Etherea Records (66 Avenue A, between 4th & 5th Streets in NYC) is proud to announce the opening of "Press the Eject and Give Me the Film: The Photography of Eugene Merinov, 1977-1981." Sept 19-Dec 12, 2007
"When it comes to photographs of New York's original, hallowed punk and post-punk era, the world has justly recognized important works by Roberta Bayley, Bob Gruen, Stephanie Chernikowski, George DuBose, Godlis, Ebet Roberts, and others. Perhaps flying just under that radar, but every bit as striking and iconic, are the images captured by Eugene Merinov. From 1977-1981 Merinov similarly and tirelessly trod the boards in front of the stages at CBGB, Max's Kansas City, Hurrah, Trax, Danceteria, Irving Plaza, TR3, Maxwells, Ukrainian National Hall, Paradise Garage, The Palladium, and the original Peppermint Lounge — sanctified names, all, in the history of the local New York City scene. Merinov was there three nights a week or more to capture all the action."
"Along the way, he became perhaps the ultimate and
sharpest visual recorder of the emerging & amazing post-punk scene,
with his searing shots of such greats as Bauhaus, Wire, Gang of Four,
X, XTC, New Order, Monochrome Set, James Chance's Contortions, Richard
Hell's Voidoids, Suicide, Pere Ubu, Lydia Lunch, Only Ones, Bush
Tetras, and more, all caught in their primal infancy/urgency. His shots
of the band synonymous with CBGB, the Ramones, in their ancestral home
circa Rocket to Russia are perhaps the best of all of them."
"Now,
for the first time, his original works, all in the stark and arresting
black & white that suited this shadowy scene best, will be featured
in a gallery that suits his work the best; on the walls above the CDs
and vinyl of the Etherea store in the neighborhood that spawned so much
of this music, the East Village. Previously best known for the cover
shot to Bauhaus's 1982 live album for Beggar's Banquet, Press the Eject
and Give Me the Tape, more recently his work appeared on Wire's Live at
CBGB—a natural fit given Merinov's series of photos from that
pioneering band's historic first and only visit to punk's Mecca in 1978
(their New York debut)."
"Along the way, Merinov didn't merely
collect the images of groups whose stature has increased ten-fold since
those intimate small-club days. Though less-remembered or seen, Merinov
valuably set his lens on a plethora of fascinating regular acts also
playing those clubs, valuable members of the thriving local scene. It
has been 25 years, perhaps, since most of us have seen the sights of
such cutting edge types as the Erasers, Johnny Thunders-associated
punks the Blessed, rockabilly rebels the Senders, Max's weekends'
sensation Von Lmo, power-pop faves the Speedies, and the avant-pop of
Polyrock, Revelons, Student Teachers, Zantees, and Model Citizens,
England's dance minimalists Delta Five, San Francisco's incredible new
wavers the Mutants and the Offs, and tough Boston acts like La Peste
and Human Sexual Response — and more. Having not laid eyes on any of
these familiar faces in 25 years, the effect is as jarring as the
images that jump at you."
"Merinov is no longer active in the
field, but as he puts it best of the time, "I felt I was part of a new
scene and didn't want to miss out on it." Typical is his remembrance of
his favorite concerts of this period, by Wire. "Visually and musically.
I came out of those shows drenched in sweat and shaking all over." That
quality always comes across in this exhibition. And, stumbling on the
scene after seeing Patti Smith in 1976, Merinov saw everyone,
experienced everything, and made sure it wasn't lost for posterity.
Influenced by Egon Schiele, Ingmar Bergman, the French New Wave,
Italian Futurism, Russian Constructivism, the photography of August
Sander, Rodchenko, Koudelka, Peter Hujar and Anton Corbijn, the design
work of Peter Saville for Factory Records, (as well as many Friday
afternoons picking up new 45's, LP's, and issues of the NME, Sounds,
and Melody Maker at Bleecker Bob's) his keen eye and sense of darks
amid the lights is beyond powerful."
"From the absolute last
years before MTV arrived and ruined any sense of an alive & kicking
club scene as being the place to see and hear new, breaking sounds,
these bands, and these photographs, feel as timeless as the
uncompromising art made by so many artists depicted in them — who
fought the good fight for the ultimate expression of the form over mere
commerciality and video-camera ready looks. It's the last era where the
real kooks, geniuses, and wily, oddball artistes ruled the forefront of
underground cool and left a legacy that will never diminish. And the
Bavarian-born, Russian descended, School of Visual Arts-trained Merinov
captured every last bit & dusty breath of it." - JACK RABID,
EDITOR AND PUBLISHER, THE BIG TAKEOVER, 7/19/07
Eugene Merinov Photography @ MySpace
Comments