Kate Simon

bob marley kate simon govindaBob Marley Copyright © Kate Simon. All Rights Reserved.

Kate Simon is a New York-based photographer whose work has documented the artists, poets, and musicians in New York City during the ‘70s and ‘80s. Among her subjects are Allen Ginsberg, William Burroughs, Andy Warhol, Debbie Harry, and Iggy Pop. Simon’s photographs of the emerging punk rock scene are legendary and include the cover for The Clash’s first album.

Simon’s work as a photojournalist brought her to England, where she first saw reggae musician Bob Marley. From taking live shots of the Exodus tour in 1977 and the Kaya album cover, to recording candid and personal moments offstage, Simon had unique access to Bob Marley and the Wailers up until Marley’s death in 1981. During that time, she created a visual archive of extraordinary depth and quality, documenting the life of one of the most influential musical artists of all time. Simon’s photographs of Bob Marley and the reggae scene are published in her book Rebel Music (Genesis Publications, 2004).

In conjunction with the book launch for Rebel Music (Genesis Publications), Govinda Gallery hosted the exhibition Rebel Music: Bob Marley & Roots Reggae for Kate Simon in 2004. Most recently, Simon was one of the featured artists in the traveling museum exhibition Sound & Vision: Monumental Rock Photography curated by Christopher Murray and organized by Govinda Gallery and the Columbus Museum in Georgia.

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Mark Seliger

Julia Roberts Copyright © Mark Seliger. All Rights Reserved.

Mark Seliger is an editorial photographer who was born and raised in Amarillo, Texas. He currently lives and works in New York City, and is under contract to Conde Nast Publications, where he has shot numerous covers for GQ and Vanity Fair. Beginning as a freelance photographer for Rolling Stone in 1987, Seliger became its chief photographer in 1993. During his career with Rolling Stone, US and Men’s Journal, Seliger shot more than a hundred covers and photographed countless feature stories.

His work figures prominently in the best-selling books Cobain, Rolling Stone: Images of Rock & Roll, and Crazy, Sexy, Cool. During the past two decades, Seliger has photographed many of the most important and talented stars of music and cinema, including portraits of John Lee Hooker, Brad Pitt, Lenny Kravitz, Tom Hanks, the Beastie Boys, Drew Barrymore, David Byrne, Mick Jagger, Joni Mitchell and many more.

Recent books of Seliger’s photography include In My Stairwell (Rizzoli, 2005); and Physiognomy: The Mark Seliger Photographs (Bullfinch, 1999).

In 1999, Govinda Gallery hosted Seliger’s exhibition, Physiognomy, which also celebrated the publication of his book Physiognomy: The Mark Seliger Photographs.  Govinda Gallery exhibited Seliger’s photographs again in 2005 following the publication of In My Stairwell.  Seliger’s photographs were featured in the Sound & Vision: Monumental Rock and Roll Photography traveling museum exhibition co-organized by Govinda Gallery with The Columbus Museum. Mark Seliger’s photographs are available through Govinda Gallery.

Exhibit Photo Gallery. Click on an image to launch slideshow.

In My Stairwell by Mark Seliger (Rizzoli, 2005).

Baron Wolman

janis joplin baron wolman govindaJanice Joplin Copyright © Baron Wolman. All Rights Reserved.

Baron Wolman was Rolling Stone magazine’s first chief photographer. From 1967 to 1970, his photographs appeared in virtually every issue of the magazine. Rolling Stone founder and editor Jann Wenner has said that Wolman “helped set Rolling Stones’ visual style and pave the way for those who followed him.”

Based in San Francisco, Wolman had an insider’s view of the cultural revolution going on during the 1960s. His friendship with rock impresario Bill Graham gave Wolman backstage access to performers such as Jimi Hendrix, Janis Joplin, B.B. King, Jim Morrison, Sly Stone, Tina Turner, Neil Young, Donovan, James Brown, Bob Dylan, Mick Jagger and many others. His images constitute one of the definitive archives of the ‘60s music scene.

In June 1994, Govinda first showed Baron’s photographs in its Woodstock exhibition, which also included photos by Henry Diltz, Lisa Law, Elliot Landy, and Joseph Sia. His first solo exhibition of photographs, Baron Wolman: My Generation, was held at Govinda Gallery in June 1996. Wolman’s photographs have appeared in publications and books throughout the world. A collection of his photos was published in Classic Rock and Other Roller (Square Books, 1992). His photographs of the Rolling Stones are featured in Rolling Stones 50×20. Baron Wolman was also one of the featured photographers in the now-historic touring exhibition, Sound & Vision: Monumental Rock and Roll Photography, organized by Govinda Gallery in conjunction with the Columbus Museum.

Select an image to view slideshow. All images Copyright © Baron Wolman. All Rights Reserved.

Small Woodstock Book Cover #2Baron Wolman’s documentation of the Woodstock Music & Arts Festival is presented in Woodstock (Reel Art Press, 2014) with accompanying text featuring an interview with Wolman and Woodstock creator, Michael Lang, and a foreword by musician Carlos Santana.

Wolman captured the experience and atmosphere of Woodstock like no other photographer. More interested in the crowd than the performers, his photographs are hugely evocative and offer an insight into this legendary event that is rarely seen.

“Woodstock showed the world how things could have been, and for this reason it’s important that we never forget this experience, this place, this time, this dream that came true, if only for three days…”  -Baron Wolman

Woodstock

David Burnett

1233181211BUR7603-BMarley44 Copyright © David Burnett. All Rights Reserved.

In 1976, while on assignment in Jamaica for Time magazine, David Burnett photographed Bob Marley for the first time, and Burnett became so entranced by Marley’s charisma that he continued to document the reggae king throughout his groundbreaking European “Exodus” tour. Burnett’s vision, coupled with Marley’s larger-than-life charisma, resulted in an amazing collection of images, only a handful of which appeared in the Time article. The other photos — more than 200 in all — appear for the
book1first time in his book Soul Rebel. This stunning visual biography offers a rare look at Marley’s personal life in Jamaica, as well as the exodus from his home country that culminated in his tragic death in 1981. Though it focused on Marley, Burnett’s work also canvassed a wide array of up-and-coming reggae talents, providing striking early looks at Peter Tosh, Lee Scratch Perry, Burning Spear, and Ras Michael. Compelling and incomparably candid, the photographs in Soul Rebel are a remarkable testament to the legacy of a legend.

David Burnett launched his photographic career as an intern at Time magazine in 1967. From 1970 to 1972, he covered the Vietnam War as a staff photographer for Life magazine. In 1975, he co-founded Contact Press Images in New York. Traveling to more than 75 countries, Burnett has produced photographic essays for Time, Life, Fortune, The New Yorker, The New York Times Sunday Magazine, and many others. His awards include “Magazine Photographer of the year” from the Pictures of the Year Competition, the “World Press Photo of the Year,” and the Robert Capa Award from the Overseas Press Club, to name but a few.

Photographs by David Burnett. Click an image to launch slideshow

Govinda Gallery held the first exhibition of Burnett’s photographs of Marley in March 2009 to celebrate the publication of Soul Rebel: Intimate Portraits of Bob Marley (Insight Editions, 2009). Govinda Gallery’s Chris Murray edited and wrote the introduction to Soul Rebel. David Burnett’s limited edition prints of Bob Marley are available through Govinda Gallery.

govinda gallery bob marley high times david burnett Copyright © David Burnett. All Rights Reserved.

Mick Rock

David Bowie, London, 1973. Copyright © Mick Rock. All Rights Reserved.

British photographer Mick Rock is “The Man Who Shot the ‘70s,” the inimitable rock photographer who launched his career with an unknown David Bowie in 1972. From the first photo shoot, he developed a two-year relationship as Bowie’s official photographer. During this time Rock documented the rise and fall of Ziggy Stardust, and shot promotional films, album jackets, posters, artwork, videos such as Life on Mars and Space Oddity and thousands of photographs. Rock’s career continued to soar with key ‘70s images such as Lou Reed’s Transformer, Iggy Pop’s Raw Power and Queen’s Queen II and many of the Sex Pistols’ infamous shots. In 1977, he moved permanently to New York, where he quickly became involved with the underground music scene pioneered by the Ramones, Talking Heads and Blondie. His photographs captured the revolutionary spirit of this groundbreaking period and made him one of the most sought-after photographers in the world. Recently, Rock has worked with stars such as Kate Moss, Michael Stipe, Johnny Marr, the Yeah Yeah Yeahs, Foo Fighters, the Strokes, Paul Weller, the Raconteurs and Primal Scream.

Rock’s retrospective exhibition at Tokyo’s Metropolitan Museum of Photography in 2003 was hailed as “one of the most exciting exhibitions of pop culture imagery to ever reach these shores.” The 2005 Rock and Roll Icons show at Urbis in Manchester, England, was voted best gallery exhibition by the BBC.

Photographs by Mick Rock. Click on an image to launch slideshow.

Several books of Rock’s photographs have been published, including Blood and Glitter-Glam: An Eyewitness Account, by Mick Rock and David Bowie (Omnibus Press, 2001); Raw Power: Iggy and The Stooges, by Mick Rock and Iggy Pop (Omnibus Press, 2005); Picture This: Debbie Harry and Blondie, by Mick Rock and Debbie Harry (Sanctuary Publishing, 2004).

Govinda Gallery hosted Mick Rock’s first exhibition, Mick Rock: A Photographic Record, in April 1999 as well as a second exhibition in 2002 titled Moonage Daydream: The Life and Times of Ziggy Stardust which was a launch for the Genesis Publications limited edition book of the same title.  Govinda organized a one-person exhibition for Mick Rock at the Matthew Street Gallery in Liverpool in 2004. Mick was one of the featured artists in the traveling museum exhibition Sound and Vision: Monumental Rock & Roll Photography, curated by Christopher Murray and organized by Govinda Gallery and the Columbus Museum in Georgia. His classic image at the top of this page was the emblematic image of that exhibition at the Columbus Museum on its banners, posters, and invitations. His photographs are available through Govinda Gallery.

Bono & Gaga, 2009. Copyright © Mick Rock. All Rights Reserved.

Mick Rock, 2012. © New York Times

Daniel Kramer

Bringing It All Back Home, 1965. Copyright © Daniel Kramer. All Rights Reserved.

Daniel Kramer, a New York-based photographer and film director, has long been recognized for his portraits and picture stories in national and international magazines.

His 1967 Citadel Press book Bob Dylan was the first major work about the performer/songwriter, who was about to change the world of music and go on to become an American cultural icon. During that period, Kramer had the rare opportunity to photograph Bob Dylan at work, at home, recording and performing at this pivotal time in Dylan’s career.

Kramer’s extraordinary photographs of Bob Dylan are known throughout the world and have been used on the album covers for Dylan’s Highway 61 Revisited, Biograph, The Bob Dylan Song Book and Bringing It All Back Home, which earned a Grammy nomination and was selected by Rolling Stone as one of the 100 Greatest Album Covers of All Time.

Daniel Kramer’s first exhibition of his photographs, Daniel Kramer: Photographs of Bob Dylan, was at Govinda Gallery in the spring of 1999. Kramer’s work has been exhibited and collected by such museums as the George Eastman House, the National Portrait Gallery, the Rock & Roll Hall of Fame and Museum, the Whitney Museum of American Art, the Experience Music Project and The International Center of Photography, where he has conducted photography workshops. Among his awards for his photography of Bob Dylan are a Gold Medal from the Art Director’s Club of Washington, D.C. and a recent nomination by the Music Journalism Awards.

Daniel Kramer’s photographs are available through Govinda Gallery.

Exhibit Photo Gallery. Click on an image to launch slideshow.

American Photo Magazine May/June 2001
Dylans’s Crucial Year
By Jack Crager

Soon after photographer Daniel Kramer shot his first portrait of bob Dylan in 1964, he showed them to the editor of Pageant, a general-reader-ship magazine with a large national audience.

“The editor said, ‘I don’t need another scruffy kid with a guitar,’” Kramer recalls. “But two weeks later, he called me and said, ‘Do you still have those pictures of that guitar player?’ Let’s look at them again. I have a 15-year-old daughter, and she said if I don’t publish them I’m crazy.’”

The magazine ran nine pages on Dylan, who at the time was a folk-music hero but not a household name. That would soon change. Kramer documented Dylan’s life from August 1964 to August 1965, a time when the singer went from folkie to rocker, solo artist to bandleader, protest songwriter to surrealist visionary, and cult figure to international icon. Kramer’s camera captured one of the pivotal transformations in rock-and-roll history.

As Dylan and friends celebrate his 60th birthday this May, Kramer’s early portraits of the artist have sparked renewed interest. Kramer’s monograph Bob Dylan: A Portrait of the Artist’s Early Years (Plexus) has been reissued in an expanded collector’s edition this spring, and the pictures are being treated as serious art by museums, galleries, and collectors. “As baby boomers embrace their legacy, collectors are seizing the opportunity to get this material—which, even though it’s classic, is also fresh,” says Chris Murray, owner of Govinda Gallery in Washington, D.C., which helped revive Kramer’s Dylan images with a 1999 exhibition. “There are other great photos of Bob Dylan, of course, but Dan Kramer’s pictures—at a certain place and time, and in the depth that he did it—are unparalleled.”

Kramer’s Dylan images have been shown at the Rock and Roll Hall of Fame and Museum in Cleveland, the Torch Gallery in Amsterdam, and the Fahey Klein Gallery in Los Angeles. They are part of the exhibition, Artist to Icon at Seattle’s Experience Music Project, the Frank Gehry-design museum backed by Microsoft founder Paul Allen. (The show, on view through May 1, also includes Alfred Wertheimer’s photos of the young Elvis Presley and early Beatles portraits by Astrid Kirchherr and Jurgen Vollmer.) The Dylan work is also on display through June 15 at the House of Photographic Art in San Juan Capistrano, California, and plans are in the works for a New York exhibition later in 2001. Kramer’s treasures are a secret no longer. “Dan has this great, classic body of work,” Murray says, “and it’s just starting to get out there.”

When Kramer met Dylan, he was a young photographer from Brooklyn trying to launch a freelance career. He was, he says, on the lookout for “interesting material,” and the thin folk singer he’d seen performing on television seemed to e just that. After a year of trying to arrange a photo session, Kramer finally got his chance when Dylan was on break at the Woodstock, New York, home of his manager, Albert Grossman. Kramer says it took a while for Dylan to let down his guard. “Woodstock was like the testing day for him and me. He gave me a hard time. It was like a courtship. I guess I passed the test.”

Kramer drew upon the experience he had gained as an assistant to famed portraitist Philippe Halsman and to photographers Allan and Diane Arbus. His candid portraits from that first session were promising enough to earn Dylan’s confidence, and the singer invited Kramer to photograph him in concert appearances.

The two had developed a rapport by the time Dylan played a gig at New York City’s posh Lincoln Center on October 31, 1964. By house rules, Kramer was relegated to a glass-enclosed balcony view of the concert. Backstage before curtain time, Dylan asked Kramer how things were going, and the photographer complained about his view, saying he wished he could move around the hall for better angles. “So Bob said to his manager, ‘You tell tem here that if he can’t do whatever he wants to do, I’m not going on,’” Kramer recalls. “The house is full, everyone waiting for the curtain. So the manager came and said, ‘Okay, no problem,’ and got some sort of badge and stuck it on me so I could get around the hall.”

Kramer built a portfolio of Dylan images and soon found them in demand by publications around the world, including The Saturday Evening Post, Look, New York, the New York Herald-Tribune, Paris Match, Stern, and Der Spiegal. “Suddenly Dylan was exploding,” Kramer says.

In more ways than one. Dylan was writing profusely, and just as he began to expand his folk audience and lay claim as heir apparent to Woody Guthrie, he went electric and brought rock musicians for his sessions recording Bringing It All Back Home in January 1965. For Dylan’s dedicated folk fans, it would come to be seen as a great betrayal. But Kramer, who saw it happen up close, has a different memory. “Bob didn’t really want to be Woody Guthrie,” he says. “He wanted to be Elvis Presley.” Kramer shot the sessions and was struck by the chemistry in the studio. But he says he wasn’t aware then of the impact of Dylan’s shift, or even of his growing influence. “You don’t know someone’s changing the world until the world’s been changed,” Kramer says.

Looking back, Kramer says there were clues that Dylan was up to momentous things: “I know something was taking place when I went up in an elevator with Dylan, his manager, and John Hammond said to Dylan, ‘If you want to record something, even if it’s three o’clock in the morning, you call me and I’ll open Colombia Records at 3 a.m. just because this guy suddenly woke up and wanted to recorded something, then this must be a very powerful force here.”

Kramer art-directed and shot the famous cover photo for Bringing It All Back Home, in which Dylan sits among cultural artifacts with a kitten on his lap and his manager’s wife, Sally Grossman, behind him in a red dress. To get the distinctive swirl around the edge of the picture, Kramer shot the portrait, masked out a circle in the center, then double exposed the frame and rotated the camera back. The resulting image reflected Dylan’s changing persona as well as the psychedelic ‘60s zeitgeist. Kramer also shot the cover photo for Dylan’s follow-up album, Highway 61 Revisited, in which the photographer’s classic Nikon SP rangefinder camera dangles from the hand of rad manager Bob Neuwirth behind Dylan’s steely gaze. And Kramer’s 1965 studio portrait of Dylan appears on the cover of the Biograph retrospective box set.

In the summer of 1965, Dylan unleashed his electric sound on tour, doing the first half of each show acoustically and the second half with a band, often drawing boos from part of the crowd. At this time Kramer was also busy doing other commercial and editorial photography. But at the suggestion of master documentary photographer W. Eugene Smith—who had taken a nurturing interest in the Dylan work—Kramer decided to shoot one of Dylan’s electric concerts at Forest Hills Stadium in Queens, New York.

“Gene Smith said that he felt the story needed another step,” Kramer says. “He said he’s like to see certain wide-angle compositions that I didn’t have. I told him I didn’t have a wide-angle lens because I couldn’t afford one.’ So he gave me his camera with a 28mm lens on it, saying, “Okay, now you have one.’ So I shot Forest Hills—and the story became complete. I was able to get that electric moment, to show Dylan’s transformation.

At Forest Hills, Kramer could tell that for this artist, there was no looking back. “Up until then, Bob would go to concerts with his guitar case, another guitar case, a bag with some harmonicas and junk, and a rubber bath mat that you stand on so you don’t have static on stage. That’s it—now you go to work,” Kramer recalls. “But suddenly it was going to take an 18-wheeler. Now he had to fill a stadium with monstrous speakers and cables and lights; this was a new era, the rock concert.” Dylan was stoically ready for any booing. “Because he had experience with some dissention, he told the guys in the band to be prepared: ‘No matter what happens, you just do your thing. Forget about it.’ It was like the coach was telling them.”

After Forest Hills, Kramer found himself with enough material for his Dylan book, first published in 1967 by Citadel Press and then by Plexus in England. “It’s a classic book with amazing photos,” says publisher Sandra Wake of Plexus. “It’s always been a steady seller in England.” Recently the rights came free in America; with the reissue this spring, Plexus will print it and it will be distributed by Publishers Group West in San Fransisco.

Kramer says he remained friendly with Dylan through the years, but has photographed him inly occasionally. “I didn’t want people to think that’s all I did,” he says. He has photographed extended portrait projects on subjects ranging from author Norman Mailer to blues legend Janis Joplin to author Mario Puzo. In association with his wife, Arline Cunningham, Kramer directs films and does commercial editorial work, he says, “with an emphasis on portraiture.”

Kramer’s last major session with Dylan was exactly one year and one day from his first session with him. “It started August 27, 1964, and ended August 28, a year later,” Kramer says. “I mean, I photographed Bob after that—but this is the time capsule. One year.” One extraordinary year.

Biograph, 1965. Copyright © Daniel Kramer. All Rights Reserved.

Greg Gorman

DivineDivine Copyright © Greg Gorman. All Rights Reserved.

Born in Kansas, Greg Gorman is a renowned Hollywood photographer who is in the enviable position of having photographed such stage, film, and music personalities as Sophia Loren, Al Pacino, and Michael Jackson.

Although he studied photojournalism in college, it was circumstance rather than clear direction that took Gorman into photography as a profession. It all began with a series of images taken at rock concerts in the late ‘60s. Afterwards, he “made the rounds” in Los Angeles until he got noticed.

Gorman’s fine art aesthetic is evidenced in his spectacular portraits in his published work Greg Gorman, Volume One. It features stark black-and-white personality portraits in addition to his more personal work with male and female nudes. Inside Life, a retrospective of Gorman’s work from 1968 to 1996, was released by Rizzoli International Publishers in 1996.

Govinda Gallery has had the pleasure of exhibiting Greg Gorman’s photography in 1990 in conjunction of the publication of Greg Gorman, Volume One, and in 1997 celebrating the publication of Inside Life. Gorman was also a featured artist in the exhibition “Sound and Vision: Monumental Rock and Roll Photography” organized by Govinda Gallery which toured several museums in the United States. Gorman has exhibited his work internationally and has conducted many important photography workshops. He has lectured at the Smithsonian Institution as part of its 1997 “Master of Photography Series.”

Greg Gorman’s work is available through Govinda Gallery.

Click on image to view slideshow. All images © Greg Gorman. All Rights Reserved.

Richard Evans Schultes

Kamsa Youth with the Blossom of Culebra Borrachera, Sibundoy, June, 1953. Copyright © Richard Evans Schultes. All Rights Reserved.

Richard Evans Schultes (1915-2001) was probably the greatest explorer of the Amazon, and regarded among anthropologists and seekers alike as the “father of ethnobotany.” Taking what was meant to be a short leave from Harvard in 1941, he surveyed the Amazon basin almost continuously for twelve years, during which time he lived among two dozen different Indian tribes, mapped rivers, secretly sought sources of rubber for the US government during WWII, and collected and classified 30,000 botanical specimens, including 2,000 new medicinal plants. Schultes chronicled his stay there in hundreds of remarkable photographs of the tribes and the land, evocative of the great documentary photographers such as Edward Sheriff Curtis.

Richard Evans Schultes photographs are available in limited edition estate-stamped prints through Govinda Gallery.

Exhibit Photo Gallery. Click on an image to launch slideshow.

A fully illustrated catalogue, The Lost Amazon: The Photographic Journey of Richard Evans Schultes (Chronicle Books, 2005) is available through Govinda Gallery.

The Lost Amazon: The Photographic Journey of Richard Evans Scultes by Wade Davis, Foreword by Andrew Weil, M.D., Afterword by Chris Murray (Chronicle Books, 2005).

Schultes and four Makuna boys taking shelter from a rainstorm in the cracks of a cliff in the falls at Yayacopi, Rio Apaporis. On the back of this photograph Schultes wrote “Rock of ages cleft for me.” February, 1952. Copyright © Richard Evans Schultes. All Rights Reserved.

Press & Media »

  • NPR – June 18th, 2008

Henry Grossman

John Lennon and Paul McCartney, Abbey Road Studios February 28, 1967. Copyright © Henry Grossman. All Rights Reserved.

Henry Grossman started working as a freelance photographer in the early 1960’s, covering stories for Newsweek, Time, Life, Paris Match, and other publications.

In 2008 Govinda Gallery presented Grossman’s first exhibition of photographs featuring a selection of his images of the Beatles in 1967 composing, arranging, and recording “Lucy in the Sky with Diamonds” at Abbey Road Studios in London. That exhibition also celebrated the publication of Grossman’s limited edition book Kaleidoscope Eyes: A Day in the Life of Sgt. Pepper (Curvebender Publishing, 2008), edited by Kevin Ryan and Brain Kehew.

The Washington Post published a photograph of Grossman’s and an interview by Paul Richard on November 16th, 2008 during Grossman’s exhibition at Govinda Gallery. In it John Lennon is quoted as saying of Grossman; “He travels the world with us. He’s our friend.”

Grossman’s photographs are a ‘who’s who’ of our times and include subjects such as Elizabeth Taylor, Richard Burton, John F. Kennedy, Thelonious Monk, Rudolph Nureyev, Luciano Pavarotti, Andy Warhol, Tennessee Williams, Leonard Burnstein, Barbara Streisand, and many others.

Grossman is also an accomplished actor and singer.

Henry Grossman’s photographs are available through Govinda Gallery.

Exhibit Photo Gallery. Click on an image to launch slideshow.

George Harrison, Ringo Starr, John Lennon, Abbey Road Studios February 28, 1967. Copyright © Henry Grossman. All Rights Reserved.

Frank Stefanko

Bruce Springsteen, Corvette Winter, 1978. Copyright ©Frank Stefanko. All Rights Reserved.

Govinda Gallery hosted Frank Stefanko’s first exhibition of his photographs of Bruce Springsteen, in September 2003. When Frank first showed his photographs of Springsteen a year earlier to gallery director Chris Murray, Murray instantly recognized them as classic images of Springsteen, at a crucial time in his musical career.

Stefanko’s exhibition at Govinda was also a launch for his book Days of Hope and Dreams: An Intimate Portrait of Bruce Springsteen (Insight Editions, 2003). Springsteen contributed an introduction to the book and in it he wrote; “Frank always shot your internal life… His photos had a purity and poetry… He showed me the people I was writing about in my songs. He showed me the part of me that was still one of them.” Chris Murray edited Days of Hope and Dreams and in the foreword he writes: “Springsteen’s music has entered the American vernacular. Frank Stefanko’s photographs, like Bruce Springsteen’s songs, won’t fade away.”

Since the time of Stefanko’s first exhibition at Govinda in 2003 he has gone on to exhibit his work in museums and galleries internationally.

Exhibit Photo Gallery. Click on an image to launch slideshow.

Patti Smith, The Portal, 1974. Copyright ©Frank Stefanko. All Rights Reserved.

Govinda Gallery also presented Frank Stefanko’s first exhibition of his remarkable photographs of Patti Smith, in September 2006. Frank and Patti have been friends since 1965 when they were in college together in New Jersey. Stefanko’s photographs of Patti Smith are a compelling and essential document of the poet, musician, and artist. That exhibition also celebrated the publication of Patti Smith: American Artist (Insight Editions, 2006). Lenny Kaye contributed an introduction to the book and in it he writes: “Frank was there to record that first flash of solar flare, when we plugged into poetry’s kilowatts.” Govinda’s Chris Murray edited Patti Smith: American Artist and wrote the afterword.

Frank Stefanko’s photographs are available through Govinda Gallery.

Days of Hope and Dreams: An Intimate Portrait of Bruce Springsteen (Insight Editions, 2003), and Patti Smith: American Artist (Insight Editions, 2006) by Frank Stefanko.

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