When it comes to subcultures, the punk movement still has one of the most instantly recognizable aesthetics. The punk bands of the late ’70s and early’ 80s served a provocative rejection of mainstream rock with their surly vocals and anti-establishment lyrics, and this was reflected in the visual world they built around them. them: Jamie Reid’s aggressive cut and paste. artwork for the Sex Pistols’ track God Save the Queen, in Pennie Smith’s photograph of Clash bassist Paul Simonon smashing his bass on stage, which became the Cover image for the band’s flagship album, London Calling.
As one of the world’s foremost private collectors of punk graphics, Andrew Krivine is well acquainted with the distinctive visual history of the genre. Hailing from New York, his collection of punk memorabilia began as a happy accident in the summer of 1977, as the genre exploded onto the scene with the emergence of groups such as the Ramones in New York and the Damned in London. Aged 16 at the time, Krivine was spending the summer in the UK and moving to London with his cousin, John Krivine, who was the founder of two stores now synonymous with the punk movement, Acme Attractions and BOY.
“I hadn’t really been fully aware of punk. I knew the Ramones, I had a very vague idea, but when I was in London that summer, I really got into punk rock, ”says Krivine. “I remember dating BOY when Don Letts and Jeanette Lee were still working there. Don had a copy of The Clash debut album and just played it constantly. I remember listening to it and saying, ‘It’s pure noise, I don’t understand at all’ and then the third or fourth time I listen to it and I’m like, ‘ ‘Oh my god, the best record I’ve heard in my life’. A switch went off in my head and I realized this was kind of what I was looking for.