Norman Hathaway

Finally! A book on psychedelic art that actually does justice to the art form, rather than passing it all off as some sort of drug fuelled chaos - which is both insulting and belittling to the imagination of the artists concerned; as well as being blatantly untrue. I have no doubt that there is some art historically that could and probably has been produced while under the influence, but much of the work associated with this era, although giving the impression of freedom and fluidity is in fact highly organised and structured. Highly detailed intricate graphic design is totally impossible to achieve without a straight head and a steady hand (okay, paint fumes and marker solvents not withstanding). Besides many of the artists were such squares most of them hardly understood the counterculture (a fact which apparently they did there best to cover up) at the time.
It is also refreshing not to see a book dedicated to the San Francisco artists.

A book on art is hardly worth mentioning without a note on the illustrations, and the replication in this case is excellent, with no skimping by doing half the book in black & white. Here every image has been lovingly reproduced in glorious technicolour. Even the smallest details of Mati Klarwein's insanely detailed works such as Grain of Sand 1963-65 stands up to close scrutiny.

The art was designed to allow people to visualise the experience of taking a 'trip' on LSD without having to actually take the drug itself. Although I am sure plenty took the drug all the same.… (plus d'informations)

This thing happens where people alive in the 1960s dismiss psychedelic art. “Been there, done that. It was the drugs. Oh god.” Not being alive then, I’m not so quick to dismiss this art. To me, it is like any other Western aesthetic movement. If the “fine art” world rejected this art at the time that is a plus not a minus. In late capitalism, is there difference between fine art and commercial art? Sure there is. Noncommercial art is considered terrorism. Every period has its extremes. I found this book mind blowing. No pun intended. Keiichi Tanaami’s work was particularly inspiring.

Yellow Submarine still holds up as a feel good musical.

I see neon everywhere these days.… (plus d'informations)