Our good friend Adam Hirschfelder from the California Historical Society has kindly alerted us to this cool opportunity for rock poster artists interested in creating Summer of Love-themed images for 36 bus kiosks on Market Street in San Francisco. Their work will be on Market for three months in 2017, during the 50th anniversary of this watershed cultural event. Artist will be paid to create six designs, each of which will be printed at 68 inches high by 47 ¼ inches wide. Above is an image by Robert Minervini from 2015. The application deadline is June 6, 2016, but there’s lots more information at sfartscommission.org.
On Wednesday, April 20, 2016, Moonalice will be hosting their annual 420 Gathering of the Tribe celebration at Slim’s in San Francisco. This spring themed event is sure to please with music by opener Doobie Decibel System Band (Jason Crosby, Roger McNamee, Pete Sears, Dan “Lebo” Lebowitz & Jay Lane) and includes a special poster show highlighting the Moonalice and Doobie Decibel System series.
Poster fans will appreciate the $10 ticket price which includes a FREE set of 21 posters commemorating the event. The special set include art by: Lee Conklin, David Singer, Lauren Yurkovich, Darrin Brenner, Carolyn Ferris, Dennis Larkins, Gregg Gordon, John Mavroudis, Dennis Loren, Jason Wilson, John Seabury, Stanley Mouse, Patricia & George Sargent, Dave Hunter, Jennaé Bennett, Christopher Peterson, Wes Wilson, Winston Smith, Prairie Prince, Ron Donovan & Chris Shaw.
Slim’s 333 11th St, San Francisco
As someone who has been guilty of grouping great numbers of rock posters together for an exhibition, the following may sound like the pot calling the kettle black. But to my eye, it looks like the curators at MOMA in New York just barfed up as much stuff as they could onto a wall of their current “From the Collection: 1960-1969” exhibition, as this photo from the New York Times shows. I’m trying to imagine the curators giving a similar Tetris treatment to a collection of pieces by Alphonse Mucha and Jules Cheret, but I cannot. Here, head-shop posters by Joseph McHugh are crammed next to pieces by Michael English, Hapshash and the Coloured Coat, Bonnie MacLean, Victor Moscoso, Wes Wilson, Bob Schnepf, Bob Fried, John Myers, Gary Essert, and Alton Kelley and Stanley Mouse. I suppose we should be grateful that MOMA is not being willfully blind to the importance of this work in the 1960s, but this presentation seems to indicate that the institution still does not know what to do with it.
One of the best known players in the music world during the 1960s, ’70s, and ’80s was Bill Graham (1931-1991), whose life and work is the subject of an exhibition titled “Bill Graham and the Rock & Roll Revolution.” Organized by the Skirball Cultural Center in Los Angeles, the show is on view through July 5, 2016, at the Contemporary Jewish Museum in San Francisco.
What makes the exhibition so moving is not its collection of rock posters from the Fillmore, Winterland, Fillmore West, and Fillmore East. Nor will gallery-goers be surprised by the photographs of Graham hobnobbing with everyone from Mick Jagger to Janis Joplin. That stuff is definitely fun to see, but “Bill Graham and the Rock & Roll Revolution” is special for the insight it gives us into the man himself—from his extraordinarily difficult childhood in Germany (his father died the year he was born; his mother died on a train bound for the Nazi concentration camp at Auschwitz, where his 13-year-old sister died), to the charitable and civic-minded causes that consumed so much of his adult life. Indeed, it’s the Jewishness of Graham, who Peter Coyote once described as “a cross between Mother Teresa and Al Capone,” that comes through most via the almost 400 objects in the show, revealing the motivations that drove this deeply passionate man.