Another Sheffield City Hall shot (where he looks more like Joyce!) is followed, on the final wall, by Morrissey waiting for a bullet train, Morrissey whistling at a Japanese soundcheck and then in concert at Long Island July 1991.
The next corker is this one ~
~ it's another monochrome live shot from the New Jersey 1991 show where Moz is balanced with one DM atop his vocal monitor, open mouthed, arms outstretched, glittering shirt ripped into strips, like a ravaged angel falling to earth or an erotic (scarred!) Icarus attempting to loose the bonds of same. I loved the triple reflection of the 2 Harvey's gaping gobs (backdrop & drum riser) with Moz's open mouth.
Another classic live shot follows, of Moz at Long Island 10th of July 1991 ~
~ what I love about this shot is what appeals about the best shots of Moz in concert, especially Linder's, which is the innate surreality of certain shots. If you came to this cold you could think what is going on here? What can this possibly mean? Is this man ill? Why is there a wrapped gift next to him? The strange and beguiling power of a Morrssey concert just exudes from these prints.
Another old classic which brings back memories is next; Moz in his Dublin debut, crouching at stage front ~
~ this just takes me back to reading that first 'NME' rave review, and the start of a wonderful year. But in terms of the image ~ who is reaching out to whom? And what are they all seeking? And that single, small, intact flower kills me every time I see it....
Next along are 6 tattoed fans , which are very nice, but....
Back to On The (Dublin) Buses fun with Moz coming on all Clippie; 'Full Up'? ~
~ the gallery print reveals a mystery face peeking out of one of the windows.
Next is Johnny in his Bowdon home in February 1989 looking like the saddest boy in Bowdon that winter...or second saddest maybes ~
~ Joyce & Lil backstage at Woverhampton get a spot for some reason, and then we have Moz on the steps in Koln with the quizzical German child, which is just sweetness incarnate. But also winningly surreal.
A tried and true classic is up next with the 'Penis is mightier than the sword' shot backstage at the Budokan. Every nuance of that defiant and deadpan gaze is revealed in this print. Words and image combining exquisitely ~
A final unseen gem is up next, another from the Dublin April 1991 soundcheck, the front view of the shot of Morrissey's glittery back featured on the first wall. This is another that I would kill to have. Moz has his right arm firmly braced on the rail of a barrier, his left hand rammed in his denim pocket and he's leaning slightly toward the camera. His face is simply beaming and glowing, partly from the stage lights he's gazing toward, partly from pride and giddy excitement. He looks like a Hollywood star of the golden age, more than a hint of Monty Clift I thought, in a candid moment. The juxtaposition of the braced muscles of his right arm with the draped and graceful golden glitter of the fabric of his t-shirt was...thrilling
The last shot of the exhibit is of Morrissey backstage in Koln, head resting on fist ~
~ the definition on this print is the best in the whole show. It literally looks like Morrissey is there in front of you. The detail is truly spooky. Every pore, every hair is there. The texture of the denim threads is vivid, as is the shine of the leather chair. As a consequence of this fidelity the gaze is utterly beguiling. Moz looks like the cat that's got the cream. As well as the power of the resolution and greyscale, there is also the power of the composition, with Morrissey angled and slashed across the full diagonal of the frame, with those piercing eyes right at the centre of the image. Stunning.
Oh Manchester; So
much to answer for indeed... "
.
Some people seem a bit cross with my interpretations. I would like to point out that I didn't write this stuff, it's Morrissey who has the filthy mind 
