Daniel Kramer
Daniel Kramer. Bob Dylan. Art Edition No. 101–200 ‘Bob Dylan, Columbia Records, Studio A’, 2016
Archival black-and-white fiber-based gelatin silver print, 37.7 x 25 cm on 40 x 30 cm paper, hardcover volume with 3 foldouts in clamshell box, 31.2 x 44 cm, 288 pages
Edition of 100 plus 20 artist's proofs
Numbered and signed by Daniel Kramer
9783836547642
Copyright The Artist
Photo: TASCHEN
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When photographer Daniel Kramer first met Bob Dylan, the young singer was still largely unknown. At their initial meeting in Woodstock, Dylan seemed restless and uncomfortable in front of the...
When photographer Daniel Kramer first met Bob Dylan, the young singer was still largely unknown. At their initial meeting in Woodstock, Dylan seemed restless and uncomfortable in front of the camera. Yet over the course of a year and a day, all of that would change. From vast, enraptured concert halls to intimate recording sessions, Kramer watched and photographed as a young folk singer transformed into the poet laureate of a generation.
This Art Edition presents nearly 200 images from Kramer’s remarkable 1964–65 Dylan portfolio with the accompanying numbered and signed archival black-and-white fiber-based gelatin silver print, Bob Dylan, Columbia Records, Studio A, 1965, offering an extraordinary, insider view of the Bringing It All Back Home recording sessions.
When Kramer arrived at Columbia Records on January 13, 1965, he had no idea what to expect. This was his first time at a recording session with Bob Dylan. The energy in the room was tangible. Dylan dominated the space, moving from musician to musician, playing with an improvisational fervor. When Kramer heard “Maggie’s Farm” blast through the speakers, he knew “the music had changed.” For him, it was not at the Newport Folk Festival, and not at Forest Hills, but right here in this room that Dylan went electric. He shot for three days throughout the Bringing It All Back Home sessions, including “Mr. Tambourine Man,” “It’s Alright, Ma (I’m Only Bleeding),” and “Subterranean Homesick Blues,” and came away with an iconic image of Dylan, and musical history.
Art Edition of 100 copies (No. 101–200), each signed by Daniel Kramer, with the numbered and signed print Bob Dylan: Columbia Records, Studio A (1965).
Also available as a second Art Edition (No. 1–100) with the signed print Bob Dylan with Dark Glasses, NYC (1964), and as a signed Collector’s Edition (No. 201–1,765).
This Art Edition presents nearly 200 images from Kramer’s remarkable 1964–65 Dylan portfolio with the accompanying numbered and signed archival black-and-white fiber-based gelatin silver print, Bob Dylan, Columbia Records, Studio A, 1965, offering an extraordinary, insider view of the Bringing It All Back Home recording sessions.
When Kramer arrived at Columbia Records on January 13, 1965, he had no idea what to expect. This was his first time at a recording session with Bob Dylan. The energy in the room was tangible. Dylan dominated the space, moving from musician to musician, playing with an improvisational fervor. When Kramer heard “Maggie’s Farm” blast through the speakers, he knew “the music had changed.” For him, it was not at the Newport Folk Festival, and not at Forest Hills, but right here in this room that Dylan went electric. He shot for three days throughout the Bringing It All Back Home sessions, including “Mr. Tambourine Man,” “It’s Alright, Ma (I’m Only Bleeding),” and “Subterranean Homesick Blues,” and came away with an iconic image of Dylan, and musical history.
Art Edition of 100 copies (No. 101–200), each signed by Daniel Kramer, with the numbered and signed print Bob Dylan: Columbia Records, Studio A (1965).
Also available as a second Art Edition (No. 1–100) with the signed print Bob Dylan with Dark Glasses, NYC (1964), and as a signed Collector’s Edition (No. 201–1,765).