Escape Reality Through the Psychedelic Counterculture Movement

Total Page:16

File Type:pdf, Size:1020Kb

Escape Reality Through the Psychedelic Counterculture Movement Escape reality through the psychedelic counterculture movement. Created by Shannen Hulley & Melissa Lager DES 185 | Winter Quarter 2017 Introduction i Exhibition Overview 1 Exhibition Brief 2 Lookbooks 3-5 Object List 6-19 Concept Plan & Massing Study 20-21 Floor Plan 22-23 Scale Model 24-27 Interviews 28-29 Exhibition Details 31 Renderings 32-36 Color Palette 37 Material Palette 38 Furniture 39 Paint Locations 40 Lighting 41 Exhibition Identity 43 Typology 44-46 Graphic Color Palette 47 Promotional Graphics 48-53 Merchandise 54-55 FAR OUT Manetti Shrem Museum of Art Shannen Hulley & Melissa Lager Introduction 16 March 2017 Far Out is an exhibit that curates escapism through various mediums from the counterculture movements that took place during the 60s and 70s Psychedelic era, including anti-society groups, music and art. Far Out aims to create a conversation among its visitors, asking them to question whether counterculture still exists today, with the inclusion of a collection of a 21st century re-emergence of transcendence through the arts. Far Out will be a safe space for people to gather, reflect, and communicate about the impact issues in society have on individuals and groups of people, all while considering the movements of the past. The psychedelic movement started in San Francisco, and quickly found its way to Davis as evident by the UC Davis Domes. Although the domes were established in 1972, they still exist today, keeping alive the spirit of escapism at the school, and making Far Out a relevant exhibit for the community. i 1 FAR OUT Manetti Shrem Museum of Art Exhibition Overview Shannen Hulley & Melissa Lager Exhibition Brief & Outline 16 March 2017 heme hiition utine A display of art created during and inspired by the late 1960s-70s Psychedelic and counterculture movements, including the extension aroun nformation of escapism into the 21st century through art. The introductory space will feature information about major events that led up to the Psychedelic era, such as the Vietnam War and the Civil Rights Movement, providing context as to what created a desire to escape from these harsh realities. ite Far Out ounteruturero it, Ant arm en esey: Venue Manetti Shrem Museum of Art, Davis, CA Emerging from the entrance space, visitors will enter a large room housing the geodesic dome that is Drop City. Inside the dome, images and a video documentary about Drop City will be ates November 7, 2017 – February 10, 2018 featured, as well as images of Ant Farm and Ken Kesey, The Acid Test and the Merry Pranksters. This space highlights the anti-society groups that reacted against reality by forming their own Auiene General, especially with interest in art, music and the countercultures. cognitive sciences. Ant arm nfatae oation Temporary exhibition space Upon exiting the dome, visitors will be able to experience the inside of the Ant Farm inflatable, an example of anti-architecture. Sie of Sae 9,000 sq. ft./2,600 sq. meters Musi umer of ets 159 Visitors will be able to listen to psychedelic music from the 60s and 70s in vintage sound-proof listening booths. They will also be able to participate in an interactive experience that consists of etai Area Located in the lobby stepping on various guitar pedals to hear the different distortion effects they create. Album artwork from popular music of the time period as well as a wall of vintage electric guitars and nterretie ements Exhibition texts and object labels, audio clips, an oil projection will be featured in this space. film visuals, sculpture, immersive installations, and interactive guitar pedals and music listening booths. Art This space will consist of Matti Klarwein’s psychedelic inspired paintings, as well as concert romotion Full array of promotional banners, posters, t-shirts and a posters inspired by the music from late 60s, early 70s time period. compilation vinyl record. 1st entur ieo This room will be a space for visitors to relax and view a loop of psychedelic inspired contemporary music videos and other visuals. urnin Man Visitors will be able to view a short video about Burning Man projected on a large panoramic screen. Photos of the festival will also be featured in this space. Burning Man is a contemporary example of a counterculture movement that occurs for one week, once a year, where people create a new “city” in the middle of the desert to escape reality for a week by creating their own collective society of anarchy, art, music and togetherness. 1st entur Suture Sculptures by modern artist, Dan Lam, will be featured in this space, intending to provide the audience with a new means of escape from reality. mmersie nstaation An installation be Peter Kogler will be featured in an entire room, covering the walls and floor, allowing viewers to be immersed in “another world”. 2 FAR OUT Manetti Shrem Museum of Art Exhibition Overview Shannen Hulley & Melissa Lager Lookbook: Inspiration 16 March 2017 3 FAR OUT Manetti Shrem Museum of Art Exhibition Overview Shannen Hulley & Melissa Lager Lookbook: Furniture 16 March 2017 4 FAR OUT Manetti Shrem Museum of Art Exhibition Overview Shannen Hulley & Melissa Lager Lookbook: Lighting 16 March 2017 The primary function of lighting in the exhibit is to highlight the various objects. Certain spaces will require dim lighting in order to accommodate projections. In the entrance space, lighting is used to draw people through the hallway and out into the rest of the exhibit. In the music room, for example, the lighting will be used to create ambience, enhancing the visitor’s experience of the music. 5 FAR OUT Manetti Shrem Museum of Art Exhibition Overview Shannen Hulley & Melissa Lager Object List 16 March 2017 01 02 03 04 05 06 Horst Faas Philip Jones G rifith Hugh Van Es PastCentur y Tube Harvey Richards Marc Ribou d Vietnam, 1965 Battle for Saigon, 1968 Wounded U.S. Soldier in The Most Terrible War In Protestors in San Fr ancisco, Protestor, 1967 Photograph Photograph Vietnam Indochina CA, 1967 Photograph 24x36” 24x36” Photograph Documantar y Clip Photograph 24x36” 24x36” 1h 46m 24x36” 07 08 09 10 11 12 Harvey Richard s Unknown Charles Moore Spider Mar tin Don Hogan Char les Unknown Vietnam War Protest March , Protest at the P entagon, African American people being Marching with MLK, 1965 U.S. Troops intervien dur ing “I Have A Dream” speech San Francisco, 1967 1967 sprayed with a fire hose Photograph Civil Rights protests, 1967 Video clip Photograph Film footage Photograph 24x36” Photograph 17m 29s 24x36” 14m 32s 24x36” 24x36” 6 FAR OUT Manetti Shrem Museum of Art Exhibition Overview Shannen Hulley & Melissa Lager Object List 16 March 2017 13 14 15 16 17 18 Unknonw Ken Kesey Paul Foster Ted Streshinsky Lisa Law Allen Ginsberg Liquid Light Show Further “Can You Pass The Acid Test?” Print Of A Merry Prankster Print Of The Further Bus Print Of Merry Pranksters Oil, Various Colored Dyes, Painted School Bus Poster Photograph Photograph Photograph Water 20 X 5’ 17x22” 8x10” 8x10” 13x19” No Size 19 20 21 22 23 24 David Gahr Ted Streshinsky Gene Anthony Wes Wilson Allison Ellwood And Alex Ken Kesey Print Of Ken Kesey In The Print Of Further Print Of Further Poster For The Acid Trip Gibney Interview Further Photograph Photograph 13x19” Magic Trip Audio Photograph 10x8” 8x10” Film 7m 26s 8x10” 1h 30m 7 FAR OUT Manetti Shrem Museum of Art Exhibition Overview Shannen Hulley & Melissa Lager Object List 16 March 2017 25 26 27 28 29 30 Ant Farm Unknown Unknown Unknown Antfarm Antfarm Inflatocookbook Untitled Clean Air Pod (1970) Untitled Inflatocookbook Inflatables Pamphlet Photograph Photograph Photograph Pamphlet Pamphlet 8.5 x 11” 8 X 10” 8 X 10” 8 X 10” 8.5 X 11” 8.5 X 11” 31 32 33 34 35 36 Ant Farm Inflatable Dennis Stock Clark Richer t Clark Richer t Unknown Buckminster Fuller To Be Made Drop City Artists Commune Drop City P anorama In Theater Dome With Drop City, Colorado, Usa Geodesic Dome Plastic Sheets, pump (1969) Photograph “Ultimate P ainting” (1966) Photograph (To Be Constr ucted) 20x24’ Photograph 6 X 13” Photograph 8 X 10” Steel, Aluminum 8 X 10” 6 X 13” 24’ X 12’ 8 FAR OUT Manetti Shrem Museum of Art Exhibition Overview Shannen Hulley & Melissa Lager Object List 16 March 2017 37 38 39 40 41 42 Unknown Joan Grossman Gene Ber nofsky, Joann Vintage 1960 ’s Teisco ET-??? Vintage 1959 Fender Vintage 1965 Fender Duo-Sonic Drop City Drop City Bernofsky, Richard Kallweit & Electric Guitar MusicMaker Electr ic Guitar Electric Guitar Photograph Documentary Clark Richert 14”x21”x1 3/4 ” 14”x21”x1 3/4 ” 14”x21”x1 3/4 ” 8 X 10” 1h22m Drop City Photograph 10” X 8” 43 44 45 46 47 48 Vintage 1960’ s Domino Vintage 1960’ s Domino Spar tan Vintage 1960’ s Norma Electr ic Vintage 1960 ’s Teisco EP7T Vintage 1960 ’s Welson Concord Vintage 1960 ’s Victoria Electric Californian Electr ic Guitar Electric Guitar Guitar Electric Guitar Electric Guitar Guitar 14”x21”x1 3/4 ” 14”x21”x1 3/4 ” 14”x21”x1 3/4 ” 14”x21”x1 3/4 ” 14”x21”x1 3/4 ” 14”x21”x1 3/4 ” 9 FAR OUT Manetti Shrem Museum of Art Exhibition Overview Shannen Hulley & Melissa Lager Object List 16 March 2017 49 50 51 52 53 54 Vintage 1960 ’s Tradition Zenon Tycobrahe Parapedal Vox Clyde McC oy 1966 Dallas Rangemaster 1976-’77 Tycobrahe 1976-’77 Tycobrahe Electric Guitar (Octavia) Wah-Wah Pedal Treble Booster Pedalflanger Octavia 14”x21”x1 3/4 ” 3x4.5” 3.5x9” 6.5x4x5” 3x9” 3x9” 55 56 57 Dallas-Arbiter Fuzz Face Late-’60s/ea rly-’70s Univ ox ’77 Mu-Tron Flanger 5.5” Diameter Uni-Vibe 7x11” 10x5.5” 10 FAR OUT Manetti Shrem Museum of Art Exhibition Overview Shannen Hulley & Melissa
Recommended publications
  • Making Peace with the Sixties: Reevaluating the Legacy of a Cultural Revolution
    CHRISTIAN RESEARCH INSTITUTE P.O. Box 8500, Charlotte, NC 28271 Feature Article: JAS060 MAKING PEACE WITH THE SIXTIES: REEVALUATING THE LEGACY OF A CULTURAL REVOLUTION by Steve Rabey This article first appeared in the Christian Research Journal, volume 27, number 4 (2004). For further information or to subscribe to the Christian Research Journal go to: http://www.equip.org SYNOPSIS The 1960s may be long gone, but they certainly are not forgotten, and many of the core ideas and values of this turbulent period remain alive and well in present-day America. Some Christians dismiss the sixties as a period of silliness. Other Christians, however, blame the decade for many of the ills that trouble contemporary America, even though the seeds of many of the sixties upheavals were sown during the seemingly placid fifties. Throughout the sixties, spiritually hungry seekers influenced both alternative and institutional streams of spirituality. Sixties spiritual values such as individualism, the valuing of experience over doctrine, the preference for anything new over anything old, the sacralization of the secular, and the use of drugs as a spiritual tool continue to have a profound influence on modern life and contemporary religion. The Jesus movement was one major Christian response to the revolutionary changes of the sixties. This movement’s contemporary music and more relaxed approach toward church are its major contributions to today’s ecclesiology. Though it was a turbulent and troubling time, the sixties forced many Americans to confront long-simmering issues such as race, gender, sexuality, war, authority, and patriotism. Anyone emerging today from a decades-long, Rip Van Winkle–like slumber (or even a Timothy Leary– like trip to the far side of the space-time continuum) might be forgiven for thinking he or she was still living in the 1960s.
    [Show full text]
  • Art Nouveau Revival 1960S-1990S
    Art Nouveau Revival 1960s-1990s Stanley Mouse & Alton Kelly Kathleen James | ADM-103 – The Essay | 13 January 2020 Introduction ................................................................................................................................. 1 Social Context .............................................................................................................................. 1 The Rise and Fall of Art Nouveau ............................................................................................... 2 Origins & Revival ...................................................................................................................... 2 Le style Mucha .......................................................................................................................... 2 ContemPorary Artists .................................................................................................................. 3 Kelley Mouse Studios & the Grateful dead ............................................................................. 3 Stephanie young and street art ............................................................................................... 5 Bibliography ................................................................................................................................. 7 Table of Figures ............................................................................................................................ 7 Introduction This essay investigates the relationshiP between the Art
    [Show full text]
  • Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood Kevin Mercer University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mercer, Kevin, "Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood" (2017). Electronic Theses and Dissertations, 2004-2019. 5540. https://stars.library.ucf.edu/etd/5540 HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique.
    [Show full text]
  • Tang Teaching Museum Announces All Together Now
    For immediate release Tang Teaching Museum announces All Together Now The Hyde Collection, Ellsworth Kelly Studio, National Museum of Racing Museum and Hall of Fame, Saratoga Arts, Saratoga County History Center, Saratoga Performing Arts Center, Shaker Museum, and Yaddo partner with the Tang at Skidmore College Collections sharing project supported by $275,000 Henry Luce Foundation grant SARATOGA SPRINGS, NY (April 1, 2021) — The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College announces an innovative regional collections sharing project called All Together Now, supported by a $275,000 grant from the Henry Luce Foundation. Organized by the Tang Teaching Museum, All Together Now forges new collaborations between neighbor arts organizations to bring attention to rarely seen works. At the Tang Teaching Museum, exhibitions will feature works from the Shaker Museum and Ellsworth Kelly Studio. At partner institutions, exhibitions will show work from the Tang collection, including many recently acquired paintings, photographs and sculptures. Partner institutions include The Hyde Collection, the National Museum of Racing and Hall of Fame, Saratoga Arts, Saratoga County History Center, Saratoga Performing Arts Center, and Yaddo. The grant will support these exhibitions, as well as the behind-the-scenes work that make the exhibitions possible, such as cataloging and digitizing Tang collection objects. “On behalf of the Tang and Skidmore College, I want to thank the Luce Foundation for their generosity and vision,” said Dayton Director Ian Berry. “This grant recognizes the vibrancy and relevance of the objects in our collection and gives all of us the rare opportunity to see important American artworks out of storage and in the public view, fostering new connections and conversations, and expanding knowledge.
    [Show full text]
  • FOR IMMEDIATE RELEASE June 22, 2016
    FOR IMMEDIATE RELEASE June 22, 2016 NATIONAL MUSEUM OF AMERICAN JEWISH HISTORY EXCLUSIVE EAST COAST VENUE FOR BILL GRAHAM AND THE ROCK AND ROLL REVOLUTION The National Museum of American Jewish History (NMAJH) in Philadelphia will be the exclusive East Coast venue for Bill Graham and the Rock and Roll Revolution. The exhibition, which opens on September 16 and will run through January 16, 2017, presents the first comprehensive retrospective about the life and career of legendary rock impresario Bill Graham (1931–1991). Recognized as one of the most influential concert promoters in history, Graham played a pivotal role in the careers of iconic artists including the Grateful Dead, Jefferson Airplane, Janis Joplin, Jimi Hendrix, Santana, Fleetwood Mac, the Who, Led Zeppelin, the Doors, and the Rolling Stones. He conceived of rock & roll as a powerful force for supporting humanitarian causes and was instrumental in the production of milestone benefit concerts such as Live Aid (1985)—which took place in Philadelphia and London—and Human Rights Now! (1988). The Museum will be open late on Wednesday nights (until 8 pm) throughout the run of the show.* Bill Graham lived the America Dream, and helped to promote and popularize a truly American phenomenon: Rock & Roll. The exhibition illuminates how his childhood experiences as a Jewish emigrant from Nazi Germany fueled his drive and ingenuity as a cultural innovator and advocate for social justice. Born in Berlin, Graham immigrated to New York at the age of ten as part of a Red Cross effort to help Jewish children fleeing the Nazis. He went to live with a foster family in the Bronx and spent his teenage years in New York City before being drafted to fight in the Korean War.
    [Show full text]
  • Drop City and the Utopian Communes
    University of Pennsylvania Carey Law School Penn Law: Legal Scholarship Repository Faculty Scholarship at Penn Law 2015 Punishment: Drop City and the Utopian Communes Paul H. Robinson University of Pennsylvania Carey Law School Sarah M. Robinson Independent Follow this and additional works at: https://scholarship.law.upenn.edu/faculty_scholarship Part of the Criminal Law Commons, Criminology Commons, Criminology and Criminal Justice Commons, Law Enforcement and Corrections Commons, Peace and Conflict Studies Commons, Public Law and Legal Theory Commons, Public Policy Commons, Social Control, Law, Crime, and Deviance Commons, and the Social Policy Commons Repository Citation Robinson, Paul H. and Robinson, Sarah M., "Punishment: Drop City and the Utopian Communes" (2015). Faculty Scholarship at Penn Law. 1148. https://scholarship.law.upenn.edu/faculty_scholarship/1148 This Article is brought to you for free and open access by Penn Law: Legal Scholarship Repository. It has been accepted for inclusion in Faculty Scholarship at Penn Law by an authorized administrator of Penn Law: Legal Scholarship Repository. For more information, please contact [email protected]. PIRATES, PRISONERS, AND LEPERS LESSONS FROM LIFE OUTSIDE THE LAW Paul H. Robinson and Sarah M. Robinson Potomac Books An imprint of the University of Nebraska Press CONTENTS List of Illustrations ix Acknowledgments x~ PART 1. HUMAN RULES 1. What Is Our Nature? What Does Government Do for Us and to Us? 3 2. Cooperation: Lepers and Pirates 11 3· Punishment: Drop City and the Utopian Communes 32 4· Justice: 1850s San Francisco and the California Gold Rush 51 5· Injustice: The Batavia Shipwreck and the Attica Uprising 81 6.
    [Show full text]
  • Introduction in Their Thirty Years Together, the Grateful Dead Forever
    Introduction In their thirty years together, the Grateful Dead forever altered the way in which popular music is performed, recorded, heard, marketed, and shared. Founding members Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, and Bob Weir took the name Grateful Dead in 1965, after incarnations as Mother McCree’s Uptown Jug Champions and The Warlocks. Despite significant changes in the band’s lineup, including the addition of Mickey Hart and the death of Ron McKernan, the band played together until Jerry Garcia’s death in 1995. From the beginning, the Grateful Dead distinguished themselves by their preference for live performance, musical and business creativity, and an unprecedented dedication to their fans. Working musicians rather than rock stars, the Dead developed a distinctive sound while performing as latter-day American troubadours, bringing audio precision to their live performances and the spontaneity of live performances to their studio work. Side-stepping the established rules of the recording industry, the Dead took control of the production and distribution of their music. With a similar business savvy, they introduced strategic marketing innovations that strengthened the bond with their fans. This exhibition, the first extensive presentation of materials from the Grateful Dead Archive housed at the University of California, Santa Cruz, testifies to the enduring impact of the Grateful Dead and provides a glimpse into the social upheavals and awakenings of the late twentieth century—a transformative period that profoundly shaped our present cultural landscape. Amalie R. Rothschild, Fillmore East Marquee, December 1969. Courtesy Amalie R. Rothschild Beginnings The Grateful Dead began their musical journey in the San Francisco Bay Area at a pivotal time in American history, when the sensibilities of the Beat generation coincided with the spirit of the burgeoning hippie movement.
    [Show full text]
  • Robert Knight Was a Kid from P¯Alolo When He Fell for British
    Robert Knight was a kid from Palolo¯ when he fell for British rock— and his passion led to some of the best photography in rock ‘n’ roll 98 99 o understand just how resourceful and adventurous Robert Knight is, you have to cast your mind back to a time before the web connected everyone and everything, a time when there was far more mystery in the world. Information was random and scarce, and one’s whole life direction could be determined by a chance finding. Knight was 16 and exploring in Waikïkï one day in 1965 when he came across some music “Being a photographer of rock concerts magazines left behind by British tourists. The son of a Baptist is very similar to shooting a war,” says Knight, “because you can’t control minister, he’d grown up in Honolulu’s Pälolo valley, forbidden anything. The lighting keeps changing, the artist is moving around. You’re basically a sniper: A guy puts his head to watch movies and listen to rock music — not that there was up, you shoot it. You can’t be wasting time trying to figure out exposures.” much rock music in Honolulu in those days, with the airwaves Knight loved to photograph Mick Jagger (seen here playing a show in Honolulu in 1973). “Smart. Just smart,” he says of full of the Kingston Trio and Jan & Dean. Knight pored over him. “Also, he’s an absolute fitness freak.” The singer, says Knight, played characters on stage, one way to handle the magazines and their pictures of strange-looking people his shyness.
    [Show full text]
  • Hippieland: Bohemian Space and Countercultural Place in San Francisco’S Haight-Ashbury Neighborhood
    HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique. It was within this space that a wellspring of drop-out culture evolved from a combination of psychedelic drugs, experimental lifestyles, and anarchistic thought. The contention of countercultural place was fully realized in the lead up to and during the “Summer of Love” in 1967. This pinnacle moment was also its demise as the massive influx of young people into the area stressed the area and the idea of a local hippie movement to a breaking point. The final part of this thesis looks at how this experience changed the area, and how the countercultural moved on to become a national movement, while its key practitioners moved their countercultural place making to smaller rural communes, where the lessons of the Haight-Ashbury could be applied.
    [Show full text]
  • MUSIC 351: Psychedelic Rock of the 1960S Spring 2015, T 7:00–9:40 P.M., ENS-280
    MUSIC 351: Psychedelic Rock of the 1960s Spring 2015, T 7:00–9:40 p.m., ENS-280 Instructor: Eric Smigel ([email protected]) M-235, office hours: Mondays & Tuesdays, 3:00–4:00 p.m. This is a lecture class that surveys psychedelic rock music and culture of the 1960s. Psychedelic music played an important role in the development of rock music as a predominant art form during one of the most formative decades in American history. Emerging along with the powerful counterculture of hippies in the mid-1960s, psychedelic rock reflects key elements of the “Love Generation,” including the peace movement, the sexual revolution, the pervasive use of recreational drugs (especially marijuana and LSD), and the growing awareness of Eastern philosophy. The main centers of countercultural activity—the Haight-Ashbury district of San Francisco and the London Underground—drew a high volume of media exposure, resulting in the famous “Summer of Love” and culminating in popular music festivals in Monterey, Woodstock, and Altamont. Students in this course will examine the music and lyrics of a selection of representative songs by The Grateful Dead, The Jefferson Airplane, Big Brother and the Holding Company, The Beatles, Pink Floyd, The Jimi Hendrix Experience, and other bands closely associated with the burgeoning psychedelic scene. Students will also consult primary source material—including interviews with several of the musicians, influential literature of the period, and essays by key figures of the movement—in order to gain insight into the social, political,
    [Show full text]
  • The Psychedelic Poster Art and Artists of the Late 1960S
    Focus on Topic The Psychedelic Poster Art and Artists of the late 1960s by Ted Bahr Bahr Gallery New York, USA 46 Focus on Topic The stylistic trademarks of the 1960s To advertise these concerts, both promoters turned to Wes Wilson at Contact Printing, who had been laying psychedelic poster were obscured and disguised out the primitive handbills used to advertise the Mime lettering, vivid color, vibrant energy, flowing Troupe Benefits and the Trips Festival. Wilson took organic patterns, and a mix of cultural images LSD at the Festival and was impacted by the music, from different places and periods -- anything to the scene, and the sensuous free-love sensibilities of confuse, enchant, thrill, and entertain the viewer. the hippie ethos. His posters quickly evolved to match the flowing, tripping, improvisational nature of the The style was also tribal in the sense that if you developing psychedelic music -- or “acid rock” -- and could decipher and appreciate these posters his lettering began to protrude, extend, and squeeze then you were truly a member of the hippie into every available space, mimicking and reflecting the subculture – you were hip, man. totality of the psychedelic experience. His early style culminated in the July 1966 poster for The Association which featured stylized flame lettering as the image The psychedelic poster movement coincided with the itself, a piece that Wilson considered to be the first rise of hippie culture, the use of mind-altering drugs like truly psychedelic poster. LSD, and the explosion of rock and roll. San Francisco was the center of this universe, and while prominent psychedelic poster movements also developed in London, Detroit, Los Angeles, and Austin, Bay Area artists both initiated and dominated the genre.
    [Show full text]
  • Oral History Interview with Clark Richert, 2013 August 20-21
    Oral history interview with Clark Richert, 2013 August 20-21 Funding for this interview was provided by the Stoddard-Fleischman Fund for the History of Rocky Mountain Area Artists. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Clark Richert on August 20-21, 2013. The interview took place in Denver, Colo., and was conducted by Elissa Auther for the Archives of American Art, Smithsonian Institution. This interview is part of the Stoddard-Fleischman History of Rocky Mountain Area Artists project. [Narrator] and the [Interviewer] have reviewed the transcript. Their corrections and emendations appear below in brackets appended by initials. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ELISSA AUTHER: This is Elissa Auther interviewing Clark Richert at the Museum of Contemporary Art, Denver, on August 20th, for the Smithsonian Institution, Archives of American Art, card one. Clark, when did you decide to become an artist and what led up to that decision? CLARK RICHERT: I think I know almost the exact moment when I decided to become an artist. I was living in Wichita, Kansas, going to high school, Wichita East High, and was at a local bookstore perusing the books and I saw this book on the shelf that really puzzled me. The name of it was the Dictionary of Abstract Art. And I opened up the book and flipped through the pages, and I came to this painting by Rothko which really puzzled me.
    [Show full text]