San Francisco rock posters, 1965-1971
| dc.contributor.author | Tomlinson, Sally Anne | en_US |
| dc.date.accessioned | 2024-08-15T20:09:36Z | |
| dc.date.available | 2024-08-15T20:09:36Z | |
| dc.date.copyright | 1991 | en_US |
| dc.date.issued | 1991 | |
| dc.degree.department | Department of History in Art | en_US |
| dc.degree.level | Master of Arts M.A. | en |
| dc.description.abstract | From 1965 to 1967, members of the Haight-Ashbury community in San Francisco formed a set of ideals which today are considered representative of Sixties youth. Their opinions on the American military involvement in Vietnam and their resistance to authority in general, along with the upheaval of society which their lifestyle represented, created a model for youthful emulation across the country. The San Franciscans organized get-togethers where experimental music, dance movement, color, and the effects of psychotropic drugs were celebrated. Even before the term "hippie" had been coined, the San Francisco dance concerts were the cradle of hippie society. And the posters created to advertise the early gatherings helped to shape and to promote the interests and ideals of this social group. The initial series of rock posters did not terminate with the abandonment of the Haight-Ashbury community in 1967, however. In 1968, concert poster imagery reflected the head-on collision between the hippie ideals of peace and love and the reality of increasing violence in America. The posters created between 1968 and 1971 reflect the mood of despair during the transitional period between "flower power" and the time of facing issues which were shaking the foundations of American society. A careful examination of the course of rock poster art from 1965 to 1971 reveals that the later posters acknowledged young people's awareness of widespread drug abuse and other disturbing issues, such as environmental pollution, which were just then coming to light. For the last two decades, the posters which were identified with the outdated hippie subculture and with the era which immediately followed, were, like the cultural periods they represented, largely forgotten. More recently, however, authors and media representatives have turned their attention to the Sixties decade. As a result, our fascination with the personalities and with the music of that period is being rekindled. More than nostalgia, our looking back has involved a re-evaluation of the idealistic philosophy which was then so prevalent. Since the Haight-Ashbury community is an integral part of that decade's history, enthusiasm for it and for the early concert posters is also on the rise. The recent inclusion of the so-called "psychedelic" posters in several books on poster art is evidence that their impact on the history of modern poster art is beginning to be evaluated. | |
| dc.format.extent | 302 pages | |
| dc.identifier.uri | https://hdl.handle.net/1828/19925 | |
| dc.rights | Available to the World Wide Web | en_US |
| dc.title | San Francisco rock posters, 1965-1971 | en_US |
| dc.type | Thesis | en_US |
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