"Documents punk rockers in action, escaping the tough realities of North East England through music and moshing.” –Emma Russell, i-D
A New York Times Book Review 2020 holiday gift guide pick
Late in 2016, British photographer Chris Killip’s (born 1946) son discovered a box of contact sheets of the photos his father had made at the Station, an anarcho-punk music venue in Gateshead, Northern England, open from 1981 to 1985. These images of raw youth caught in the heat of celebration had lain dormant for 30 years; they now return to life in this book.
The Station was not merely a music and rehearsal space, but a crucible for the self-expression of the subcultures and punk politics of the time. As Killip recollects: “When I first went to the Station in April 1985, I was amazed by the energy and feel of the place. It was totally different, run for and by the people who went there ... nobody ever asked me where I was from or even who I was. A 39-year-old with cropped white hair, always wearing a suit, with pockets stitched inside the jacket to hold my slides.”
Featured image is reproduced from 'Chris Killip: The Station.'
PRAISE AND REVIEWS
them to go on with their otherwise constricted lives.
Photo Eye
Mark Steinmetz
The Station, a collection of photographs made in the mosh pits of a punk music venue near Newcastle, England, in the early 80s, is generous in size and spirit. The energy is bursting; wcastle
Guardian
Sean O'Hagan
The Station was a legendary hotspot where cider-fuelled punks would pogo to Rancid, Death Zone and more. Chris Killip reveals how he photographed the pummelling chaos
Elephant
Emily Gosling
Chris Killip's evocative portraits document how a small movement and single venue galvanized a community, and gave young people a sense of self-worth and hope.
i-D
Emma Russell
Documents punk rockers in action, escaping the tough realities of North East England through music and moshing.
It's Nice That
Ayla Angelos
A collection of flash-lit, black and white pictures taken in Gateshead at a music venue called The Station.
AnOther
Belle Hutton
Left untouched for years in a box of contacts in the photographer’s studio, the spirited black and white photographs Killip took inside The Station document a bygone era of nightlife.
Arts Editor
Jason Carpenter
Killip’s laying bare of the personalities at the club, in atmospheric black and white, evokes the way Dorothea Lange or Diane Arbus could capture the spirit, almost mystical, of working-class folks. But whereas those artists’ works often contrasted the close-up expressiveness etched onto well-traveled faces by alternately placing their subjects against wide-open vistas and the rawness of their environments, Killip stays intimate.
Musee
Maia Rae Bachman
The Station is an anarcho-punk photo book, capturing scenes at a club in Gateshead, Northern England...Killip’s son stumbled upon a box of contact sheets 40 years later, only to discover it was full of music scene mementos. Like individual chain links on a punk necklace, this book strings pictures together to create a dynamic look at an explosive punk scene.
Guardian
Sean O'Hagan
Influential artist, hailed by Martin Parr as a ‘key player’ in British photography, captured human dignity amid industrial decline in England’s north-east
New York Times
Luc Sante
The pictures in The Station date from the same period, documenting a punk club in Gateshead, across the Tyne River from Newcastle — they were found in a pile of neglected contact sheets in 2016 by Killip’s son. The pages are very large (11.3 inches by 14.7 inches), many of the pictures stretch across the spread, and the camera seldom ranges farther than about three feet from its subjects, who are consequently in your face. They are the audience (primarily), and they are passionately engaged in what might be considered dancing but looks somewhat more emotionally grueling and explosive. In a typical lineup, one boy looks furious, another ecstatic, a third about to collapse — that one wears a badge that says “Coal Not Dole,” a reminder that this is the place and time of the last great miners’ strike in Britain. The bands have names like Sons of Bad Breath and Legion of Parasites. The clothes, the slogans, the chains, the piercings all intend to convey desperation, but Killip focuses on the vitality in the room, its untapped potential, and the release that this ritual permits its initiates, allowing them to go on with their otherwise constricted lives.
Photo Eye
Mark Steinmetz
The Station, a collection of photographs made in the mosh pits of a punk music venue near Newcastle, England, in the early 80s, is generous in size and spirit. The energy is bursting; there is no room to leave any space left blank.
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FORMAT: Hbk, 11.5 x 15 in. / 80 pgs / 72 b&w. LIST PRICE: U.S. $70.00 LIST PRICE: CANADA $99 ISBN: 9783958296169 PUBLISHER: Steidl AVAILABLE: 4/21/2020 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
"Documents punk rockers in action, escaping the tough realities of North East England through music and moshing.” –Emma Russell, i-D
A New York Times Book Review 2020 holiday gift guide pick
Late in 2016, British photographer Chris Killip’s (born 1946) son discovered a box of contact sheets of the photos his father had made at the Station, an anarcho-punk music venue in Gateshead, Northern England, open from 1981 to 1985. These images of raw youth caught in the heat of celebration had lain dormant for 30 years; they now return to life in this book.
The Station was not merely a music and rehearsal space, but a crucible for the self-expression of the subcultures and punk politics of the time. As Killip recollects: “When I first went to the Station in April 1985, I was amazed by the energy and feel of the place. It was totally different, run for and by the people who went there ... nobody ever asked me where I was from or even who I was. A 39-year-old with cropped white hair, always wearing a suit, with pockets stitched inside the jacket to hold my slides.”
