From the West Coast Psychedelia and Acid Rock group comes news of a very cool art exhibition in Liverpool, UK this spring. Check this out:
Summer of Love is a ground-breaking exhibition which reveals the unprecedented exchanges between contemporary art, popular culture, civil unrest and the moral upheaval during the 1960s and early 70s. The art and culture of the psychedelic period constitutes one of the most exciting but also much neglected phenomena of the twentieth- century. Moving beyond a purely nostalgic reception, Summer of Love attempts to uncover this forgotten and repressed aesthetic that continues to exert an increasingly powerful influence on many contemporary artists. The exhibition reconstructs the original creative and utopian potential of psychedelic art and locates it within the wider cultural and political context of the 1960s and early 70s, presenting it as an international phenomenon with works from the UK, United States, Europe and Japan. It demonstrates how artists were deeply entrenched in popular culture, influenced by the mind-altering effect of drugs and participated in counter-cultural activities. The inclusion of psychedelic art created by major figures such as Andy Warhol and Yayoi Kusama illustrates the critical role of psychedelia within the contemporary aesthetic discourse, providing a complex and more comprehensive picture of the art and culture of the 1960s.
The psychedelic aesthetic manifested itself in all aspects of cultural production, ranging from art, music and film to architecture, graphic design and fashion. Summer of Love presents a rich selection of over 150 important posters, album covers and underground magazines, in particular from the San Francisco and London scenes. The exhibition includes paintings, photographs and sculptures by, amongst others, Isaac Abrams, Richard Avedon, Lynda Benglis, Harold Cohen, Richard Hamilton, Robert Indiana (his celebrated Love signs), Richard Lindner and John McCracken. Numerous long-neglected artists are represented with rarely seen or specially reconstructed works and installations. Major environments include Mati Klarwein’s New Aleph Sanctuary 1963-71, which brings together many of his motifs (which he also used in his designs for Santana album covers) in a spectacular installation. Vernon Panton’s colourful and amorphous furniture landscape tell of utopian visions of liberated and relaxed living.
A special emphasis is placed on environments as well as film, video and multimedia installations, replicating the total experience of psychedelic light shows and music performances. Andy Warhol appropriated the use of light shows and film and slide projection for the Exploding Plastic Inevitable and Velvet Underground. Major film installations include a room with multiple projections of the Boyle Family’s films, first used in light shows for the psychedelic band The Soft Machine and a liquid crystal projection by Gustav Metzger. The medium of film is integrated into the exhibition through large-scale projections and an accompanying film programme with underground, experimental and mainstream films. Films presented in the exhibition include works by Lawrence Jordan, Stan Vanderbeek, Andy Warhol, James Whitney, Jud Yalkut and Nam June Paik.
The emergence and flowering of psychedelic art coincided with one of the most revolutionary and tumultuous periods of the twentieth century. The art in the exhibition is contextualised through a wealth of documentary material, highlighting the events, people and places in four centres of countercultural activity: San Francisco, New York, London and Liverpool. The sections include photographs, films of concerts, light shows and places such as the UFO nightclub in London and the Human Be-In in San Francisco, featuring Allen Ginsberg and Timothy Leary. The underground press, emerging during the 1960s as an instrument of alternative communication and democratisation, is represented through Oz magazine, International Times, East Village Other and The San Francisco Oracle and many other publications and documents. Providing an intriguing picture of a period in fundamental moral and political upheaval, they are also testament to an extraordinary burst of creativity and revolution in design and printing techniques.
Summer of Love: Art of the Psychedelic Era will tour to the Kunsthalle Schirn Frankfurt from 2 November 2005 – 12 February 2006.
A strikingly designed and fully illustrated catalogue examining art, posters, film and music will be available alongside the Summer of Love Reader, published by Liverpool University Press, which is an in- depth authorative look at the underground movements.
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CBGB’s, the launchpad for everybody from the Ramones to Television to Blondie is closing its doors on Sunday for good and possibly decamping to Vegas. Is it just me but does that sound just plain wrong? Anyhow, Sunday will be it’s last day as a rock club. It certainly will maintain its place as a legendary rock and roll venue along with places like the Filmores. Little Steven tried to keep it going but to no avail. Have a toast on Sunday to another rock and roll institution gone but never forgotten.
I have always been fascinated with rock and roll history, especially the "psychedelic years" that started in 1965-66 and ended somewhere around 1968-69. One of the stories that has always fascinated me was that of the Red Dog Saloon, that psychedelic cowboy bar where the Charlatans were the house band. Operating for one summer in 1965, I have always found it difficult to get more than some passing info on this slice of rock and roll history. 
A new star-studded group has been formed to save the New York rock and roll landmark 
Memory Lane - The Hippies (Formerly The Tam)
