Taz Nord, a German daily newspaper for the North Germany gives a rave review of the exhibit at Stadtgalerie Kiel featuring Jim Marshall's 1967 iconic photos. Use the Chrome browser to view English translations of the links.
The show runs through August 29.
From Zoom Street
"You’ve surely seen some of Jim Marshall’s iconic rock photographs, but the sheer breadth of his work is pure “wow!”—and featured in JIM MARSHALL: SHOW ME THE PICTURE: IMAGES AND STORIES FROM A PHOTOGRAPHY LEGEND by Amelia Davis. This gorgeous boxed edition from Chronicle Books covers his early work in NYC’s black neighborhoods in the 1960s, through the blossoming California music scene; the historic festivals at Monterey and Woodstock. Marshall’s images capture the spirit of performance as well as intimate portraits of legends like Janis Joplin, Dylan, Hendrix, and Santana. A book to savor."
Go to the original post at zoomstreet.
By Gabriell H. Sanchez
"Few photographers have had a life and career as historic as Jim Marshall. His pictures not only capture some of the most influential artists of the 20th century but also established a new level of intimacy in the relationship between entertainers and the photojournalists documenting them.
Some of the most iconic pictures ever made of artists like Jimi Hendrix, Janis Joplin, the Beatles, and Bob Dylan, to name a few, were captured through Marshall's camera lens. His ability to level these larger-than-life musicians as normal human beings, coupled with his uncanny knack to find himself at the right place at the right time, established him as one of the era's most sought-after music photographers. Whether it was the legendary Miles Davis or simply the neighborhood children playing stickball in the street, Marshall was able to capture the moment with striking humanity."
Read the full article at buzzfeed.com.
By Miss Rosen
When most people think of photographer Jim Marshall (1936-2010), scenes from rock and roll history come crashing to mind: Jimi Hendrix setting his guitar on fire during the Monterey Pop Festival; Johnny Cash flipping the bird at San Quentin State Prison; Janis Joplin lounging like a vixen in a sparkly mini-dress with a bottle of Southern Comfort in hand; the Charlatans playing the Summer of Love concert in Golden Gate Park.
But Marshall’s roots go deeper than rock: they thread through the history of jazz, in the nightclubs and festivals where he honed his skills as self-taught photographer coming of age in Jim Crow America. A perennial outsider, Marshall championed the underdog, the spaces where the oppressed and exploited transformed their pain and sorrow into beauty and art.
Read the full article at featureshoot.com.
By Christopher John Stephens
Street photographers are a furtive bunch, anonymous to the subjects they capture in their swirls of grief, protest, celebration, or contemplation. Their anonymity amongst crowds does not necessarily mean, however, that they are unseen. Most of the great street photographers, like Henri Cartier-Bresson, Vivian Maier, and Walker Evans, caught magical moments because they connected with their subjects. In the days before camera phones -- let alone a culture that could survive without "selfie sticks" -- the possibility of being captured in the middle of something (jubilation or devastation or everything in between) was intriguing. Beyond that, of course, was the ability of the greatest photographers to find a relationship with their subjects. This was often achieved through a simple gesture, a re-assuring voice, and an understanding of how to blend-in, when necessary.
In Jim Marshall: Show Me the Picture, by Amelia Davis (with additional essay contributions by Karen Grigsby Bates, Michelle Margretts, Joel Selvin, and Meg Shiffler), we get a full portrait of a master documentary photographer; a man who captured some stunning images at the early stages of the Civil Rights Movement and took that same sense of perspective from the Jazz festival and nightclub scenes of the early 1960s through that decade and into the next. Marshall might be best known for the cover shot of Peter Frampton, from behind, at the Day of the Green festival in August 1975; or the panoramic shot from high up in the rafters of the crowd at Woodstock six years earlier. But it's the anonymous intimacy of his work that really resonates. Take Shiffler's early reflections about Marshall's ability to connect with his subjects:
"In some of Marshall's most successful images…individuals catch him in the act of pointing his lens their way…The eyes of Marshall's knowing subject draw viewers into the very center of the frame, and everything else becomes secondary."
This becomes immediately clear to the reader. Marshall's subjects were as eager to be photographed as he was to tell their story via photography. For example, man and woman are outside a ravioli factory. She doesn't seem to know she's being photographed, but the man does. He looks knowingly inside Marshall's lens. The woman stares into the mirrored column, her back to the camera as she applies cream to her hands -- and she suddenly notices Marshall.
Read the full article at popmatters.com .