Fine Arts


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On Jan. 13, 1973, Derek Ridgers remembers pushing his way through the crowd at Eric Clapton’s Rainbow Concert, climbing over the fence and joining the press to photograph the rock legend. At the time, Ridgers worked in advertising and was surprised how easy it was to fake being a press photographer. He quickly realized a camera could help him approach his heroes and idols; he has been photographing famous bands and musicians ever since.

Ridgers, however, didn’t focus his camera solely on the stage. In 1976, he turned his attention toward another group of people: a loud and energetic crowd of punks. “What could be more photogenic then punks in clubs?” he asked. His new book, 78-87 London Youthfull of portraits of painted faces, colored hair, tattoos, and eccentric clothing, proves his point.

From 1978 to 1987, Ridgers would go out up to three times a week to Billy’s, Blitz, Taboo, Electric Ballroom, or other iconic clubs based in East or North London. Often, he hitchhiked back to his home in West London, returning in the early morning, just hours before having to start his day job. Although the photographs make him seem as though he was in the heart of the punk scene, Ridgers hardly drank, didn’t touch drugs, and was alone observing from the sidelines. He stood quietly in the shadows of the clubs with a notebook and camera, sometimes waiting hours before taking a shot. He only wanted to photograph people he was drawn to and would make sure to position him self strategically next to an interesting backdrop or hallway.

Derek Ridgers official site

Buy ‘LONDON YOUTH 78 – 87’ on



Over the weekend at Jonathan LeVine Gallery in Chelsea, New York, the Brooklyn-based artist Dan Witz opened his solo exhibition ”NY Hardcore,” a mosh pit series intricately depicted in a hyper-realistic, trompe l’oeil technique with oil and digital media. The displayed works are all so purposely consistent — not just in medium, but through the unbound emotions splattered across Witz’s many colliding punk youths. One piece bleeds into another, allowing the viewer to escape into New York City’s adrenaline-spiked past.

Unlike typical depictions of the moments of yesteryear, Witz detracts any type of glamorization, and strips the revisit bare, leaving only the dizzying movements of entropy, the addictive intensity that once vibrated off of complete strangers’ hair and sweat. The artist carves each character uniquely within the masses, and as realistic as physical imperfection goes: the dancing figures grimace mid-scream, exposing tooth decay and cavities. Furrowed cheeks slug damp shoulders while arms grab onto whatever their hands can reach. Fat dawdles to one side of inked bones as full bodies bend, caught in that graceless lull before propelling through space.

Within the larger series, Witz’s Byronesque studies pair the souls of the hardcore scene and the Romantic poet together, revealing the painted characters as all byronic heroes — arrogant, passionate, self-destructive, but most of all, die-hard fans of action.




Camille Rose Garcia, painter of absinthe dreams, surreal fairy tales, and enchanting trips down the rabbit hole, has a show of new work opening today, April 3, at Seattle’s Roq La Rue Gallery. Garcia’s influences range from dark children’s books to the cut-ups of William Burroughs and Brion Gysin to the deepest crevices of Disney. Her new exhibition, titled “La Danse Macabre,” will hang at the Roq until April 26th along with work by Canadian painter Peter Ferguson’s black comedy narrative paintings. Camille paints the phantasmagoric dreamscapes that I yearn to visit while I’m asleep, and awake. Immerse yourselves in her art below. For more of Camille’s work, I highly recommend her stunning illustrated versions of Snow White and Alice’s Adventures in Wonderland.

Camille Rose Gracia official site

Official store on Bigcartel

Camille on Facebook


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