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Cara Fiore April 21, 2011 History 498/Kurhajec Final Draft

The sixties were the age of youth, where there was a dramatic movement away from the conservative fifties to revolutionary ways of thinking about American values, lifestyles, entertainment, and laws. Terms like groovy and psychedelic were used later to describe the sixties and the counterculture movement. The definition of psychedelic is, a profound sense of intensified sensory perception, sometimes accomplished by severe perceptual distortion and hallucinations and by extreme feelings of either euphoria or despair.1 It was a turbulent time politically and socially, but it was also a period of excitement. Uncertainty filled the air as young people left their homes to see what life could be like outside their suburban homes with white picket fences. Robert Roskind explains this feeling in Memoirs of an Ex-Hippie , where he gives his personal account of living in a constrictive society. Then he elaborates on how free he felt when he began living an alternative lifestyle, traveling across the country in a bus for seven years beginning in 1968. At the start of his trip, he describes how, The idea of the alienated youth rejecting the values of their culture appeared menacing to many. We were not embracing the system as was expected, but shaking it to its foundation This was not just a march. It was the turning point of the decade. The social conflicts of the 60s were on vivid display.
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The sixties saw radical change in almost every

aspect of American life thanks to the work done by civil rights leaders, feminists, and gay and

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David S. Rubin, Psychedelic: Optical and Visionary Art Since the 1960s (San Antonio Museum of Art, 2010), 15. Robert Roskind, Memoirs of an Ex-Hippie (North Carolina: One Love Press, 2001), 22.

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lesbian advocates. Individuals involved in these movements were no doubt pivotal actors in the making of history in the sixties. However, there has been one actor who has not received as much credit for its contribution: the artist. Sixties artists were equally as radical compared to other radical leaders of the time because of their ability to depict American society without being too harsh with their criticism. Artists were able to fall back on the excuse that their paintings were just objective and did not mean anything else, which was done on purpose. Viewers of art were therefore forced to think back on history and their personal beliefs on the ever changing social events of the sixties to interpret and form an opinion on the art. Michael Compton, an artist of the time described the sort of power that art had over people because, It does not tell you what to think; it assumes you know what you need to know.
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During the sixties, artists began to challenge the viewer to

experience art in a new way by making art less predictable. Starting 1962, audiences were exposed to pop art and psychedelic art that required interpretation and looking into the unknown. Posters were a form of lower art that also caught the attention from the public because of the florescent colors, psychedelic patterns. Poster artists became the advocates and advertisers of the counterculture movement to raise cultural awareness. In this essay, counterculture will refer to, A group of people who are opposed to some aspects of the established culture in which they live. Historically, they are members of a society who, through education or moral enlightenment, find fault with the government under which they live Counterculture views are not always completely valid, yet they may express an important objective opinion of an established culture that had become jaded or corrupt.4

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Irving Sandler, American Art of the 1960s (New York: Harper and Row, 1988),154. John Bassett McCleary, The Hippie Dictionary (Berkeley, California: Ten Speed Press, 2002), 114.

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However, one distinction needs to be made, artists themselves never dropped out of society, unlike the hippy generation. Artists took on the role of being a devil s advocate by making very objective artwork that still made people talk about their work. Therefore, Americans became socially aware of the contradictions in American society. Art was an outlet to think critically about one s place in society and break from conformity and conservatism. As a result, the sixties experienced a decadence of new art that propelled the counterculture movement across the United States; influencing all Americans who were willing to observe, to seriously reconsider the values, and norms of society. It proved to be an effective strategy because it helped give the movement a visual meaning more efficient than words alone. Susan Sontag was referenced in David Chalmers And the Crooked Places Made Straight by saying, art was aimed not at simulation of moral sentiment but at giving pleasure. It was based on sensation, not ideas. The theater and the movies which were, along with rock, the prime art forms of the young became sexier, nuder, more political, more violent, and more cruel.
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However, I have to disagree with her because stimulating inner feelings and emotions

is key before any sort of pleasure can be felt. Not to mention I believe that before people feel something, they are first intrigued by an idea or experience. I would also argue that art did not become violent, and cruel. Yes, I would agree it became more sexual, but artists were never violent or cruel. The current events surrounding the sixties were violent and cruel so artists of the sixties developed new styles of art to show that change was possible and within reach peacefully. In a way, it became optimistic, empowering, and motivating. A significant portion of my research that supports these ideas comes from Irving Sanders s American Art of the
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David Chalmers, And the Crooked Places Made Straight (Baltimore: John Hopkins University, 1991) 96.

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1960s. This resource is beneficial when trying to examine the sometimes-puzzling actions by artists of the sixties, and how artists became politically involved against racism and sexism. Similarly, Psychedelic: Optical and Visionary Art since the 1960s by David S. Rubin explains the significance of psychedelic art and its evolvement into poster design. Posters were considered part of the low culture compared to high art because posters were very common. Ironically, this is not the case today since these posters are now extremely valuable because of its part in the counterculture movement. First, posters were an important form of art because they were mass-produced, and served as an advertisement for psychedelic art. Typically, posters in history have been associated with propaganda because of its ability to communicate information to a country quickly. For example, the Constructivism movement, which was a Russian artistic movement that favored art facilitated toward social change, rejected traditional paintings because they were inadequate as revolutionary tool . Instead, photography, film, typography, and poster design were employed because of its propaganda qualities. However, the Russian people did not appreciate their abstract art at the time, and neither did Stalin when he rose to power, so he suppressed the movement in 1922.6 This just showed how influential posters could be because they made a graphic statement with eye-catching details. Furthermore, that was why posters were effective in the 1960s to introduce the youth of America to the music scene. During the 1960s music and art were closely associated with the counterculture movement and youth culture. For this reason, creative posters and album covers grew

Irving Sander, Art of the Postmodern Era: From the Late 1960s to the Early 1990s (New York: HarperCollins, 1996), 336.

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increasingly more important to draw crowds to concerts to raise cultural awareness. Folk and rock musicians, all gave running commentary through their inspired songs, improvised guitar riffs, and politicized lyrics that augmented an omnipresent revolutionary fervor.
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Soon artists

were needed to make posters and album covers to publicize these events by branching out of the San Francisco music hub, and reach young kids all across America. Wes Wilson was one artist who gained popularity for his work with Bill Graham and the famous Fillmore Auditorium. Graham was the most influential music promoter for the Fillmore, and he would go on to work with the Rolling Stones, Bob Dylan, and Live Aid. 8 While the Fillmore Auditorium was, a revolutionary rock concert hall in San Francisco sought after by all musicians to perform. 9 Wilson became famous for introducing, what is today known as, psychedelic typography to rock posters, as seen in his posters for Grateful Dead, Otis Rush Chicago Blues Band, and Canned Heat Blues Band (left) and Jefferson Airplane, Butterfield Blues Band, and Muddy Waters (right) who performed at the Fillmore.

David S. Rubin, Psychedelic, 42. John Bassett McCleary, The Hippie Dictionary, 218. 9 John Bassett McCleary, The Hippie Dictionary, 179.
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Bands who played at Fillmore, for example, the Grateful Dead and Jefferson Airplane were, Well stocked with electric musical instruments, and elaborate state of the art amplification systems, playing against a backdrop of strobe lights, colored light shows, and enlarged photographic images displayed by multiple slide projectors.12 Therefore, it was inevitable that the posters promoting them would reflect their style of music. Music and art go hand-in-hand when discussing the counterculture movement because they needed each other to keep their momentum and continue to gain popularity in support of societal change. In general, art of sixties was constantly evolving to reflect the changing viewpoints on social norms, current events, and posters were no different. Artists had the desire to stay away from conventional and existing art. The sixties was a time of change, and art needed to change as well. Art of the sixties was different because artists made, a shift from psychology to physicality, from subjectivity to objectivity, from interpretation to presentation, from symbol to

Wes Wilson, BG-51, http://www.wes-wilson.com/?page_id=795, 1976. Wes Wilson, BG-29-OP-2, http://www.wes-wilson.com/?page_id=795, 1966. 12 Nadya Zimmerman, Counterculture Kaleidoscope: Musical and Cultural Perspective on the Late Sixties San Francisco (Ann Arbor: The University of Michigan Press, 2008), 96.
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sign to seeing things as they literally are and saying it like it is, a catchphrase of the sixties.

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Wilson s posters accomplished this with his depiction of women. Usually they were nude, and people could argue his posters were just that, a poster advertising a band by putting a naked woman to grab people s attention. However, since artists were so objective with their work, that only made commentary inevitable. By saying that they were saying nothing, they were in reality saying a lot about American society. Since artists were, Detached, disengaged, neutral, it became a kind of mirror reflecting American life for the good or bad.
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So back to Wilson s

poster of a woman, yes, it is just a woman, but she is sensual, she appears powerful, and free. This could be Wilson s secret hidden message of the poster to glorify women by showing that by joining this counterculture movement, more women can feel liberated. A few years later in 1968, Wes Wilson participated in an interview with Leonard Wolf for his collection Voices from the Love Generation. Wolf made a compilation of interviews from many writers, painters, professors, businessmen, and students from the early and middle sixties. He was a radical in the way that he argued strongly that the youth of America needed to destroy the System that governed the country. Wolf claimed, American life, at almost level, has become unlivable for almost everyone but that mass of people who have become biddable androids in the industrial complex called the United States. Our culture is not for free men because it exacts conformity from us on every hand conformity on dress, in manners, in

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Sandler, American Art of the 1960s, 61. Sandler, American Art of the 1960s, 154.

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thought, in action

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As a result, he incorporated the voices of well-known advocates for the

counterculture movement to reinforce his point. Wes Wilson was one of these voices. Wilson was first asked if he thought sexual norms might change in the future. He replied, Sure. I think it has to do with all kinds of different things, tolerance, different kinds of possibilities for appreciation, the interest in the Kama Sutra, the development of sexuality. The times are so auspicious for major changes. The young people that are coming up now see no reason for the puritanical things that have been going on for a long time.
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This idea was clear

in his posters because of how he portrayed women. He showed the sensual side of women, and how it could be acceptable to be a sexual person. Specifically, in the fifties, people had to suppress their natural urges because that was not the social norm to be overtly sexual, especially for women. Some might argue that Wilson shed a negative light on women in his posters by making them sex objects, but he really just reflected how women were questioning their role in society. Wilson also predicted that the counterculture movement would make a lasting impact on society. He commented, I don t think the system we re living in is going to outlast the hippies. The system will change. The thing that s happening with hippies is a growth, not a static thing. I would say that most of the young people in this country, in ten years or sooner, will be of this kind of morality and system. Most of them
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Therefore, Wes

Wilson was a radical because he saw the counterculture and hippy movement as one that would stay. An aspect of the counterculture movement that made it radical was its open use of drugs. Wilson never kept it a secret that he experimented with drugs, and most of his posters

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Leonard Wolf, Voices from the Love Generation (Boston: Little Brown and Company, 1968), xxv. Leonard Wolf, Voices from the Love Generation, 210 17 Leonard Wolf, Voices from the Love Generation, 210

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had a whimsical kind of background, suggesting being in a hallucination. However, drug use was something that could not be ignored, and as a result, it was expected that it would be present in poster designs. Wilson s psychedelic style soon became so well-known that more established artists, for example Andy Warhol, took notice. Andy Warhol was arguably the most famous, and outspoken artists during the 1960s. Warhol was a printmaker, filmmaker, and manager of the Velvet Underground, his in-house band for his studio. His studio, popularly known as the Factory, had become the epicenter of New York pop culture one of the trendiest gathering places by New York s in crowd. The studio became a party venue for artists and celebrities that was, described as a high sensory environment, distinguished by its mirror-like dcor and the popping flashbulbs of cameras. Warhol decided to take this atmosphere and travel across the US putting on shows with a group of performers called the Exploding Plastic Inevitable, and rock group, the Velvet Underground from 1966-1967. These performances were different from other rock concerts because people did not need to be high on drugs to still have the same experience. David Bourdon, an art critic described the show by, just placing one s closed eyes near a flashing strobe could produce an exhilarating sensation of animated colored patterns.
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Since, Wes Wilson was gaining

popularity with his posters, it was no surprise that he was asked to create a poster advertising one of their shows, as shown below.

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David S. Rubin, Psychedelic, 20.

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Poster art may have been a lower quality of art, but it was still effective at communicating a message to a wide audience. Rock posters were also crucial to the counterculture movement because they created a collaboration between the music and art world that would ultimately bring more people together to support one cause. It even gained more creditability by becoming acknowledged by higher art artists, like Warhol. Andy Warhol was a prominent pop artist, famous for his silk screen process. This sped up the process of making art because the screen acted as a stencil to make many copies quickly, and identically. However, more importantly he was a radical because of his ability to take mundane, everyday objects, and make a bold statement. Critics of the time also agreed that his art was radical because of his mechanical, impersonal technique of utilizing silk-screens.20 Instead of a personal relationship between the artist and his individual brushstrokes on a canvas, he relied on a mechanism to do the majority of the work for him. However, this was a

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Wes Wilson, BG-8, http://www.wes-wilson.com/?page_id=795, 1967. Sandler, American Art of the 1960s, 145

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quality that defined sixties art, and it was referred to as cold art, which basically meant a detachment of feelings when creating art. Artists of the sixties wanted to distinguish themselves from previous artists because, Instead of the hot, dirty, handmade, direct-from-the-self look of the fifties art, sixties art looked cool, clean, mechanistic, and distanced-from-the-self This new art, this art that looked of the sixties whether stain color-field or hard-edge abstract, Pop Art, the New Perceptual Realism, Photo-Realism, Op Art did not appear to take its inspiration from the artists psyche, life experiences, or private visions. 21 Warhol did this better, and to a getter extreme than any other artist with the aid of his silkscreen technique. Very similar to poster making, he made his process more efficient and therefore able to reach his audience quickly. However, it was still considered fine art because it acted as a medium between low and high culture. Pop art in general remained popular, but was not yet to the elite status of art in high culture. This kind of art was perfect for the viewing pleasure of the average American because they witnessed and lived through man of social injustices depicted in paintings. Many of Warhol s prints formed an analysis regarding consumerism, but he also made prints that raised awareness of the civil rights movement. His more well known and popular prints were centered around the common, everyday object that normally would not be considered art or even beautiful. However, this was the second quality that defined art of the sixties. Their art represented the mass produced, common objects rejected by artists previously. Jack Tworkov, a prominent artist from the fifties and abstract expressionist movement, described how there was a sensibility of the sixties: the emphasis on thingness. Similarly, artists and viewers were, on quest for the real, for something tangible to hang on

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Sandler, American Art of the 1960s, 60.

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to.

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This had to do with the changing, radical circumstances surrounding most Americans.

Most Americans at this time were confused. For the first time since the Civil War, the majority of the population was questioning their government and each other what was fair, just, and equal. As a result, art became another tool that people could use to think about and reflect what was right, and what should be done. There was a side to Warhol s art that illustrated a hopeful and positive outlook for America s future. He argued, Pop is a re-enlistment in the world. It is shuck the Bomb. It is the American Dream, optimistic, generous, and nave. Pop is love in that it accepts all the meaner aspects of life. It is the American Myth. For this is the best of all possible worlds.
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His Race Riot print was an example to show how pop art was an effective medium to help raise awareness by showing the meaner aspects of life .

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This particular image was constructive to the counterculture movement because it was another case in point that demonstrated the mistreatment of African Americans, and why equality was
Sandler, American Art of the 1960s, 60-61 Sandler, American Art of the 1960s, 151. 24 Andy Warhol, Race Riot. In Movements in Art Since 1945 by Edward Lucie-Smith, 160. New York: Thanes and Hudson, 1964.
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essential. Television and newspapers were the standard for learning about these kinds of events, but Warhol proved that art could be a valuable resource as well. The art of depicting objects was another one of Warhol s strengths. Objectivity was a major defining characteristic of the sixties, and Warhol did this flawlessly. Artists of the sixties looked for objects, that were brand-new in the sense of being unused and thus devoid of the often picturesque, sentimental, and nostalgic flavor
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Warhol even discussed how he

claimed there was nothing to his prints and, What you saw was what you saw. Nothing more, nothing deeper, nothing other.
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However, here Warhol was playing as devil s advocate

because there really was a heavy, deep meaning in all his painting. By saying that there was not anything, would make people speculate even more. For example, consider his 100 Soup Cans print,

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Sandler, American Art of the 1960s, 145. Sandler, American Art of the 1960s, 61. 27 Andy Warhol, 100 Soup Cans. In Pop Art Redefined by John Russell and Suzi Gablik, 150. New York: Frederick A. Praeger, 1962.
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Objectively, it is just Campbell s Soup replicated one hundred times, but there really is more to it. There is an underlying message about consumerism and the middle class in this print. The interest in material things began in fifties when, an economic boom accompanied by an unprecedented growth of the mass media, notably television, whose primary function it was to advertise the plethora of mass-produced goods. Naturally, there developed a widespread interest in the field of communication.
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Campbell s Soup was a large company that has been

around since 1869 so participating in advertisement helped them continue to grow. The company was and still is associated with selling an inexpensive product to satisfy busy Americans. Therefore, this product was aimed specifically at middle class America, which Warhol picked up on. As a result, this print is a reflection of the conformity that the middle class submitted to, without really knowing it. First, it is just soup, but then it expands to other products they have in their home, what they wear, and how they act. So this print is really taking a jab at the idea of the American dream, and how it really is not a dream to have anymore. Andy Warhol was just one example of how the artist could secretly make social commentary of American society, but as the sixties progressed, more artists became even more radical. Artists became more radical towards the end of the sixties because of their new sense of political involvement being acceptable for artists. However, an important distinction needed to be made, even though they became more politically involved, it did not reflect in their work. Artists continued to stay disconnected from their work to continue the idea of cold art . For example, An artist might burn his draft card or smoke pot and listen to rock music (and many
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Sandler, American Art of the 1960s, 147.

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sixties artists did), become a disciple of some Eastern guru, participate in polymorphous sex, or even use heavy drugs and not reveal any of these practices in his or her work.
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Artists kept

their personal life separate from their professorial life to not interfere the relationship that was established between artist and viewer. They were different from other radical leaders because they did not explicitly tell people what to think or what to do. It would be a more profound experience for the viewer if they came to the same conclusions as the artist on their own. This was important because it allowed Americans to really think critically and analyze the society they lived in. Before 1966, artists did not have an interest of getting involved with politics. Artists never believed it was their place to intervene, Until the war in Vietnam began to exert an irresistible and overwhelming pressure on artists in all the arts. Most of those who began to each day reading a newspaper were filled with loathing and despair. The news made their own work seem trivial and bred a debilitating demoralization and anomie.
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However, some artist

began to realize that their voice was important and people would listen to them. Edward Kienholz, Peter Saul, Leon Golub, and Nancy Spero were all artists who felt deeply moved by society s problems, and broke the rule of cold art . However, their political involvement was not well received by museum officials who had ultimate control over who could see their art. Museums during the 1960s were surprising a place of sexism and racism. Artists were fed up with the lack of communication and consultation between museum officials and the artists. The Art Workers Coalition (AWC) was formed in 1968 to negotiate with museums in favor of improving how artists were treated, as well as their art. AWC composed a list of

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Sandler, American Art of the 1960s, 293. Sandler, American Art of the 1960s, 293.

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thirteen points that they wanted to bring before museum officials at the Museum of Modern to have changed. The points demanded the liberation of women artists (and women generally), black artists, Puerto Rican artists, greater attention given to the cultural life of the ghetto and neighborhood art centers, and allowing anti-war artwork in museums. Another major point they advocated for, was the establishment of a wing for black artists that showed their accomplishments.31 On September 30, 1969 AWC members meet with museum officials to discuss their demands. However, little was accomplished because the museum refused to compromise on the points or give them a wing for black artists. By May 18, 1970 two thousand organizers decided to organize an Artists Strike Against Racism, Sexism, Repression, and War, whose purpose was to close down all New York galleries and museums for one day. Artists and supporters had reached a breaking point after the invasion of Cambodia and the killing of four students at Kent State University. To keep the movement s strength, organizers decided to protest as one large group at a museum for a day. Each day they would demonstrate at a different museum, for a total of five days. The strike went as planned, peacefully with three hundred organizers, however, little was accomplished. This would be AWC s last major antiwar demonstration. In conclusion, artists made a significant impact on American society during the 1960s. First, poster art and music were brought together to promote how drugs were an important component of the counterculture movement. The use of drugs was critical because it became an outlet for young Americans to let loose and break away from the conservative lifestyle of their parents. Wes Wilson s designs brought posters to a new sophistication by interpreting
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Sandler, American Art of the 1960s, 289-299.

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how women were perceived in the counterculture movement as being sensual and powerful beings. Andy Warhol would take influences from posters and bring psychedelic art to a whole new level. He became a major figure in the pop art scene by his depiction of objects and the civil rights movement. More artists became more radical as the decade came to close by publically expressing their political views. Even though they were not successful right away at improving relationships between artists and museum officials, they still brought light to the issue by demonstrating its flaws within the system. Therefore, artists proved to be a radical proponent for social change, even when they had nothing at stake, besides their involvement with museum officials. Artists were never oppressed the same way compared to African Americans, women, or gay and lesbian couples in the sixties. They still made a bold step by calling for social change because it was morally right. Even though they claimed nothing was there, we can all now call their bluff. Bibliography Chalmers, David. And the Crooked Places Made Straight. Baltimore: John Hopkins University, 1991. Gablik, Suzi and John Russell. Pop Art Redefined. New York: Frederick A. Praeger, 1969. Lucie-Smith, Edward. In Movements in Art Since 1945. New York: Thanes and Hudson, 1995. McCleary John Bassett. The Hippie Dictionary. Berkeley, California: Ten Speed Press, 2002. Roskind, Robert. Memoirs of an Ex-Hippie. North Carolina: One Love Press, 2001.

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Rubin, David S. Psychedelic: Optical and Visionary Art since the 1960s. San Antonio Museum of Art, 2010. Sandler, Irving. American Art of the 1960s. New York: Harper and Row, 1988. Sanlder, Irving. Art of the Postmodern Era: From the Late 1960s to the Early 1990s. New York: HarperCollins, 1996. Wilson, Wes. Wes Wilson s Posters. http://www.wes-wilson.com/?page_id=795. Wolf, Leonard. Voices from the Love Generation. Boston: Little Brown and Company, 1968. Zimmerman, Nadya. Counterculture Kaleidoscope: Musical and Cultural Perspective on the Late Sixties San Francisco. Ann Arbor: The University of Michigan Press, 2008.

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Just as the Expressionist art of the forties and fifties had prompted an increase in subjective criticism, the formalist art of the sixties fostered the growth of objective criticism. 43 sandler As early as 1948 Reinhardt introduced his art-as-art philosophy. Called for pure painting in which there is no degree of illustration, distortion, illusion, allusion, or delusion The one thing to say about art is that it is one thing. Art is art-as-art and everything else is everything else 46
60 Why cool art? Detachment from feeling. Ernest Briggs of not blowing your cool . Roy Lichtenstein of apparent impersonality. Ed Ruda Stay cool. Burn Slow. Live Long. 60 Pop Art Pop artists can be thought of as the latest and most extreme in a long line of modern artists who looked to ordinary artifacts and/or popular culture for inspiration. 114 No matter how novel or radical or iconoclastic the Pop artists seemed, they did not challenge the basic conventions of painting that is, the two-dimensional and rectangular canvus 146 Emerged in 1962 Tower for Peace in LA-1966. 292 Still kept personal life and political involvement separate from their art To most sixties artists it did not seem that art could be an effective instrument, not to mention a weapon, to effect social betterment so why bother? 293 1967 Angry Arts in New York a week long protest festival involving six hundred artists 292

Artists intent in reforming museums countered by insisting that the Establishment or the System was monolithic: those who were responsible for the war controlled the museum for their own class interest 296 Most important, it was a good target because it was highly visible and vulnerable and within the artists community and action for social change out to begin in one s backyard, as it were 296 Art said a lot about material things Commented on the war

formation of the

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Artists themselves even got involved politically at the end of the 1960s with the

Film too would be important in spreading the values of the counterculture because of its ability to document real people living an alternative lifestyle. It was also useful because it could be a form of entertainment, but also educate or influence the audience. This essay will focus on the impact that artists made during the 1960s with their new style of art and their political involvement. Artists are not usually thought of first as a major radical leader of sixties, but they were more involved than one would think. Art produced during this time was different compared to previous work because of it objectivity. The artist became completely detached from their work, and only painted an object for what it was, and not what it should be. However, by saying that a piece of artwork did not mean any, was actually saying something. With the emergence of psychedelic poster design and Pop art, artists were able to make social commentary reflecting American society in a positive and negative light.

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