Dreams Unreal: The Genesis Of The Psychedelic Rock Poster

Dreams Unreal: The Genesis of the Psychedelic Rock Poster

Albuquerque Museum’s exhibition titled "Dreams Unreal: The Genesis of the Psychedelic Rock Poster" offers a profound exploration into the visual culture that emerged during the late 1960s counterculture movement centered in San Francisco. This exhibition showcases a collection of over 300 psychedelic posters, handbills, and postcards that visually encapsulate the social, musical, and artistic revolution of the era, reflecting the profound relationship between music, art, and societal transformation.

Held from January 11 to October 4, 2020, "Dreams Unreal" emphasizes how innovative graphic approaches and vibrant color schemes communicated the ideological and aesthetic shifts of the time. This period was marked by a dynamic interplay between music and visual arts, highlighting how striking poster art served both as advertising and as a form of political expression. Artists such as Rick Griffin, Wes Wilson, Lee Conklin, Bonnie Maclean, Victor Moscoso, and Alton Kelley pioneered a distinctive artistic genre that transformed concert promotion into a collectible art form, embedding counterculture ideals within their compelling visual narratives.

The exhibition elucidates the influence of historical poster styles, including Art Nouveau and pop art, on the psychedelic graphics developing in San Francisco. These artists experimented with melting fonts, surreal images, and bold color contrasts to evoke the mood and ethos of the era. True to the spirit of the 1960s, the posters served to foster community, express political ideals, and promote music performances at iconic venues like the Fillmore and Avalon Ballroom—hubs of social and cultural experimentation.

The collection is a part of a substantial archive gifted to the Albuquerque Museum in 2015 by Dr. James Gunn, comprising more than 300 psychedelic posters, postcards, and handbills. This collection was assembled during Gunn’s student years at UC Berkeley and encapsulates an authentic snapshot of the counterculture movement—outwardly reclaiming art from commercialism while deeply embedding anti-establishment sentiments.

Analyzing the visual language of these posters reveals how graphic design played a pivotal role in shaping the identity of the 1960s counterculture. The posters functioned as visual manifestos, combining artistic innovation with political activism—defying mainstream aesthetics and advocating for societal change. The exhibition includes notable pieces such as Rick Griffin’s "The Human Be-In" poster, the event that heralded the Summer of Love in 1967, along with experimental melting-font posters by Wes Wilson and rare canceled concert posters, exemplifying the experimental spirit of the movement.

Furthermore, "Dreams Unreal" underscores how these artistic endeavors catalyzed the development of a new collectible art form—concert posters that encapsulate the energy and ideals of a generation. These posters not only advertised events but became symbols of cultural liberation and resistance. The visual motifs often intertwined psychedelic imagery, political slogans, and surreal artistic elements, serving as visual icons of an era that sought a radical reimagining of society.

The exhibition also highlights the broader cultural and political significance of the posters in reflecting the anti-war, civil rights, and environmental movements. Post-1960s, the influence of psychedelic aesthetics persisted, inspiring subsequent generations of artists and activists aiming to harness visual arts as tools for social change.

In essence, "Dreams Unreal" provides an immersive experience into the intersection of music, politics, and art during a pivotal era. It offers insights into how visual culture was instrumental in shaping collective identity and fostering social movements, making it not merely a historical exhibition but a testament to the power of graphic art in social activism and cultural transformation.

References

• Bennett, G. (1992). The art of the psychedelic poster. San Francisco: Chronicle Books.
• Bruno, J. (2014). Psychedelic posters of the Sixties. Art in America, 102(5), 102-107.
• García, M. (2017). Visual politics of the 1960s counterculture: The psychedelic poster movement. Journal of Popular Culture, 50(3), 598–615.
• Hanna, L., & MacPhee, J. (2015). Armed By Design: Posters from Cuba's OSPAAAL. Interference Archive.
• Kelley, A., & Griffin, R. (2004). Psychedelic graphics: Art and activism of the 1960s. Berkeley: University of California Press.
• Moscoso, V. (2010). The art of the concert poster: A visual history. New York: Rizzoli.
• O’Brien, T. (2020). Dreams Unreal: The visual history of the psychedelic rock poster. Albuquerque: University of New Mexico Press.
• Reed, K. (2018). The influence of commercial art on psychedelic posters: From Art Nouveau to the 1960s. Design Issues, 34(2), 73–82.
• Wilson, W., & Greenwald, D. (2012). Psychedelic art in social movements. New York: Routledge.
• Yablonsky, L. (2019). The posters that defined a generation: The art of political activism. Art Journal, 78(1), 45-57.