THE GLOBE GALLERY in collaboration with EDITION ONE GALLERY Present:
“HAIL, HAIL ROCK ’N’ ROLL: PORTRAITS OF AN ERA”
featuring the photography of
BARON WOLMAN, LISA LAW, HENRY DILTZ, DAVID MICHAEL KENNEDY,
BOB SEIDEMANN & WILLIAM COUPON
Between the British Invasion in the mid-60s to the Acid Rock, Punk and Heavy Metal era of the
late 70’s and early 80’s, Rock ’n’ Roll influenced just about everything in American culture; from
fashion, hair and makeup, to the way we listened to music – loudly, and in large stadiums and
coliseums – forever changing the lives of many by building an enormous industry to support it.
The industry created Rockstars and access to them became limited to an elite group of
photographers. But before all that, there were the photographers who were “with the band”, on
assignment or simply in the right place at the right time. Baron Wolman, Lisa Law, David
Michael Kennedy, Lisa Law, Bob Seidemann and William Coupon of “Hail, Hail Rock ’n’ Roll:
Portraits of an Era” were part of this early breed of photographers who created intimate and
iconic portraits of musicians in special moments of their lives. It is thanks to their photography
that we now have a masterful visual record of the Rock ’n’ Roll Era.
Portraits in the exhibition include: Mick Jagger, George Harrison, Bob Dylan, Jimi Hendrix, Janis
Joplin, the Grateful Dead, Stevie Ray Vaughan, Debbie Harry, Frank Zappa and Chuck Berry, to
name a few. There are also a few surprises of never-before-seen images.
Fueled by the music and the times, a 21-year-old journalist named Jann Wenner gathered some friends
and began a revolution in ink. Named Rolling Stone, the magazine captured the era, defined it in print and
pictures, and helped form a generation. Among the friends that Wenner interested in his project was
Wolman, then a 30-year-old freelance photojournalist. Already an established photographer for such
glossy mags as Life and Look, Wolman accompanied Wenner in ’67 to cover the story when Mills
College–a bastion of academic musical study–canonized rock music by hosting a conference on its
Wenner invited Wolman to shoot for the burgeoning Rolling Stone, Wolman agreed to work for free, and
when the first issue hit the streets five months later, rock history began to be recorded. During his fastpaced
tenure, Wolman’s lens captured the royalty of the ’60s pop and rock explosion: Janis Joplin, the
Rolling Stones, Frank Zappa, the Who, Jimi Hendrix, Joan Baez, Iggy Pop, Pink Floyd, Bob Dylan, the
Grateful Dead, Phil Spector, Jim Morrison, Ike & Tina Turner, Tim Leary, and a motley cast of hangers-on.
Law’s career as a photographer began in the early sixties. With a new Honeywell Pentax camera in hand
and working as an assistant to a manager in the rock ’n’ roll scene she began taking pictures. Whether
she was backstage with The Beatles, Peter, Paul and Mary, The Kingston Trio, Otis Redding, The Lovin
Spoonful, The Velvet Underground, The Byrds, taking promotional photographs of Janis Joplin and Big
Brother, or at home making dinner for house guests like Bob Dylan or Andy Warhol or helping feed
hundreds of thousands at Woodstock with the Hog Farm Commune, her passion for photography grew
into a profession as she sported her new Nikon F.
Law moved San Francisco in 1967 where she chronicled the life of the flower children in Haight Ashbury.
She carried her camera wherever she went, to the Human Be-In and the anti-Vietnam march in San
Francisco, Monterey Pop Festival, and meetings of the Diggers. She then joined those who migrated to
the communes of New Mexico in the late Sixties and early Seventies. In 2012 she donated 58 of her
photographs of the Woodstock Festival to the Bethel Woods Museum for their permanent collection. Her
photos of Bob Dylan, Allen Ginsberg, Wavy Gravy, and Ram Dass are used consistently today in many
books and documentaries.
In the world of rock n’ roll photographers, there are none as extraordinary as Henry Diltz. A founding
member of the Modern Folk Quartet, Diltz is as much at home as a musician on tour, as he is a visual
historian of the last four decades of popular music. The rapport he’s developed with his musician friends,
along with his down-to-earth-grin and frequent laugh, enables him to capture the candid shots that convey
a rare feeling of trust and intimacy with his subjects
For Diltz, the pictures began with a $20 second-hand Japanese camera purchased on tour with the
Modern Folk Quartet. When MFQ disbanded, he embarked on his photographic career with an album
cover for The Lovin’ Spoonful. Despite his lack of formal training, Diltz easily submerged himself in the
world of music: the road, the gigs, the humor, the social consciousness, the psychedelia, the up and down
For over 40 years, his work has graced hundreds of album covers and has been featured in books,
magazines and newspapers. His unique artistic style has produced powerful photographic essays of
Woodstock , The Monterey Pop Festival, The Doors, Crosby, Stills, Nash & Young, Jimi Hendrix and
scores of other legendary artists. Diltz continues his distinguished career, generating new and vibrant
photographs that inspire the rock n’ roll fan in each of us. Henry Diltz is a partner in, and is exclusively
published and represented by the Morrison Hotel Gallery.
DAVID MICHAEL KENNEDY:
David Michael Kennedy has been creating world-class photographs for over 4 decades. His impressive
and vast body of work includes iconic portraits of musicians, actors and artists including recognizable
pictures of Bob Dylan, Debbie Harry, Muddy Waters, Bruce Springsteen and Willie Nelson.
In 1986 Kennedy moved to northern New Mexico and began documenting the Western landscape and
Native American culture, and became involved in Native American causes. William Zimmer writes that
“the respectful Indian pictures bring to light aspects of Native American culture that are often hidden”. His
work is in The Smithsonian National Portrait Gallery.
Kennedy’s images are materialized through the traditional analogue technique of Platinum/Palladium
printing, of which he is widely considered to be one of the best in the world. He teaches private
landscape, portrait and platinum/palladium darkroom.
Bob Seidemann is best known for the creation of several album covers and portraits of musicians in the
1960s and 1970s. In 1969, Eric Clapton formed a new band and Seidemann was commissioned to create
the cover for their album. Seidemann photographed a nude 11-year-old girl to create what would become
his most famous and controversial work, titled “Blind Faith”. Not only did it become the cover and title of
the album, but the band as well.
Although unpublished until her death, Seidemann’s 1967 portraits of a semi-nude Janis Joplin earned him
wide acclaim. In fact, a Baron Wolman photo of Joplin used a number of the earlier Seidemann portraits
as a backdrop. Seidemann also photographed The Grateful Dead a number of times during their peak,
both for posters and album liners, as well as designing the covers for Go to Heaven and Jerry Garcia’s
debut solo album, Garcia. Other works include the cover of Jackson Browne’s Late for the Sky, Neil
Young’s On the Beach, and numerous concert posters for bands such as Traffic and Big Brother and the
Coupon has worked extensively in commercial photography and film, for over 35 years. He’s
photographed 20 Time Magazine covers – including portraits of all the Presidents since Richard
Nixon. Newsweek covers include Michael Ovitz and Jerry Garcia. Rolling Stone Magazine covers
include Mick Jagger, George Harrison, Jerry Garcia, and Neil Young.
Selected photographs in the upcoming ‘Hail, Hail Rock ’n’ Roll’ exhibition include portraits made during
photo shoots for Issey Miyake, the Japanese fashion designer, and for numerous album and magazine
Coupon became interested in formal studio portraits in 1979 while observing it’s lower Manhattan youth
and its present counter-culture, and decided early on to use a single-light source and simple mottled
backdrop, and when needed, would set this up as a portable studio, one highly mobile. This was then
used to document global sub-cultures. Many of the projects – referred to as “Social Studies” – became
documents of indigenous people. These include projects on Haiti, Australian Aboriginals, Native
Americans, Scandinavian Laplanders, Israeli Druzim, Moroccan Berbers, Alaskan Yupik, Spanish
Gypsies, Turkish Kurds, Central African Pygmy, and Panamanian Cuna and Chocoe. Stylistically, they
were always photographed formally on the backdrop, and contextually, or environmentally , with 2 1/4
Rolleiflex black and white images, which were meant to be companions to the studio portraits.
This will be the first time Coupon has shown his work in Santa Fe since his major exhibition, in the
summer of l995, entitled: “Ethnographic Pictures”.