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VISUAL. ROCK.
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A rtist and photographer Sheila Rock was born in America but is currently working in London. Her carreer started in the late seventies, with various photographs of her (most notably of such bands as The Clash and Generation X) were published in the famous magazine The Face.

The Horse series.

Since then she not only photographed famous music artists (U2, Simple Minds, Queen, The Cure, among many other) and tenor/opera/classical music stars and celebrities (such as Placido Domingo, Michael Nyman, Barbara Hendricks or David Daniels) and animals, but was also doing advertising work and more or less commercial posters (Royal Opera and Theatre, Skin cosmetics, Bride magazine), as well as record cover designs.



T he following recollection comes from one of the members of British hard rock band Scars and has been written in 1981, after a photo session for teen magazine Smash Hits (which on its own is another Pet Shop Boys connection):

    When Smash Hits wanted to do a full-page, that was a different matter. It was going to be full colour, full-page and it was going to be totally happening. We walked to Sheila Rock’s studio apartment in Holland Park from the tube in the early afternoon. It was a beautiful day. Scars posters were stuck to walls in the centre of London.

    Leigh Bowery.

    Sheila had been married to Mick Rock, a very famous photographer, and both of them had worked with Bowie, Roxy, Mott the Hoople, and many, many more and I could not have been more impressed. The only damper was when I looked through some Polaroids which were lying around and found some of the Associates, who had been there a few weeks before. “Tell Me Easter’s on Friday” was just out, and looked like it would chart higher than we would (when we toured America everywhere we went the Simple Minds had just been—you could imagine it was a kind of treadmill).

    Photography for Bride magazine.

    Anyway, her apartment was a real studio flat. It was two stories high, but just one big room, empty inside. You had to climb up a ladder to get to the roof space where natural light was coming through. We posed in front of a white sheet for quite a while, but the photo they used is one of us all in front of some kind of ethinc rug. Photographers always wanted us to put our heads close together, which made us feel like the Beatles.




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