Victor Moscoso 2015 Exhibit

Vic­tor Moscoso
Psy­che­delic Draw­ings, 1967–1982
Curated by Nor­man Hath­away & Dan Nadel
March 6 — April 25, 2015

Spe­cial lec­ture with Vic­tor Moscoso & Nor­man Hath­away: Thurs­day, March 5th, 6:30–8:30 PM

Open­ing recep­tion: Fri­day, March 6th, 6–8 PM with Vic­tor Moscoso

The Andrew Edlin Gallery is excited to announce a ret­ro­spec­tive of draw­ings by Vic­tor Moscoso, one of the pre-eminent graphic artists of the 20th cen­tury, and widely renowned for his 1960s psy­che­delic posters and comics. The gallery will pub­lish a 96-page cat­a­log to accom­pany the exhibition.

This exhi­bi­tion is the first to present the full range of Moscoso’s draw­ings for posters and comics, includ­ing orig­i­nal ren­der­ings for his renowned cover of Zap Comix #4 (1969), the Hocus Pocus story, posters for The Doors and The Who, and other sem­i­nal pub­lished edi­tions. These works, exe­cuted as pro­duc­tion art for printed pieces, reveal Moscoso’s ded­i­ca­tion to expert drafts­man­ship in the ser­vice of graph­ics, as well as a sure and grace­ful approach to draw­ing every­thing from dinosaurs to space­ships to humans.

Vic­tor Moscoso’s impact on the visual cul­ture of the psy­che­delic era belies his mod­ernist train­ing (he stud­ied with Josef Albers at Yale in the late 1950s), which he used to delin­eate images, posters and comics that explore geo­met­ric space, ani­ma­tion, and car­toon icons. In 1966, while liv­ing in San Fran­cisco, Moscoso began design­ing posters for rock shows in the city, and by 1967 had devel­oped his sig­na­ture style, in which oppo­site hues of the same inten­sity sit next to each other to cre­ate a visual “vibra­tion” effect and let­ter­ing is designed for its form instead of func­tion. Moscoso’s let­ter­ing was all hand-drawn; his approach to let­ter­forms gave neg­a­tive space as much weight as the pos­i­tive. This spa­tial con­fu­sion, along with color vibra­tions and Moscoso’s mys­te­ri­ous imagery, made his work instantly recognizable.

Between 1967 and 1970, Moscoso designed over one hun­dred posters for every­one from the Grate­ful Dead to Jimi Hen­drix to Allen Gins­berg. In doing so, he rev­o­lu­tion­ized the worlds of graphic design, typog­ra­phy, and rock ‘n’ roll imagery. In 1968, Moscoso was invited by Robert Crumb to join him in Zap Comix. Moscoso’s abstract and lyri­cal comics debuted in issue 2 and he has remained a dri­ving force of the Zap col­lec­tive through to its final iter­a­tion, a 2014 “Com­plete Zap Comix” box set that sold out imme­di­ately upon its release.

Vic­tor Moscoso was born in La Coruña, Spain in 1936, and moved to Brook­lyn in 1940. He attended the New York High School of Indus­trial Art and then Cooper Union and Yale Uni­ver­sity, where he earned a BA in 1959. He com­pleted a master’s degree at the San Fran­cisco Art Insti­tute in 1961. Moscoso, who resides in Marin County, Cal­i­for­nia, has also com­pleted album cov­ers, bill­boards, ani­ma­tions and posters for artists includ­ing Jerry Gar­cia, Primus, Her­bie Han­cock, The Who and many oth­ers. His work is in the per­ma­nent col­lec­tions of the Museum of Mod­ern Art (New York), The Cooper Hewitt Smith­son­ian Design Museum (New York), the Vic­to­ria and Albert Museum (Lon­don), The Brook­lyn Museum of Art, the Library of Con­gress (Wash DC), the San Fran­cisco Museum of Mod­ern Art, The Lou­vre (Paris), the Whit­ney Museum of Amer­i­can Art (New York), and the Tate Mod­ern (London).

Nor­man Hath­away is a graphic designer, design his­to­rian, and lec­turer. He is the author of Over­spray: Rid­ing High with the Kings of Cal­i­for­nia Air­brush Art and co-author (with Dan Nadel) of Elec­tri­cal Banana: Mas­ters of Psy­che­delic Art and Dorothy and Otis: Design­ing the Amer­i­can Dream.

Dan Nadel is a writer and cura­tor whose most recent exhi­bi­tion What Nerve: Alter­na­tive Fig­ures in Amer­i­can Art, 1960 to the Present was pre­sented at the RISD Museum in Prov­i­dence, RI. He is the author of books includ­ing Art Out of Time: Unknown Comics Vision­ar­ies and co-author (with Nor­man Hath­away) of Elec­tri­cal Banana: Mas­ters of Psy­che­delic Art and Dorothy and Otis: Design­ing the Amer­i­can Dream.


Andrew Edlin Gallery 134 Tenth Avenue, NYC

FD-61 Butterfly Lady by Victor Moscoso

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When Art Rocked Panel Discussion and Reception at SFO

Have you been out to San Fran­cisco Inter­na­tional Air­port yet to see “When Art Rocked: San Fran­cisco Music Posters, 1966 — 1971″? Well, if the 162 posters and 100 or so post­cards and hand­bills on dis­play there are not enough to entice you, how about a free panel dis­cus­sion and recep­tion with some of the artists in the show? That’s what’s hap­pen­ing on Sat­ur­day Feb­ru­ary 21 at 3pm, when SFO will host an after­noon devoted to late-1960s rock posters at its Avi­a­tion Museum and Library, located in the Inter­na­tional Ter­mi­nal, just steps away from the “When Art Rocked” exhi­bi­tion itself. The panel will fea­ture artists Stan­ley Mouse, Vic­tor Moscoso, Lee Con­klin, and David Singer —“When Art Rocked” guest cura­tor and TRPS vice-president Ben Marks will attempt to mod­er­ate. After the panel, vis­i­tors will be invited to hang around, sip and snack, and check out the exhibition.

Space is lim­ited, and park­ing will be val­i­dated, so RSVP today! Sim­ply send an email to curator@flysfo.com or call 650–821-6783.

For direc­tions, visit www.flysfo.com

To learn more about the show, visit SFO Museum, or read the arti­cle Ben wrote on Levon Mos­gofian, whose com­pany, Tea Lautrec Litho, printed most of the posters for Bill Gra­ham back in the day.

Pictures from TRPS Festival of Rock Posters 2014

On November 6, 2014, in Photos, by Dire Wolf

Thank you to all the peo­ple who joined us on Octo­ber 25, 2014 at the Hall of Flow­ers (San Fran­cisco County Fair Build­ing) in Golden Gate Park for our annual cel­e­bra­tion The Fes­ti­val of Rock Posters with some of the most tal­ented artists around the coun­try, and across the pond!

TRPS Festival of Rock Posters 2014 poster by Lauren YurkovichThis year was our best yet, with a record num­ber of vis­i­tors thanks to your par­tic­i­pa­tion! Thank you for com­ing out and sup­port­ing the arts.

We hope you enjoy these pic­tures taken at the event by Loretta Baraona.

Dates for the 2015 Hall of Flow­ers will (hope­fully) be announced soon! Watch this space for details or join our mail­ing list to stay in the loop. (sign up at the sidebar)

If you have any feed­back or com­ments about this year’s event, please send them to us using our con­tact page. Thank you!

When Art Rocked: San Francisco Music Posters

When Art Rocked:

San Fran­cisco Music Posters 1966–1971

Inter­na­tional Ter­mi­nal
Depar­tures — Level 3 — Pre-Security
Sep­tem­ber 2014 — March 2015

From 1966 to 1971, an unprece­dented quan­tity of extra­or­di­nary graphic art was pro­duced in the San Fran­cisco Bay Area. This resulted from the demand for posters, hand­bills, and fly­ers adver­tis­ing rock con­certs in San Fran­cisco. The two main patrons of this pro­lif­er­a­tion of posters were Bill Gra­ham — who pro­moted con­certs at the Fill­more and Chet Helms, leader of an orga­ni­za­tion called the Fam­ily Dog, which pro­duced con­certs at the Avalon Ballroom.

Big Five SF Poster Artists, 1967Poster artists were often inspired by Art Nou­veau mas­ters such as Alphonse Mucha whose blocky let­ter­ing was made psy­che­delic by Wes Wil­son. Alton Kel­ley and Stan­ley Mouse were fur­ther drawn to adver­tis­ing art and appro­pri­ated images. Mouse and a South­ern Cal­i­for­nia artist named Rick Grif­fin were also infat­u­ated with the art­work that grew out of hot-rod car cul­ture. Vic­tor Moscoso, on the other hand, cre­ated posters that nearly vibrated before the viewer’s eyes.

This exhi­bi­tion fea­tures over 150 posters cre­ated by these five artists along with many lesser-known artists who designed posters for shows at the Fill­more and Avalon fea­tur­ing bands such as the Grate­ful Dead, Jef­fer­son Air­plane, and the Thir­teenth Floor Elevators.

Guest cura­tor Ben Marks is the Senior Edi­tor of CollectorsWeekly.com and the Vice-President of The Rock Poster Soci­ety, whose mem­bers kindly loaned all of the posters, post­cards, hand­bills, tick­ets, and other ephemera for this exhibition.

View the exhi­bi­tion online.

When Art Rocked is located pre-security in the Inter­na­tional Ter­mi­nal Main Hall Depar­tures Lobby, San Fran­cisco Inter­na­tional Air­port. The exhi­bi­tion is on view to all Air­port vis­i­tors from Sep­tem­ber 29, 2014, to March 22, 2015. There is no charge to view the exhibition.

About SFO Museum

SFO Museum was estab­lished by the Air­port Com­mis­sion in 1980 for the pur­poses of human­iz­ing the Air­port envi­ron­ment, pro­vid­ing vis­i­bil­ity for the unique cul­tural life of San Fran­cisco, and pro­vid­ing edu­ca­tional ser­vices for the trav­el­ing pub­lic. The Museum was granted ini­tial accred­i­ta­tion from the Amer­i­can Asso­ci­a­tion of Muse­ums in 1999, reac­cred­ited in 2005, and has the dis­tinc­tion of being the only accred­ited museum in an air­port. Today, SFO Museum fea­tures twenty-five gal­leries through­out the Air­port ter­mi­nals dis­play­ing a rotat­ing sched­ule of art, his­tory, sci­ence, and cul­tural exhi­bi­tions, as well as the San Fran­cisco Air­port Com­mis­sion Avi­a­tion Library and Louis A. Turpen Avi­a­tion Museum, a per­ma­nent col­lec­tion ded­i­cated to the his­tory of com­mer­cial avi­a­tion. To browse cur­rent and past exhi­bi­tions, research our col­lec­tion, or for more infor­ma­tion, please visit www.flysfo.com/museum.

When Art Rocked: San Francisco Music Posters

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