Art Poster

Don´t miss the great psychedelic poster art show at Form Design Center in Malmö/Sweden (25 nov – 29 jan 2012). Funky posters from the end of the 60´s and the San Francisco area from artists such as Rick Griffin, Alton Kelley, Wes Wilson and Stanley Mouse.


Artist Nigel Waymouth’s mind expanding poster work of the 1960s is set to fill the Idea Generation Gallery in the retrospective, Hapshash Takes A Trip, in London next month Waymouth formed the creative partnership, Hapshash and the Coloured Coat, with fellow designer Michael English and the studio went on to create some of the high points of British psychedelia in their work for events and concerts, in particular for the famous UFO Club in London. The pair met in 1966 when both were involved in creating murals for shops. English was working on the shopfront of Hung On You, while Waymouth was creating the exterior art for his boutique Granny Takes A Trip, on London’s Kings Road, which he had opened with artists John Pearse and Sheila Cohen. A year later Hapshash was formed.

Joe Boyd, owner of the UFO Club, acknowledged the example being set in San Francisco where clubs and venues would commission artists to make posters for upcoming gigs; the screenprints were also frequently given away to audience members on the night. Many of the posters were designed to be largely illegible to those not prepared to stand and read them – thus the artists could get away with including explicit elements, subversive codes and messages. This of course carried within it an implicit feature of the modern rock poster: if you can’t decipher it, it’s probably not for you.

The Idea Generation show, entitled Hapshash Takes A Trip, will incorporate several pieces from Waymouth’s own archives and, in addition to the Hapshash posters, will feature original acetates, drawings, album covers, photographs and mementos. The exhibition opens on September 9 and runs until October 2 at the Idea Generation Gallery, 11 Chance Street, London E2 7JB. More at (via Creative Review)

Reg Mombassa is the pseudonym of Chris O’Doherty, a New Zealand born artist and musician. Resident in Australia, he is as well known there for his musical exploits — founder and former member of the popular Australian band Mental As Anything and member of Dog Trumpet (alongside his brother Peter O’Doherty) – as he is for his art. Worldwide, he is perhaps better known for his irreverent designs for surfwear company Mambo Graphics many of which were later adapted for use in a segment of the Sydney 2000 Olympics closing ceremony. In Reg’s words he is inspired by “the wind, semi-professional birthday clowns, heavy machinery and the behavior of domestic animals”. He is married with three children and lives in the Sydney suburb of Glebe.

Mombassa was born Christopher O’Doherty in Auckland, New Zealand on 14 August 1951. O’Doherty, his parents and younger brother Peter immigrated to Sydney, Australia in 1969. He enrolled in what is now the National Art School in Darlinghurst in 1969 but left the following year. He returned again in 1975 and obtained his Diploma of Painting in 1977. Between his stints at college and whilst there he supported himself with menial jobs such as builder’s labouring, cleaning, house painting and working on the railways. In 1976 he formed the rock band Mental as Anything with four fellow art school students ostensibly to play art school parties. Whilst never intending to be a serious band, the Mentals, as they became known, eventually turned professional (after Mombassa’s graduation from college) and went on to become one of Australia’s most popular bands, touring widely in Australia and overseas.

Mombassa’s artwork is in two distinctive styles. The type of artwork he designs for Mambo — almost cartoonish and in vivid colours, incorporating religious, political and popular culture themes — is probably the style he is most widely known for. However his landscapes and portraits, many of which are inspired by his childhood in New Zealand, are equally as sought after. His artworks can be found in the Art Gallery of New South Wales, the National Gallery of Australia and other important regional galleries. The late Patrick White, Elton John and Ewan McGregor have all famously purchased his work.

Mombassa’s first public showing was in a group exhibition held at Watters Gallery in Sydney in 1975 whilst he was still attending art college. It was at this exhibition that Patrick White purchased some works and subsequently became a patron, purchasing many others over his life. He first exhibited solo at Watters in 1986, the year he also began designing clothing for Mambo. His works were exhibited in three Mental as Anything collective exhibitions in 1982, 1990 and 1998. Further solo shows were held at Watters in 1991, 1993, 1995 and 1998. Alongside posters, record covers and merchandise for Mental As Anything and Dog Trumpet, he has designed record covers for the likes of PIL, Crowded House, Mondo Rock and Paul Kelly. He has gifted artwork to many charitable and environmental organisations including Greenpeace and The Wilderness Society. As Mombassa’s artistic output and demand increased it prompted him to make the difficult decision to cease touring with the Mentals in April 2000. He has continued to design for Mambo and hold sellout exhibitions at Watters in 2001, 2003, 2005, 2007 and 2009.

In January 2007, a career retrospective of his work was held in Sydney at the S. H. Ervin Gallery. An 80 page catalogue was released by the National Trust to coincide with this exhibition. It also saw the release of “Golden Sandals” directed by Haydn Keenan, a documentary on Mombassa featuring animated versions of his artwork. In March 2007 his self-portrait was selected as a finalist in the Archibald Prize. 2 May 2007 saw the broadcast of “Golden Sandals” on SBS independent Australia. One of his most famous works was “Self-Portrait with Spots and Veins” (2003) He was also featured on the ABC TV profile show Talking Heads. In 2009 he was featured on BBC TV’s Peschard’t People. In November 2009 Harper Collins released a biography by Murray Waldren called “The mind and times of Reg Mombassa”, which includes over 200 art works.

In the early days of the Mentals, the band would often invent pseudonyms for each other that combined an exotic lastname with a common Australian firstname. “Reg Mombassa” was one of the products of that amusement. It is unknown if the extra “s” in Mombasa was deliberate or not. He has stated in interviews that some of his earlier pseudonyms included “Brett Orlando” and “Dorky Bladder”.

In 1991, Mombassa formed the band Dog Trumpet with his brother Peter O’Doherty. Since leaving the Mentals this has been his sole musical outlet. Dog Trumpet has released five studio albums and two EPs. The band’s latest album, River of Flowers was released in May 2010.

In 1987, with Peter, Martin Plaza and members of GANGgajang, he recorded a country music album credited to The Stetsons. Reg also supplied the iconic lead guitar in GANGgajang’s 1985 hit The Sounds Of Then. He has also appeared in a number of small Australian films, including Tender Hooks (1989), Strange Planet (1999) and Love’s Brother (2004). (via Wikipedia)

“Skulls”, 1976 print series by Andy Warhol.

From the Malmoe based ad agency Guts & Glory we get this nice simple retro packaging design and print poster.

Solid idea. Japan needs us.

Halifax visual artist/designer James White, online as Signal Noise, has been busy printing copies of his poster, “Help Japan”, in response to charity-related orders in the cause of quake victims in Japan. Proceeds have gone to the Canadian Red Cross. The poster deal was promoted on White’s blog, sold out at the Signalnoise Store, with hints of a reprint to come. (via The Inspiration Room)

Aleksander Mikhailovich Rodchenko (5 December 1891 – December 3, 1956) was a Russian artist, sculptor, photographer and graphic designer. He was one of the founders of constructivism and Russian design; he was married to the artist Varvara Stepanova.

Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or below—to shock the viewer and to postpone recognition. He wrote: “One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again.”

Rodchenko was born in St. Petersburg to a working class family. His family moved to Kazan in 1909, after the death of his father at which point he studied at the Kazan School of Art under Nikolai Feshin and Georgii Medvedev, and at the Stroganov Institute in Moscow. He made his first abstract drawings, influenced by the Suprematism of Kazimir Malevich, in 1915. The following year, he participated in “The Store” exhibition organized by Vladimir Tatlin, who was another formative influence in his development as an artist. Rodchenko was appointed Director of the Museum Bureau and Purchasing Fund by the Bolshevik Government in 1920. He was responsible for the reorganization of art schools and museums. He taught from 1920 to 1930 at the Higher Technical-Artistic Studios.

In 1921 he became a member of the Productivist group, which advocated the incorporation of art into everyday life. He gave up painting in order to concentrate on graphic design for posters, books, and films. He was deeply influenced by the ideas and practice of the film-maker Dziga Vertov, with whom he worked intensively in 1922. Impressed by the photomontage of the German Dadaists, Rodchenko began his own experiments in the medium, first employing found images in 1923, and from 1924 on shooting his own photographs as well. His first published photomontage illustrated Mayakovsky’s poem, “About This”, in 1923.

From 1923 to 1928 Rodchenko collaborated closely with Mayakovsky (of whom he took several striking portraits) on the design and layout of LEF and Novy LEF, the publications of Constructivist artists. Many of his photographs appeared in or were used as covers for these journals. His images eliminated unnecessary detail, emphasized dynamic diagonal composition, and were concerned with the placement and movement of objects in space. Throughout the 1920s Rodchenko’s work was very abstract. In the 1930s, with the changing Party guidelines governing artistic practice, he concentrated on sports photography and images of parades and other choreographed movements. Rodchenko joined the October circle of artists in 1928 but was expelled three years later being charged with “formalism”. He returned to painting in the late 1930s, stopped photographing in 1942, and produced abstract expressionist works in the 1940s. He continued to organize photography exhibitions for the government during these years. He died in Moscow in 1956.

Much of the work of 20th century graphic designers is a direct result of Rodchenko’s earlier work in the field. His influence has been pervasive enough that it would be nearly impossible to single out all of the designers whose work he has influenced. American conceptual artist Barbara Kruger owes a debt to Rodchenko’s work. His 1924 portrait of Lilya Brik has inspired a number of subsequent works, including the cover art for a number of music albums. Among them are influential Dutch punk band The Ex, which published a series of 7″ vinyl albums, each with a variation on the Lilya Brik portrait theme, the cover of Mike + the Mechanics album Word of Mouth, and the cover of the Franz Ferdinand album You Could Have It So Much Better. The poster for One-Sixth Part of the World was the basis for the cover of “Take Me Out”, also by Franz Ferdinand.

In 1921, Russian avant-garde artist Alexander Rodchenko executed what were arguably some of the first true monochromes (artworks of one color), and proclaimed “I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: this is the end of painting.” These paintings were first displayed in the 5×5=25 exhibition in Moscow. For artists of the Russian Revolution, Rodchenko’s radical action was full of utopian possibility. It marked the end of easel painting – perhaps even the end of art – along with the end of bourgeois norms and practices. It cleared the way for the beginning of a new Russian life, a new mode of production, a new culture. (via Wikipedia)

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