pictures received a real retro vintage effect through storage. Some negatives were even attacked by mould. The scratches and defects and the coarse grain were deliberately left in their original condition - they give the photos an authentic look that cannot be found in any Photoshop filter gallery. The result is a 400-pages thick photo-book that captures the spirit of a generation. first limited edition of 888 books 400 pages 23 cm x 31 cm hardcover with dust-jacket german/english Sturm & Drang publishers 2019 https://sturmanddrang.net/products/bruno-stettler-als-wars-das-letzte-mal --------------------------------------------------------- The photographs are in a traditional and classic setting made of noble passe-partouts and custom-made wooden photo frame; • signature of Bruno Stettler, Limited Edition of 6 • Frame, Hamburg, profile 20 mm (brown alder) • Passe-partout, Natural white • Paper, ultraHD photo print on Fuji Crystal DP Maxima • White Edge, Without white border • Glass, Floatglas matt • Hanging your frame is very easy. The metal hooks on the back as a bracket for the wall are included in the price.

Details & Dimensions

Photography Print:Gelatin on Paper

Artist Produced Limited Edition of:6

Size:23.6 W x 35.4 H x 1.2 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Freshly uncovered after two decades in storage, Bruno Stettler’s photography showcases the biggest stars of the 1970s and ’80s. On October 1, 1977, the Clash played Switzerland for the very first time. Their 15-track set at Kaufleuten in Zürich began with “London’s Burning” and “Complete Control” — and somewhere in the audience, 16-year-old Bruno Stettler was taking his very first concert photographs. Over the next decade, Stettler would go on to take 20,000 photographs at nearly 100 rock concerts around town, capturing the raw intimacy of live shows long before they became overproduced spectacles. In his new book, Als War’s Das Letze Mal (Sturm & Drang), Stettler takes us on a magical trip through the looking glass, back in the late 1970s and ’80s, when legends like Bob Marley, David Bowie. Iggy Pop, Debbie Harry, Nina Hagen, and Kraftwerk called the shots. Freshly uncovered after two decades in storage, Bruno Stettler’s photography showcases the biggest stars of the 1970s and ’80s. “At that time, they were not afraid that a fan would attack the band, and the band wanted to be quite close to the audience. They wanted to touch the fans so they played quite close to the audience. I would be four to six metres from the band — that was perfect.” Stettler sold his photographs through a mail-order business, making thousands of prints from the original 9×13 format negatives before putting the work into storage for 20 years. When he unearthed them 10 years ago, he discovered some of the negatives had been damaged by water and mould. Yet the results, once seen when digitised, was a stroke of luck, creating a surreal, hallucinogenic effect that only serves to amplify how deliciously trippy these shows must have felt at the time. “When I was at the concert of Bob Marley or ABBA, I was completely in the moment,” Stettler says. “I never thought about the future or the past. I was into the present, into everything. This was the best moment that could ever happen on earth.” “When I started to look at some of the pictures, I realized they are not the same. Something had happened with my photographs, they started to change into art.”

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