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 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 164
PRODUCT DETAILS ISBN 9780977878383TRADE List Price: $35.00 CAD $47.50 GBP £30.00
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.
The pioneering account of West Coast assemblage art, featuring Bruce Conner, Jess, Jay DeFeo, Robert Duncan, Cameron and a cast of postwar countercultural icons
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
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.
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