Published by Four Corners Books. Text by Julie Ault, Daniel Berrigan.
At 18, Corita Kent (1918-86) entered the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles, where she taught art and eventually ran the art department. After more than 30 years, at the end of the 1960s, she left the order to devote herself to making her own work. Over a 35-year career she made watercolors, posters, books and banners--and most of all, serigraphs--in an accessible and dynamic style that appropriated techniques from advertising, consumerism and graffiti. The earliest, which she began showing in 1951, borrowed phrases and depicted images from the Bible; by the 1960s, she was using song lyrics and publicity slogans as raw material. Eschewing convention, she produced cheap, readily available multiples, including a postage stamp. Her work was popular but largely neglected by the art establishment--though it was always embraced by such design luminaries as Charles and Ray Eames, Buckminster Fuller and Saul Bass. More recently, she has been increasingly recognized as one of the most innovative and unusual Pop artists of the 1960s, battling the political and religious establishments, revolutionizing graphic design and making some of the most striking--and joyful--American art of her era, all while living and practicing as a Catholic nun. This first study of her work, organized by Julie Ault on the 20th anniversary of Kent's death, with essays by Ault and Daniel Berrigan, is the first to examine this important American outsider artist's life and career, and contains more than 90 illustrations, many of which are reproduced for the first time, in vibrant, and occasionally Day-Glo, color.
BOOK FORMAT Paperback, 9.75 x 11.25 in. / 128 pgs / 100 color / 5 bw.
PUBLISHING STATUS Pub Date 3/1/2007 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 62
PRODUCT DETAILS ISBN 9780954502522TRADE List Price: $29.95 CDN $39.95
AVAILABILITY In stock
in stock $29.95
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Andrew Edlin Gallery. Edited by Dan Nadel. Text by Norman Hathaway, Gail Moscoso.
This is the catalogue for the first retrospective of drawings by Victor Moscoso (born 1936), one of the preeminent graphic artists of the 20th century, who is widely renowned for his 1960s psychedelic posters and comics. Moscoso began designing posters for rock shows in San Francisco in 1966, and quickly developed a signature style in which opposite hues of the same intensity sit next to each other to create a visual "vibration" effect. This book is the first to present the full range of Moscoso's drawings for posters and comics, including original renderings for his renowned cover of Zap Comix 4 (1969), the Hocus Pocus story, posters for The Doors and The Who, and other seminal published editions. These works reveal Moscoso's dedication to expert draftsmanship in the service of graphics, as well as his graceful approach to drawing everything from dinosaurs to spaceships to humans.
PUBLISHER Andrew Edlin Gallery
BOOK FORMAT Paperback, 9.5 x 10.5 in. / 96 pgs / 80 color.
PUBLISHING STATUS Pub Date 4/28/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 164
PRODUCT DETAILS ISBN 9780977878383TRADE List Price: $35.00 CDN $47.50
AVAILABILITY In stock
in stock $35.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Walker Art Center. Edited with text by Andrew Blauvelt. Text by Greg Castillo, Esther Choi, Alison Clarke, Hugh Dubberly, Ross Elfline, Craig Peariso, Tina Rivers Ryan, Catharine Rossi, Simon Sadler, Felicity Scott, Lorraine Wild with David Karwan. Interviews by Adam Gildar, Susan Snodgrass, Elizabeth Glass.
Hippie Modernism examines the art, architecture and design of the counterculture of the 1960s and early 1970s. The catalog surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner and John Whitney; posters and prints by Emory Douglas, Corita Kent and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog; books by Marshall McLuhan and Buckminster Fuller; and much more.
While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures, including Gerd Stern of USCO, Ken Isaacs, Gunther Zamp Kelp of Haus-Rucker-Co, Ron Williams and Woody Rainey of ONYX, Franco Raggi of Global Tools, Tony Martin, Clark Richert and Richard Kallweit of Drop City, as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life.
Published by Damiani. Foreword by Paul McCartney.Text by Norman Hathaway, Dan Nadel.
From advertising and fashion to music and film, the psychedelic aesthetic defined the look of the 1960s. And yet neither the true scope of psychedelic art nor its key practitioners have ever been the subject of a thorough overview. Electrical Banana is the first definitive examination of the international language of psychedelia, focusing on the most important practitioners in their respective fields. Compiling hundreds of unseen images plus exclusive interviews and essays, it revises and expands the common perception of psychedelic art, revealing it to be more innovative, compelling and revolutionary than is usually acknowledged. Electrical Banana documents the great virtuosos of psychedelic art: men and women whose work combines avant-garde design with highly sophisticated image-making. Launching a million Day-glo dreams, the artists include: Marijke Koger, the Dutch artist responsible for dressing the Beatles; Mati Klarwein, who painted the cover for Miles Davis’ Bitches Brew; Keiichi Tanaami, the Japanese master of psychedelic posters; Heinz Edelmann, the German illustrator and designer of the Beatles’ animated film Yellow Submarine; Tadanori Yokoo, whose prints, books and fabrics defined the 1960s in Japan; Dudley Edwards, a painter, car decorator and graphic artist on the London rock scene; and the enigmatic Australian Martin Sharp, whose work for Cream and underground magazines made him a hippie household name in Europe. Electrical Banana features a lengthy historical essay and interviews with all of the artists.
Published by D.A.P./Santa Monica Museum of Art. Edited with text by Michael Duncan, Kristine McKenna. Text by Stephen Fredman.
This reprint of the now classic and much sought-after 2005 volume celebrates the circle of the quintessential visual artist of the Beat era, Wallace Berman (1926–76), who remains one of the best-kept secrets of the postwar era. A crucial figure in California's underground culture, Berman was a catalyst who traversed many different worlds, transferring ideas and dreams from one circle to the next. His larger community is the subject of Semina Culture, which includes previously unseen works by 52 artists. Anchoring this publication is Semina, a loose-leaf art and poetry journal that Berman published in nine issues between 1955 and 1964. Although printed in extremely short runs and distributed to only a handful of friends and sympathizers, Semina is a brilliant and beautifully made compendium of the most interesting artists and poets of its time, and is today a very rare collector's item. Showcasing the individuals that defined a still-potent strand of postwar counterculture, Semina Culture outlines the energies and values of this fascinating circle. Also reproduced here are works by those who appear in Berman's own photographs, approximately 100 of which were recently developed from vintage negatives, and which are seen here for the first time. These artists, actors, poets, curators, musicians and filmmakers include Robert Alexander, John Altoon, Toni Basil, Wallace Berman, Ray Bremser, Bonnie Bremser, Charles Britten, Joan Brown, Cameron, Bruce Conner, Jean Conner, Jay DeFeo, Diane DiPrima, Kirby Doyle, Bobby Driscoll, Robert Duncan, Joe Dunn, Llyn Foulkes, Ralph Gibson, Allen Ginsberg, George Herms, Jack Hirschman, Walter Hopps, Dennis Hopper, Billy Jahrmarkt, Jess, Lawrence Jordan, Patricia Jordan, Bob Kaufman, Philip Lamantia, William Margolis, Michael McClure, David Meltzer, Taylor Mead, Henry Miller, Stuart Perkoff, Jack Smith, Dean Stockwell, Ben Talbert, Russ Tamblyn, Aya (Tarlow), Alexander Trocchi, Edmund Teske, Zack Walsh, Lew Welch and John Wieners.
Published by Metropolis Books. By Louise Sandhaus. Contributions by Lorraine Wild, Denise Gonzales Crisp, Michael Worthington. Designed by Louise Sandhaus.
The essential record of America’s most American design movement, in a form that perfectly matches its content. — Michael Beirut
Earthquakes, Mudslides, Fires & Riots is the first publication to capture the enormous body of distinctive and visually ecstatic graphic design that emanated from California throughout most of the twentieth century. Edited and designed by graphic designer Louise Sandhaus, this raucous gathering of smart, offbeat, groundbreaking graphic design from the “Left Coast” will amaze readers with its breadth and richness. The fruit of more than a decade of research, this substantial 432-page hardcover is arranged in four sections: “Sunbaked Modernism,” “Industry and the Indies,” “60s Alt 60s” and “California Girls.” Included in more than 275 vibrant color reproductions are books and magazines designed by Merle Armitage, Alvin Lustig, Herbert Matter and Sheila Levrant DeBretteville; posters for Disneyland, Cream and Herman Miller; Marget Larsen’s print ads for Joseph Magnin; title cards or title sequences for Lassie, The Smothers Brothers and other hit TV shows; title sequences for films from Taxi Driver to Tron; motion graphics from the earliest animated abstractions to the classic 7-Up “Bubbles” ad and Atari video games; immersive live shows of Bill Ham and Single Wing Turquoise Bird; architectural supergraphics by Barbara Stauffacher Solomon and Alexander Girard; print and environmental designs by Gere Kavanaugh and Deborah Sussman; and much, much more.
Louise Sandhaus is a graphic designer and graphic design educator. She has served as the Director of the Graphic Design Program at California Institute of the Arts (CalArts) and is an AIGA Los Angeles Fellow and former national board member, as well as former chairperson of AIGA Design Educators Community (DEC).
Published by MFA Publications. Text by Lauren D. Whitley.
The 1960s saw a revolution in fashion that was born, like most things new and hip in that era, of youth rebellion in the streets. For the first time, designers didn’t dictate the trends. Instead, the latest looks trickled up into the top fashion houses (Halston and Yves Saint Laurent among them), by way of bohemian boutiques and avant-garde labels with names like Granny Takes a Trip and Cosmic Couture, and musicians like the Beatles, Janis Joplin and Jimi Hendrix. Defying easy definition but becoming an international phenomenon all the same, hippie fashion twisted and turned from trippy to retro and crafty to ethnic. The accompanying idea that one can express a personal style with clothing went against everything about the previous generation’s notion of matching suits or ladylike ensembles dictated by social class or profession. Sumptuous photography, dynamic design, and far-out images from the era make Hippie Chic a must-have book that goes past peace signs and patchouli to unearth how hippies forever changed the way fashion functions.
Radical British political activist John “Hoppy” Hopkins--who opened the legendary UFO, London’s first psychedelic club, and published The International Times, London’s first daily underground paper--arrived in London in 1960 and started working immediately as a photojournalist. Well-known for his uniquely dynamic images of the Beatles, The Rolling Stones and Marianne Faithful, Hopkins studied physics at Cambridge and was set on becoming a nuclear physicist early on. Though he focused on rock music, Hopkins also explored its roots, capturing blues and jazz greats like John Lee Hooker, Sonny Williamson, Dizzy Gillespie and Duke Ellington. For five years, he published his work in such papers as The Sunday Times, The Observer, Melody Maker, Jazz Journal and Peace News. With more than 150 images, this volume presents the most comprehensive survey of Hopkins’ work ever assembled, spanning the breadth of his career from his earliest shots of musicians to his later immersion in the psychedelic scene. Hopkins stopped working as a photojournalist in 1965, and began documenting his universe: drugs and drug users, Hells Angels, mods, Beats, tattoo artists and others who left a mark on the 60s counterculture, Vietnam protests, Malcolm X and Martin Luther King, Jr. This remarkable publication documents the full spectrum of the political and cultural changes of his time.
Published by Kant. Edited and with text by Jan Ságl. Preface by Lenka Bucilová. Interviews by Petr Volf.
In mid-1960s Czechoslovakia, prior to the Soviet invasion, the hippie ethos reigned supreme. Photographer Jan Ságl (born 1942), now well known for his photographs of Paris, was on hand to document the communes, bands and performances of the time. He photographed the scenes around the artist Zorka Ságlová, the art theorist Vera Jirousová and bands such as the Primitives Group, the Plastic People of the Universe, DG 307, Aktual and others. In the spring of 1976, while Ságl and his wife were holidaying at their weekend cottage, the police cracked down on the circle around these bands, searching homes, interrogating "suspects" and making arrests. Ságl returned home just in time to hide his photographs, which would otherwise have led to many further arrests. They remained hidden, and were eventually thought lost, until 2012, when Ságl unearthed the images--compiling them in this astonishing, massive panorama of an otherwise undocumented Czech counterculture.
John Cohen was a founding member of the New Lost City Ramblers, one of the American folk revival's most authentic and respected musical groups. In the 1960s he made a series of photographs of the last years of Woody Guthrie's life, and early portraits of Bob Dylan on his arrival in New York, depicting two titans of American music at opposite ends of their careers. In the process, Cohen portrayed one of the great moments of American folk music history. The book contains other images from the 1960s, including the music scenes at Washington Square and on MacDougal Street in Greenwich Village, images of Jerry Garcia and the musicians in San Francisco's Family Dog, as well as the psychedelic Sky River Rock festival. In 1970, Dylan requested Cohen make another set of color photographs of him with a camera that could take photographs from a block away. He was portrayed walking unrecognized on the streets of the city and at a farm in upstate New York. The photographs were used in Dylan's album Self Portrait.