Cooper Hewitt Multi-Page Publication: Psychedelic Posters

Psychedelic Posters

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CHAMBERS BROTHERS BAND, NEON ROSE #12, 1967

2 East 91st Street New York, NY

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Cooper Hewitt is the nation’s only museum dedicated to historic and contemporary design, with a collection of over 210,000 design objects spanning thirty centuries. Located in the landmark Andrew Carnegie mansion and boasting a beautiful public garden,

Smithsonian Design Museum Founded in 1897, Cooper Hewitt is the only museum in the United States devoted exclusively to historic and contemporary design. On December 12, 2014, Cooper Hewitt opened in the renovated and restored Carnegie Mansion, which offers 60 percent more exhibition space to showcase one of the most diverse and comprehensive collections of design works in existence. Currently on view are 10 inaugural exhibitions and installations featuring more than 700 objects throughout four floors of the mansion, many of which draw from the museum’s permanent collection of more than 210,000 objects that span 30 centuries. For the first time in the museum’s history, the entire second floor is dedicated to showcasing the permanent collection through a variety of exhibitions. Visitors can experience a full range of new interactive capabilities, including the opportunity to explore the collection digitally on ultra-high-definition touch screen tables, draw their own designs in the Immersion Room and solve real-world design problems in the Process Lab.

COOPER HEWITT MAKES DESIGN

WITH UNIQUE TEMPORARY EXHI

INSTALLATIONS OF THE PERMAN T h i s i s a p o st e r. I t wa s

graphic designers after him.

posters influenced generations of

his work. The impact of such

a significant contribution through

Francisco, to which Wilson made

emerging 1960’s subculture in San

was first coined by psychiatrist

grasp. The term “psychedelic”

the spectator cannot fully

seemingly focused on something

and composed, with one eye

a face seen from profile, calm

by the contrasting presence of

on the mind. This is reinforced

effects of hallucinatory drugs

optical surge, suggesting the

lines and pale colors produce an

Deformed bubble text, sinuous

Dead and Canned Heat concert.

designed for an Otis Rush, Grateful

This poster belongs to the series,

completed them on 14 months.

commissioned by Bill Graham. He

Auditorium in San Fransisco,

than 56 posters for the Fillmore

1968 Wes Wilson designed no less

department. Between 1966 and

drawings, prints and graphic design

wove p a p e r. I t i s a p a r t of t h e

is offset lithograph on white

we acquired it in 1979. Its medium

Auditorium. It is dated 1967 and

Graham and made for The Fillmore

Co. and made for (as the client) Bill

printed by West Coast Lithograph

(1967):

Band At The Fillmore

Canned Heat Blues

Grateful Dead, The

Chicago Blues Band,

Otis Rush & His

N COME ALIVE

IBITIONS AND

NENT COLLECTION. This is a

i s a p o st e r. I t

design department.

drawings, prints and graphic

o n wove p a p e r. I t i s p a r t of t h e

1981. Its medium is lithograph

dated 1970 and we acquired it in

was designed by Peter Max. It is

( 1 9 7 0 ) : This

Peace Corps

design department.

the drawings, prints and graphic

w h i t e wove p a p e r. I t i s a p a r t of

medium is offset lithograph on

and we acquired it in 1979. Its

Fillmore West. It is dated 1971

client) Bill Graham and made for

p o st e r. I t wa s m a d e f o r ( a s t h e

Week (1971):

Fillmore West Closing

CA N N E D H E AT , 1 9 6 8

JIM HENDRIX EXPERIENCE, JOHN MAYHALL & THE BLUESBREAKERS & ALBERT KING, 1968

JIM KWESKIN / JUG BAND, 1967

T H E AS S O C I AT I O N , 1 9 6 8

CA P TA I N B E E F H A RT & H I S M AG I C B A N D , 1 9 6 6

BLUE CHEER, 1967

JOHN LENNON, 1967

H E N RY M I L L E R F O R T H E I S E TA N D E PA RT M E N T S TO R E , 1 9 6 8

CHAMBERS BROTHERS, 1967

NEW YEAR’S EVE 1967-1968

O N E N I G H T O N LY / M R . B . B . K I N G . . . , 1 9 6 7

THE DOORS, 1969

BO DIDDLEY / LEE MICHAELS, 1967

JUNIOR WELLS, 1966

THE MILLER BLUES BAND, 1967

ERIC BURDEN / WEST CHAMBERS BROTHERS, 1968

ELECTRIC FLAG, 1968

HOWLIN’ WOLF, 1967

Chambers Brothers Band, Neon Rose #12 (1967):

T h i s i s a p o st e r. I t wa s d e s i g n e d by V i ct o r M o s c o s o . I t i s d at e d 1 9 6 7 a n d we

a c q u i re d i t i n 2 0 0 9 . I t s m e d i u m i s l i t h o g ra p h o n wove p a p e r. I t i s p a r t of t h e d raw i n g , p r i nt s a n d g ra p h i c d e s i g n d e p a r t m e nt . T h i s o b j e ct wa s f e at u re d i n our “Object of the Week” series in a post titles Good Vibrations.

Blowing In The Mind / Mister Tambourine Man (1968):

T h i s i s a p o st e r. I t i s d at e d 1 9 6 8 a n d we a c q u i re d i t i n 2 0 0 9 . I t s m e d i u m i s l i t h o g ra p h o n wove p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n d e p a r t m e nt . Fo r t h i s p o st e r f e at u r i n g B o b D y l a n , S h a r p d rew i n s p i rat i o n f ro m t h e m u s i c i a n ’s s i g n at u re c u r l y h a i r. R a d i at i n g c i rc u l a r m ot i f s imitate the curls and also borrow from Albert Durer’s woodcut, seen nearby. Just above Dylan’s forehead and scattered throughout, Sharp inserts the knot patterns that Durer created in the early 16th century.

Chambers Brothers (1967):

T h i s i s a p o st e r. I t i s d at e d 1 9 6 7 a n d we a c q u i re d

i t i n 1 9 7 9 . I t s m e d i u m i s of f s et l i t h o g ra p h o n w h i t e wove p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n d e p a r t m e nt .

(1967):

John Lennon

T h i s i s a p o s t e r . I t w a s d e s i g n e d b y R i c h a r d Av e d o n a n d p u b l i s h e d b y C o w l e s E d u c a t i o n C o r p o r a t i o n a n d a s s o c i a t i o n : M a x i m u s E n t e r p r i s e s ,

L t d . a n d N E M S E n t e r p r i s e s , L t d . a n d p r i n t e r W a t e r l o w & S o n s , L t d . a n d m a d e f o r L o o k M a g a z i n e a n d R i c h a r d Av e d o n P o s t e r s , I n c . I t i s d a t e d 1 9 6 7 a n d we a c q u i re d i t i n 1 9 8 1 . I t s m e d i u m i s of f s et l i t h o g ra p h o n w h i t e wove n p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n d e p a r t m e nt . T h i s poster suggests an altered state of mind by filling John Lennon’s glasses with a swirling optical illusion. The photograph has been converted to a highc o n t r a s t i m a g e , a t e c h n i q u e s o m e t i m e s c a l l e d “ p o s t e r i z a t i o n .”

Henry Miller For The Isetan Department Store (1968):

T h i s i s a p o s t e r . I t w a s d e s i g n e d b y Ta d a n o r i Yo k o o . I t i s d a t e d 1 9 6 8 a n d w e a c q u i r e d i t i n 2 0 0 9 . I t s m e d i u m o f f - s e t l i t h o g r a p h o n w h i t e w o v e p a p e r . I t is a part of the drawing, prints and graphic design department.

Canned Heat (1968):

T h i s i s a p o s t e r . I t w a s p r i n t e d b y Te a L a u t r e c L i t h o . I t

i s d at e d 1 9 6 8 a n d we a c q u i re d i t i n 1 9 7 9 . I t s m e d i u m i s of f s et l i t h o g ra p h o n w h i t e wove p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n department.

Jim Hendrix Experience, John Mayall And The Bluesbreakers, And Albert King (1968):

T h i s i s a p o st e r. I t i s d at e d 1 9 6 8 a n d we a c q u i re d i t i n 1 9 7 9 . I t s m e d i u m i s of f s et l i t h o g ra p h o n w h i t e wove p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s and graphic design department.

Jim Kweskin / Jug Band (1967):

T h i s i s a p o st e r. I t wa s p u b l i s h e d by B i l l G ra h a m . I t i s d at e d 1 9 6 7

a n d we a c q u i re d i t i n 1 9 7 9 . I t s m e d i u m i s of f s et l i t h o g ra p h o n w h i t e wove p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n d e p a r t m e nt .

The Association (1966):

t h i s i s a p o st e r. I t wa s p u b l i s h e d by B i l l G ra h a m . We a c q u i re d i t i n 1 9 7 9 . I t s m e d i u m i s l i t h o g ra p h o n w h i t e wove

p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n d e p a r t m e nt .

Captain Beefhart & His Magic Band (1966):

This is

a p o st e r. I t wa s p r i nt e d by We st C o a st L i t h o g ra p h C o . I t i s d at e d 1 9 6 6 a n d we a c q u i re d i t i n 1 9 7 9 . I t s m e d i u m i s l i t h o g ra p h o n w h i t e wove p a p e r. I t is a part of the drawings, prints and graphic design department.

Blue Cheer (1967):

T h i s i s a p o st e r. I t i s d at e d 1 9 6 7 a n d we a c q u i re d i t i n

1 9 7 9 . I t s m e d i u m i s l i t h o g ra p h o n w h i t e wove p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n d e p a r t m e nt .

Howlin’ Wolf (1967):

T h i s i s a p o st e r. I t wa s m a n u f a ct u re d by B i l l G ra h a m . I t i s d at e d 1 9 6 7 a n d we a c q u i re d i t i n 1 9 7 9 . I t s m e d i u m i s of f s et l i t h o g ra p h o n w h i t e wove p a p e r.

It is a part of the drawings, prints and graphic design department.

Electric Flag ( 1968):

T h i s i s a p o s t e r . I t w a s p r i n t e d b y Te a L a u t r e c

L i t h o . I t i s d at e d 1 9 6 8 a n d we a c q u i re d i t i n 1 9 7 9 . I t s m e d i u m i s of f s et l i t h o g ra p h o n w h i t e wove p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c design department.

Eric Burden / West Chambers Brothers (1968):

T h i s i s a p o s t e r . I t w a s p r i n t e d b y Te a L a u t r e c L i t h o . I t

i s d at e d 1 9 6 8 a n d we a c q u i re d i t i n 1 9 7 9 . I t s m e d i u m i s of f s et l i t h o g ra p h o n w h i t e wove p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n department.

N e w Y e a r ’ s E v e ( 1 9 6 7 - 1 9 6 8 ) : This

i s a p o s t e r . I t w a s p r i n t e d b y Te a L a u t r e c L i t h o . I t i s d a t e d 1 9 6 7 a n d w e a c q u i r e d i t i n

1 9 7 9 . I t s m e d i u m i s of f s et l i t h o g ra p h o n w h i t e wove p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n d e p a r t m e nt .

/ Mr. B.B. King... (1967):

One Night Only

T h i s i s a p o st e r. I t i s d at e d 1 9 6 7 a n d we a c q u i re d i t i n 1 9 7 9 . I t s m e d i u m i s of f s et l i t h o g ra p h o n w h i t e wove

p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n d e p a r t m e nt .

The Doors (1969):

T h i s i s a p o st e r. I t i s d at e d 1 9 6 9 a n d we a c q u i re d

i t i n 1 9 7 9 . I t s m e d i u m i s of f s et l i t h o g ra p h o n w h i t e wove p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n d e p a r t m e nt .

/ Lee Michaels (1967):

Bo Diddley

T h i s i s a p o st e r. I t i s d at e d 1 9 6 7 a n d we a c q u i re d i t i n 1 9 7 9 . I t s m e d i u m i s l i t h o g ra p h o n w h i t e wove p a p e r. I t i s a

part of the drawings, prints and graphic design department.

Junior Wells (1966):

Psychedelic poster advertising a concert for Junior Wells

a n d H i s C h i c a g o B l u e s B a n d . M o s c o s o a p p r o a c h e d t h e M a t r i x , a c l u b o n F i l l m o r e S t r e e t t h a t b o o k e d t h e s a m e a c t s a s t h e Av a l o n o r F i l l m o r e . H e a s k e d i f t h e y w o u l d l i k e h i m t o d e s i g n M a t r i x P o s t e r s . T h e m a n a g e r a n s w e r e d , “ Ye s , b u t w e c a n ’ t a f f o r d t h e m .” S o h e s a i d , “ I w i l l g i v e y o u 2 0 0 f r e e p o s t e r s t o a d v e r t i s e t h e a c t a n d I w i l l p r i n t a s m a n y p o s t e r s a s I w a n t .” T h a t s e e m e d t o b e f i n e . T h e a f t e r n o o n i t w a s p o s t e d , t w o p o s t e r d i s t r i b u t o r s l i t e r a l l y knocked on his door asking to distribute the posters and any other posters he has as well.

The Miller Blues Band (1967):

Victor

M o s c o s o c r e d i t s h i s Ya l e p r o f e s s o r J o s e f A l b e r s a s t h e i n f l u e n c e f o r a s i g n a t u r e f e a t u r e s o f h i s w o r k : t h e u s e o f v i b r a t i n g c o l o r s . A l t h o u g h D a y - G l o or fluorescent inks were widely available in the 1960s, Moscoso declined to use them, relying instead on-color juxtapositions to replicate the hypersaturated color illusions associated with the use of hallucinogenic drugs.

123 Infinity (1968):

T h i s i s a p o st e r. I t wa s d e s i g n e d by Pet e r M a x .

123 INFINITY, 1968

We a c q u i re d i t i n 1 9 8 1 . I t s m e d i u m i s l i t h o g ra p h o n p a p e r. I t i s a p a r t of t h e d raw i n g s , p r i nt s a n d g ra p h i c d e s i g n d e p a r t m e nt .