89 Views
0
View In My Room
Fine Art Paper
12 x 9 in ($100)
No Frame
89 Views
0
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 Up to 20 more unpublished pictures from the corresponding year/concert are available per artist or band.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. ------...
1986
Print, Giclee on Fine Art Paper
Open Edition
12 W x 9 H x 0.1 D in
No
Not Framed
Ships Rolled in a Tube
Calculated at checkout.
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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Ships rolled in a tube. Art prints are packaged and shipped by our printing partner.
Printing facility in California.
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Switzerland
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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