Paul Gorman is…

Studio Prints: At A Printmaker’s Workshop in Kentish Town 1970

Jul 14th, 2015
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//Dorothea Wight picking up groceries in Queens Crescent Market…//

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//…before heading into Studio Prints//

The 1970 BBC documentary At A Printmaker’s Workshop focuses on Dorothea Wight’s fabled Studio Prints in Queens Crescent, Kentish Town.

It is also a marvellous snapshot of London on the cusp of change as inner city areas became invigorated by the arrival of interesting new businesses (with none of today’s dread “regeneration” and its companion property-speak of “creative quartiers” and such).

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Long-awaited monograph Derek Boshier: Rethink/Re-entry to be published by Thames & Hudson in October

Jun 19th, 2015
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//From Thames & Hudson’s July-December 2015 catalogue//

“As an artist Derek Boshier has never lost his sense of wonder at the world” – David Hockney

The publication date of Derek Boshier: Rethink/Re-entry – the monograph of the great British artist I have edited – is confirmed as October 5.

Published by Thames & Hudson with a preface by David Hockney, Rethink/Re-entry contains 300-plus illustrations, from student exercises in the mid-50s to current works including the cover, a new portrait of Hockney and chapter openers especially designed by Boshier for the project.

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I’m featured in the Almost Famous slot on Rock’s Back Pages

May 1st, 2015

Barney Bubbles’ early 70s drum-head for Quiver

Apr 27th, 2015
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//Bubbles’ drum-head for Willie Wilson of Quiver is the centrepiece of this arrangement by artist/designer Steven Thomas of pieces from John Pidgeon’s Poole pottery collection. Photo: John Pidgeon//

This drum-head design by Barney Bubbles for Willie Wilson, sticksman of early 70s folk-rockers Quiver, makes a fine addition to the group of artworks produced in this medium by the late graphics maestro.

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‘Ultimate internationalist, cultural provocateur…’ Constable to publish my book Malcolm McLaren: The Biography

Mar 24th, 2015

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The Bookseller has announced that British imprint Constable is to publish my book Malcolm McLaren: The Biography.

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A Strong Sweet Smell Of Incense: Derek Boshier at the Robert Fraser show

Feb 16th, 2015
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//Sam Spade, Derek Boshier, 1966, on the back wall of this recreation of the office at Robert Fraser Gallery, Duke Street, London W1//

Derek Boshier’s 1966 work Sam Spade is given prominence in A Strong Sweet Smell Of Incense, the exhibition dedicated to the connoisseurship of the late art dealer Robert Fraser.

Boshier was a client until he foreswore painting for a decade or more in 1968. This was a particularly difficult period for Fraser, who was jailed over the infamous Redlands drug bust at Rolling Stone Keith Richards’ house the previous year.

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//From Pace’s exhibition guide. The work in the background looks to be another of Boshier’s from the Sam Spade period//

Boshier has recounted how he became so frustrated over Fraser’s unwillingness to pass on payments in the 60s that he and his friend, the poet Christopher Logue, once broke into the Duke Street gallery and retrieved works Fraser had refused to release in lieu.

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Joe Stevens’ best photograph: Tousled Bowie at a moment of transformation

Jan 29th, 2015
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//Just over CSM’s shoulder: David Bowie and a railway guard, Paris, May 3, 1973. Photo (c) Joe Stevens//

“In those minutes, you could see he really was about to become a major pop star.”

In The Guardian today, photographer pal and hero Joe Stevens has picked a favourite image from his six-decade career: a slightly tousled David Bowie and a French railway guard at a Paris station.

According to my copy of Kevin Cann’s definitive Bowie diary Any Day Now this would have been May 3, 1973; Bowie had travelled by train from Japan, on the Trans-Siberian Express through Russia, Poland and Germany in the company of the late NYC legend Leee Black Childers and Bowie’s friend and backing vocalist Geoff MacCormack.

Stevens’ captured Bowie at a moment of transformation; alighting blearily in dress-down mode from the train, the rock star was met by wife Angie and a gaggle of glamorous friends. In a matter of minutes he had changed into the Freddie Buretti-designed outfit seen here and was swept away to a reception and press conference in the Rouge Room of the George V Hotel.

Just in shot – and identifiable by his frizz and shoulder bag strap – is Joe’s NME compadre (and another pal and hero) Charlie Murray.

Read Joe’s reminiscence here.

I am proud to say I edited Kevin Cann’s book Any Day Now: David Bowie The London Years 1947-74. It is a thoroughgoing delight and highly recommended – if you don’t already own it, purchase a copy here.

Charles Shaar Murray wrote a wonderful preface to my music press history In Their Own Write (which he ended with the following note to me: “You bastard. You’ll be hunted down and strangled like a dog for this.”)

Copies of In Their Own Write are available here.

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The Family Acid: New book of the photography of a psychedelic pioneer, reggae archivist, actor and anthologist

Nov 17th, 2014

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One of my favourite Instagram feeds is The Family Acid, run by Kate Steffens, daughter of reggae archivist, actor, anthologist, psychedelic pioneer and photographer Roger Steffens.

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Plagiarism row over Vivienne Westwood book goes international

Nov 17th, 2014
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//Sydney Morning Herald, November 9, 2014//

My legal claim against Vivienne Westwood, her co-author Ian Kelly and publisher Picador over plagiarism of my work in the recently published memoir of the British fashion designer has been featured across the Australian media.

I was interviewed in Melbourne by Jason Steger, literary editor of The Age, whose article about substantial plagiarism from my book The Look as well as a multitude of factual errors, potential libels and serial failure to correctly credit photographers was picked up by the Sydney Morning Herald and Australia’s book industry magazine Books + Publishing.

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What We Wore: An intelligent and egalitarian celebration of our collective visual invention

Oct 30th, 2014
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//Left: Among the contributors Ian Johns, Mark Wigan, Nendie Pinto-Duschinsky and Andrew Gallix. Right: Fred Butler 1995-2001 and Tracey Emin in 1995//

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//Winston Milton and friends, Hackney 1993-8//

Into the over-worked field of ‘street style’ comes a breath of fresh air: What We Wore – A People’s History Of British Style.

Free of cliche and pretension,¬†Nina Manandhar and Eva Dawoud’s book compiles the personal images and anecdotes of a hugely diverse set of contributors.

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//Left: Caroline Milne, Ghetto, London, 1999; DJ Dazee and DJ Rap, Bristol, 1997. Right: Nancy Thornber, Essential Festival, London, 2001//

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//Juliette Hedoin and friends clubbing in London and Ayia Napa 1995-2002//

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//Gavin Watson and friends on the skinhead scene, 1982-5//

The book is not dominated by well-known people and the usual suspects who patronise this narrative (though I snuck in there) and so is true to the subtitle; What We Wore celebrates in a thoroughly egalitarian manner “the presentation of self” – Erving Goffman’s phrase as cited by Ted Polhemus in his excellent foreword.

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//Don Letts with friends, London, 1971 (right) and 1973//

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//Russel Coulthart and friends at Rockley Sands, Dorset, 1988//

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//Left: Diane El Dabi, London, 1979. Right: Cassie Clarke, London, 2002//

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//Left: Mimi Joshua-Olushoga, London, 1971. Right: John O’Connor, Leeds, 1982 and Teo Connor, London, 1994//

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//Left: Michael Dipple and friend, London 1980. Right: Jock Scot and Anna Chancellor, London, 1986//

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//Me, London 1973, Ibiza, 1986, Portugal, 1982//

What We Wore is a fitting testament to our collective visual invention. I recommend it highly.

Buy What We Wore here.

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