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Legendary impresario Bill Graham began in January 1966 to commission posters to promote the concerts he was putting on at San Francisco’s Fillmore auditorium. The poster artists followed the revolutionary mandate of the sixties consciousness, creating vivid, irreverent banners that reflected their own sense of poetics, style, and wit. What resulted were signature juxtapositions of design, lettering, and color that spawned a brand new art form. Their muse was the cosmic synergy that then abounded, fueled in part by LSD. These posters have since come to occupy a place in art history while surviving priceless artifacts of rock archeology. Published in cooperation with Bill Graham Presents, this is an intoxicating compendium of the funkiest posters of the century. Highlighted in this unique, lavishly printed full-color volume are the original numbered and unnumbered series created exclusively for the San Francisco and New York Fillmore dance concerts. The more than 400 hand-drawn posters, handbills, tickets, and photographs feature art by Wes Wilson, Bonnie MacLean, Stanley Mouse, Alton Kelley, Rick Griffin, Lee Conklin, Greg Irons, Randy Tuten, David Byrd, David Singer, and Norman Orr.
Harlem of the West reveals a forgotten slice of San Francisco history and the African-American experience on the West Coast: the thriving jazz scene of the Fillmore in the 1940s and 1950s. With archival photographs and oral accounts from the residents and musicians who experienced it, this vividly illustrated tour will delight jazz fans and history aficionados.
The national best-selling autobiography of Bill Graham, the colorful, larger-than-life architect of the modern concert industry
From 1909 until the late 1920s, the Wetherill-Colville Guest Ranch in Kayenta, Arizona, was the primary stopover for writers, geologists, archeologists, adventurers, and tourists visiting Monument Valley and the Tsegi Canyon ruins. The artists who visited Kayenta during the early twentieth century included some of the most well known names in the American Southwest. See their paintings, illustrations, and photos of this beloved Southwest region. In addition, you will find full page guest registry entries illustrated by artists such as Maynard Dixon, William Robinson Leigh, James Swinnerton, Carl Oscar Borg, and Gunnar Widforss. The guest book serves as the archival record of those hardy individuals who ventured to the place that was, according to Dixon, "a long ways from anywhere, in any direction." Using over 390 enthralling illustrations and engaging text, this book explores the similarities and differences in the lives, artistic styles, and beliefs of the men and women who considered northern Arizona their favorite region.
The Rat Bastard ProtectiveÊAssociation was an inflammatory, close-knit community of artists who livedÊand worked in aÊbuilding they dubbed Painterland in the Fillmore neighborhood of midcentury San Francisco. The artists who counted themselves among the RatÊBastardsÑwhich included Joan Brown, Bruce Conner, Jay DeFeo,ÊWallyÊHedrick, Michael McClure, and Manuel NeriÑexhibited a unique fusion of radicalism,Êprovocation, and community. Geographically isolated from a viable art market and refusingÊto conform to institutional expectations, theyÊanimated broader social andÊartistic discussions through their work and became aÊtransformative part of American culture over time. Anastasia Aukeman presents new and little-known archival material in this authorized account of these artists and their circle, a colorful cultural milieu that intersected with the broader Beat scene.
From the Allman Brothers Band to Frank Zappa, and through the interweaving lives of Bill Graham, Janis Joplin, Grace Slick, and Carlos Santana, author John Glatt chronicles the story of the 1960s’ rock music Colossus that stood astride the East and West Coasts—Graham’s twin temples of rock, the Fillmore East and Fillmore West.
The psychedelic rock poster is one of the most explosively inventive, instantly recognisable, and profoundly influential aesthetic movements of the last century. The poster art that gave visual life to the amazing music that sprang up across the Bay Area from 1965 to 1970 lives on in 'Dreams Unreal'.
The "Art of the Dead" showcases the vibrant, charismatic poster art that emerged from the streets of San Francisco in 1964 and 1966. It traces the cultural, political, and historical influences of posters as art back to Japanese wood blocks through Bell Epoque, on to the Beatniks, the Free Speech Movement, and the Acid Tests. Featuring interviews and profiles of the key artists, including Rick Griffin, Stanley "Mouse" Miller, Alton Kelley, Wes Wilson, and Victor Moscoso. The book uses Grateful Dead as the vehicle to tell the story of poster art as The Dead were the band that ultimately proved to be the most substantive and engaged partner for the artists and hence featured the best art of any rock 'n' roll band ever. The book will follow a chronological evolution of the art from the band's origination in 1965 through Jerry Garcia's death in 1995.
Professor Robert J. Rayback’s history of Millard Fillmore is still the best biography of the 13th President of the United States. In one of the many unexplained, unfortunate quirks of history, most of the official papers of Fillmore’s administration were destroyed by his son. Scholars have consequently been denied the source material which is so essential to examining and gaining insight into the underlying truth of a Presidency. Regarding Fillmore, the few records that do survive can only be compiled piecemeal, a laborious task which few have had the stamina to undertake. Thus is the historical importance of Robert J. Rayback’s authoritative biography, which gives documented substance to Fillmore and his three years in office. Thoughtful and objective, Rayback’s balanced portrayal lauds Fillmore’s astuteness, as in sending Matthew Perry to open Japan to trade, and assays his faults, such as agreeing to run on the “Know Nothing” ticket in 1856. We see, as John Lord O’Brian, former regent of the University of the State of New York noted, “a devoted patriot who in all activities sought guidance from his own conscience during the critical events of the mid-nineteenth century.” Julius Pratt of the University of Buffalo concludes from the book that “without Fillmore there could have been no Lincoln.”-Print ed.