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Hippie Modernism examines the art, architecture and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner and John Whitney; posters and prints by Emory Douglas, Corita Kent and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog; books by Marshall McLuhan and Buckminster Fuller; and much more.
While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including: Gerd Stern of USCO; Ken Isaacs; Gunther Zamp Kelp of Haus-Rucker-Co; Ron Williams and Woody Rainey of ONYX; Franco Raggi of Global Tools; Tony Martin; Clark Richert and Richard Kallweit of Drop City; as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life.
- Sales Rank: #58256 in Books
- Published on: 2015-11-24
- Original language: English
- Number of items: 1
- Dimensions: 1.30" h x 9.40" w x 11.80" l, 4.30 pounds
- Binding: Paperback
- 448 pages
Review
In its exploration of counterculture, Hippie Modernism: The Struggle of Utopia brings together designs for alternate communities…the mind-expanding prototypes anticipate the themes of ecology, recycling, immersive environments and audience participation which are so prevalent in the art world today. (Hilarie M. Sheets W Magazine)
About the Author
Esther Choi, a multidisciplinary artist and writer, is Assistant Professor in the Departments of Criticism and Curatorial Practices, Photography, and the Interdisciplinary Masters in Art, Media, and Design Program at the Ontario College of Art and Design.
Alison Clarke is at the University of Applied Arts, Vienna.
Most helpful customer reviews
8 of 8 people found the following review helpful.
Great investigation
By Jules
I was very disappointed to read a previous one star review judging the book for having too much content... this is an excellent book if you expect to learn something about the spirit of the times and how it influenced design thinking. If you want to know where architecture, art, design, and counterculture overlap and how it happened, this is the book for you. It gave me a lot of clarity on why pneumatics got so darn popular, among many other topics! I loved the design of the book as well especially with the section breaks using uniquely textured paper. Overall intellectually exciting, visual pleasing, and insightful volume!
2 of 2 people found the following review helpful.
Insightful and original
By Mike Kuniavsky
Fantastic collection of thought and original research, presented with the same mix of humor and insight as the original source material. The amount of text was just right for me.
1 of 14 people found the following review helpful.
Might work well as a doorstop
By SD Thurber
This catalog was a disappointment. Entirely too heavy. Too much text. Too few photos. I was hoping for something more visually appealing. If you are a theory head, you may love this catalog but, as an artist, I like to look at pictures with the text as sidebar. I am deeply interested in this topic and was drawn in by the cover which is great. I also have to admit that I am a lover of beautiful books. For me, the design of the book got in the way. It was all printed on a flat industrial paper which could have worked if the designer hadn't been trying so hard to make it feel like it hadn't been designed . I understand the choice of paper. I am sure that the posters and flyers of the day influenced it along with a desire for the publication not to feel too precious since the topic didn't lend itself to an overly sumptuous cocktail table kind of book. Maybe if the pictures that were in it were set off somehow? Maybe a light matte gloss on them to set them apart? It is entirely possible that the design was meant to echo the chaotic and creative feel of the times. In that way I get it but that feel can be conveyed without throwing visual literacy out the window. I recently picked up the Black Mtn Catalog for the ICA Boston show and it was perfect. I only mention this because the topics although not the same do have some similarities.... they both describe times of great creative upheaval. It is entirely possible that I am too long in the tooth to appreciate a book like this but I was so excited to get it and couldn't find my way into it. It immediately went back the way it came.
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