Psychedelic Posters
10 am to 6pm daily Adults - $18 Visitors with Disabilities $10 Seniors $12 Pay-What-You-Wish Tuesday 6 pm to 8pm
CHAMBERS BROTHERS BAND, NEON ROSE #12, 1967
2 East 91st Street New York, NY
Closed Thanksgiving and December 25th Members and 18 and under free: Buy your tickets online to save $2 per ticket. 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 .