ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 11/14/2019

For the Cinephile or Music Lover

DATE 11/10/2019

Surprising 'Félix Vallotton' is on view at The Met

DATE 11/10/2019

For the Design Devotee

DATE 11/10/2019

For the Armchair Traveler

DATE 11/9/2019

For the Stargazer

DATE 11/8/2019

Exhibition of the decade 'Soul of a Nation' opens at de Young

DATE 11/8/2019

For the Fashion Forward

DATE 11/7/2019

For the Photographer and Photography Collector

DATE 11/7/2019

Arthur Elgort to launch 'I Love...' at Bookmarc NYC

DATE 11/6/2019

David Reinfurt speaking on "A *New* Program for Graphic Design" at SVA

DATE 11/6/2019

For the Bookworm

DATE 11/6/2019

'City of Immortals' book launch at Artbook at Hauser & Wirth Los Angeles

DATE 11/5/2019

Everything You Always Wanted to Know about Film Projection (But Were Afraid to Ask) at Light Industry

DATE 11/5/2019

Stocking Stuffers

DATE 11/5/2019

'Black Lives 1900: W.E.B. Du Bois at the Paris Exposition' is a book for every art or history bookshelf

DATE 11/5/2019

'The Art of Film Projection' is both manifesto and how-to guide

DATE 11/4/2019

For the Art Lover

DATE 11/4/2019

A new paperback edition of 'John Cage: Diary'

DATE 11/3/2019

'Landscape Painting Now' delivers the state of the art

DATE 11/2/2019

Micah Lexier signing 'Call Ampersand Response' at Acid Free Los Angeles Book Market

DATE 11/2/2019

JR: Chronicles, reinventing photography for the 21st century

DATE 11/1/2019

Hiroshi Sugimoto stretches and reshapes the concepts of time, space and light

DATE 10/31/2019

Get into the spirit of Halloween with the 18th-century black magic of 'Touch Me Not' facsimile

DATE 10/31/2019

Halloween Inspiration 2019

DATE 10/30/2019

Staff favorite "Séance" documents Shannon Taggart's quest for Spiritualist ectoplasm

DATE 10/29/2019

'Ira Cohen: Into the Mylar Chamber' book launch at Artbook @ MoMA PS1 Bookstore

DATE 10/29/2019

At last! 'Félix Vallotton: Painter of Disquiet' opens at The Met

DATE 10/27/2019

Soviet atheist propaganda in 'Godless Utopia'

DATE 10/27/2019

Landmark '30 Americans' has had a profound effect

DATE 10/26/2019

Collectors take note of this beautiful new 'Kohei Yoshiyuki: The Park' ltd ed

DATE 10/25/2019

A Visual Record: Michael Stipe with Douglas Coupland and Jonathan Berger, Live from the NYPL

DATE 10/25/2019

Hiroshi Sugimoto & Darius Himes to launch 'Architecture' at the Strand

DATE 10/25/2019

Woody Leslie and Chloë Bass to launch 'H.F. Henderson: Understanding Molecular Typography' at Printed Matter

DATE 10/25/2019

Tarsila do Amaral, cannibal of Modernism

DATE 10/24/2019

Art against isolation and indifference in 'Sur moderno'

DATE 10/24/2019

Juergen Teller signing 'Handbags' at Owl Bureau

DATE 10/23/2019

Artbook at Hauser & Wirth Los Angeles presents the launch of 'Cobalt Blue: Writings from the Papers of Sam Francis'

DATE 10/23/2019

Max Hirshfeld to launch 'Sweet Noise: Love in Wartime' at Politics and Prose, Union Market

DATE 10/23/2019

Special 'non-objects' in MoMA's 'Sur moderno'

DATE 10/22/2019

Nan Goldin still speaks volumes in 'MoMA Now'

DATE 10/22/2019

Mitch Epstein signing 'Sunshine Hotel' at Dashwood Books

DATE 10/21/2019

'MoMA Now' points to the future with Kerry James Marshall

DATE 10/20/2019

Anni Albers, barbaric beauty and 'MoMA Now'

DATE 10/19/2019

Magdalena Suarez Frimkess is a Staff Favorite for Fall 2019

DATE 10/19/2019

Andrew Moore to launch 'Blue Alabama' at Yancey Richardson

DATE 10/19/2019

Tim Biskup to launch and sign 'Tree of Life' at Artbook at Hauser & Wirth Bookstore, Los Angeles

DATE 10/18/2019

Now's the time to order your 2020 ToiletMartin PaperParr Calendar!

DATE 10/17/2019

Magdalena Suarez Frimkess book launch at Arcana

DATE 10/17/2019

Find unexpected Halloween inspiration in Phyllis Galembo's 'Mexico Masks Rituals'

DATE 10/17/2019

Find unexpected Halloween inspiration in Phyllis Galembo's 'Mexico Masks Rituals'

DATE 10/16/2019

In honor of John Giorno (1936–2019)


EXCERPTS & ESSAYS

ANN SUMMA | DATE 10/5/2010

Photographer Ann Summa Recollects the 70s Punk Scene in Los Angeles

In 1977 my husband and I returned from four years in Japan and visited L.A. just to check out the city. We didn't know where we wanted to live, but while we were in town I showed my portfolio to a magazine and they said they'd give me work, so we decided to move here. We wound up in a crummy neighborhood in east Hollywood, and didn't like the city at all during our first few months here.
The Beautiful & The Damned: Punk Photographs by Ann Summa
Nina Hagen at the Tropicana Hotel, West Hollywood, 1979. An eccentric musician prone to onstage rants on subjects ranging from UFOs to animal rights, Hagen formed her first band, Automobil, in 1972.

Then we read an article in the Los Angeles Times about a punk rock club called the Masque and everything changed. By the fall of '78 we were seeing punk bands several nights a week.
The thing that initially interested me about the scene was the people. There were all these kids in great outfits, and the visual style just blew me away. I thought the music was sort of insane at first, but I identified with the people. I'd experienced the rebellion of the '60s, and the punk scene was simultaneously the opposite of that and the same as that. It was full of energy, so raw and so new, and it was completely different from anything else going on. I grew to love the music, too. X was my favorite band, but every band seemed to have a few songs I liked. I felt a little intimidated when I first started going to shows because I didn't look like everyone else.
The Beautiful & The Damned: Punk Photographs by Ann Summa
On left: Tom Verlaine, guitarist, lead writer and vocalist for the New York band Television, at the Roxy, October 16, 1981. On right: Dale Bozzio, lead singer for Missing Persons, at the Whiskey a Go Go, 1981.

But, one of the wonderful things about that scene was that even though most people dressed in extreme ways, you felt accepted regardless of how you dressed. There were lots of women in bands, and lots of women photographers, too. Most people aren't aware of how open and tolerant L.A.'s first generation of punk rockers were. During those early years I'd sometimes put my camera away and get into the mosh pit just for fun. You could do that as a woman, and you could do it in ballet flats or tennis shoes, because there was no chance of getting hurt. The scene was playful and actually sort of sweet at the beginning. Then, around 1982, the hardcore boys from the south bay started coming into L.A. for shows and everything changed. An aggressive, male energy took over, and if you got into the mosh pit you felt like you'd get killed. All the women disappeared from the pit — actually, they disappeared from the scene altogether, because it just got uglier and uglier. The last concert I shot was Stiff Little Fingers at the John Anson Ford Theater. It was an incredibly chaotic and violent crowd, and at one point I was almost crushed by a wave of people rushing the stage. I remember thinking I'm not doing this anymore. It's over.
The Beautiful & The Damned: Punk Photographs by Ann Summa
Lux Interior, of the Cramps, at the Whiskey a Go Go, May 5, 1980. Interior coined the term “psychobilly” to describe the Cramps' music, a lugubrious and lurid interpretation of delta blues shot through with B movie kitsch, and white trash camp. He died in Los Angeles in 2009.

What had begun as a small, tight community got diluted, and in a period of about four years it dissolved altogether. During those first few years, though, I ran into the same people every night. Somehow you'd find out through the grapevine what was happening and you'd go — and I'm not just talking about punk shows. You'd go to an art performance, or to see King Sunny Ade, and you'd see the same people you'd seen the night before at a tiny punk club. No matter where you went, it felt more like going to a party than to a public event, because you always ran into the same people. It seemed very private at the beginning.
These pictures were out of my consciousness for a really long time because they were taken during the period that I was starting out as a photographer, and I was still learning how to take pictures. But, because I had no formal training as a photographer I was free to make mistakes, and when I look at this work now it feels really loose and alive. I'm also struck by what a unique community that was, how welcoming and truly original it was. I'm happy I was there.

All text and captions excerpted from The Beautiful & the Damned: Punk Photographs by Ann Summa. Captions have been shortened to fit this blog post.
The Beautiful & The Damned: Punk Photographs by Ann Summa
The Beautiful & The Damned: Punk Photographs by Ann Summa
The Beautiful & The Damned: Punk Photographs by Ann Summa
The Beautiful & The Damned: Punk Photographs by Ann Summa
The Beautiful & The Damned: Punk Photographs by Ann Summa

The Beautiful & The Damned

The Beautiful & The Damned

FOGGY NOTION BOOKS/SMART ART PRESS
Hbk, 9.25 x 12.25 in. / 112 pgs / 182 b&w.




ARTBOOK LOGO
 
 

the art world's source for books on art & culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
75 Broad Street, Suite 630
New York NY 10004
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2017 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com