While still in high school he purchased his first camera and began documenting musicians and artists in San Francisco. After serving several years in the Air Force, he returned and moved to New York. He famously photographed Jimi Hendrix setting his guitar on fire at the Monterey Pop Festival, and Johnny Cashat San Quentin.
Known to have at least 1 Leica camera with him at all times, One famous story of a CEO that offered to buy the camera that he used to shoot Jimi Hendrix at Woodstock for 25,000 dollars (in 1973) And a classic response to the offer of "Get the Hell out of here". Marshall was well known in the industry for his portraits of musicians. He was a friend of John Mayer.
KEITH RICHARDS @ RECORDING STUDIO RECORDING 'EXILE ON MAIN STREET' - 1972
'Debbie and Iggy have pure attitude' … Bob Gruen's best shot. Photograph: Bob Gruen
I took this in Toronto in 1977. I'd known Debbie Harry for a couple of years. I remember the first time I got a call telling me to go and take pictures of a band called Blondie because the singer was an unbelievably beautiful girl and they were going to be big. Blondie were opening for Iggy Pop on their first major national tour.
When they were getting ready before the first show, Iggy Pop came in to say hello. I saw Iggy and Debbie talking, so I asked: "Can I get a picture of you two together?" We stepped into a bathroom by the dressing room. Instead of just standing there, he put his arm round her, feeling her up; she started licking his chest. A great music picture is all about attitude – and Debbie and Iggy have pure attitude. They just look cool.
I was using a built-in flash for the first time. It had just been invented. Before, you had to calculate the power of the flash . . . it was difficult to get a properly exposed colour picture.
Those scars you see on Iggy's chest were because he had a tendency to throw himself into his work. He'd literally throw himself into an amplifier or into the audience. I was totally taken with Debbie; I still am today. In my mind, she's the Marilyn Monroe of that generation. Someone has to be the most beautiful girl, and she's the one.
Joan Jett - Sunset Marquis, Los Angeles CA 1978
Joe Perry and Steven Tyler - New York, 1976
Debbie Harry On Tour Bus, ENGLAND 1980
David Johansen, Joey, Dee Dee and Tommy Ramone playing Pinball @ CBGB's, 1972
The Clash in the Dressing Room about to go on stage, London 1979
Stiv Bators and Friends and CBGB's, 1978
The Heartbreakers outside Johnny Thunders' apartment, New York, 1975
David Johansen at Max's Kansas City, the other club in New York for musicians to hang out, 1980
Johnny Thunders and David Johansen, LA, 1973
New York Dolls getting ready to go onstage in a Santa Monica Bathroom, 1974
Iggy Pop and Debbie Harry backstage, Torronto, Canada, 1977
Ramones on NYC Subway, 1975
Ramones Outside CBGB's, 1975
Mick Jagger and Andy Warhol, 'Love You Live' Party, Trax, NYC 1977
Keith Richards, Tina Turner & David Bowie, Ritz NYC 1983
Sid Vicious, New York Diner, 1978
David Johansen and David Bowie, Max's Kansas City, NY 1974
Born in Waterbury, Connecticut, Leibovitz is the third of six children. She is a third-generation American whose great-grandparents were Jewish immigrants, from Central and Eastern Europe. Her father's parents had emigrated from Romania.Her mother, Marilyn Leibovitz, was a modern dance instructor of EstonianJewish heritage; her father, Sam Leibovitz, was a lieutenant colonel in the U.S. Air Force. The family moved frequently with her father's duty assignments, and she took her first pictures when he was stationed in the Philippines during the Vietnam War.
In high school, she became interested in various artistic endeavours, and began to write and play music. She attended the San Francisco Art Institute, where she studied painting. There she learnt all her skills from her teacher Sasha Michelle, who Annie says she owes a lot of her career to. For several years, she continued to develop her photography skills while working various jobs, including a stint on a kibbutz in Amir, Israel, for several months in 1969.
When Leibovitz returned to the United States in 1970, she started her career as staff photographer, working for the just launched Rolling Stone magazine. In 1973, publisher Jann Wenner named Leibovitz chief photographer of Rolling Stone, a job she would hold for 10 years. Leibovitz worked for the magazine until 1983, and her intimate photographs of celebrities helped define the Rolling Stone look. While working for Rolling Stone, Leibovitz became more aware of the other magazines. Richard Avedon's portraits were an important and powerful example in her life. She learned that you can work for magazines and still do your own personal work, which for her was the most important thing. It is much more intimate and tells a story for her as she works with people who love her and who will "Open their hearts and souls and lives to you."
Photographers such as Robert Frank and Henri Cartier-Bresson influenced her during her time at the San Francisco Art Institute. "Their style of personal reportage - taken in a graphic way - was what we were taught to emulate."
'the White Cube is not a literal translation for a white-painted space, but that associated with the institution, the prestigious contemporary art venue, or the National Gallery, which, though the walls are in fact crimson red, is of the same character'
'The clean, pure lines and aerial lighting of the gallery place great emphasis on each individual works' aesthetic values and draw comparative analysis within a language which is not necessarily elitist, but prioritises formalist interpretations without consideration of its social, historical and cultural context.'
'As works of incredible bourgeois and economic value are displayed, beyond the average salary of the general population, any possible interpretation might similarly be felt to be inadequate, thereby jeopardising the viewer's confidence in engaging the work.'
'Curators are responsible for making history as much as an artist, and in using a lived territory puts to work the idea that we are all equally capable of inventing our own translations.'
'In a messy, dirty or perhaps any alternative venue, the division between the artist's work and the socio-political context effectively becomes muddled and obscured; this affects perception of its formal characteristics, but also can be an excuse for bad art.'