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Poster, Jim Kweskin Jug Band – Electric Train – Big Brother & The Holding Company, 1966
Alton KelleyMouse Studios
Poster, Jim Kweskin Jug Band – Electric Train – Big Brother & The Holding Company
Alton Kelley, Mouse Studios,

Poster, Jim Kweskin Jug Band – Electric Train – Big Brother & The Holding Company,
1966

Alton KelleyMouse Studios
*4012
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Museum für Gestaltung Zürich
Ausstellungsstrasse 60
8031 Zurich
Museum map
Museum für Gestaltung Zürich
Toni-Areal, Pfingstweidstrasse 94
8031 Zurich
  • Jim Kweskin Jug Band – Electric Train – Big Brother & The Holding Company Alton Kelley Mouse Studios Poster
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Listen to the text
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The sensuous beauty on this poster is by no means an unknown. But where have we seen her before? In his 1966 concert poster Alton Kelley (1940–2008) quoted a famous poster by the Art Nouveau artist Alfons Maria Mucha (1860–1939). By using neon colors, Kelley placed his model squarely in his own way and lent her a lasting erotic allure.

In 1960s San Francisco, all signs pointed to a new beginning and a break with previous norms. By taking hallucinogenic drugs and ecstatically immersing themselves in the pull of experimental music, a young generation rebelled against the status quo of a conservative, complacent society. The organizers of the concerts quickly realized that this innovative music called for an equally novel graphic language. Alton Kelley came to San Francisco as a young man and was co-organizer of the first concerts. He soon became one of the foremost music poster designers as well. Kelley had an unerring talent for appropriating different styles. He was particularly inspired by a 1965 exhibition in Berkeley on European Art Nouveau, with which he felt a spiritual affinity. Kelley recognized in Mucha’s woman smoking with abandon a symbol for the way his own peers were losing themselves in their intoxication and absolute devotion to music. Characteristic for the psychedelic style of the San Francisco rock poster was the use of complementary colors, which produced dazzling afterimages. With his figure’s luxuriant green hair set against a bright red background, Kelley also made use of this artistic device. The designers of the day experimented with type as a playful, sensual element. Readability was of secondary importance; lettering was used primarily as the final ornamental touch for a poster. (Bettina Richter)

Plakat, Jim Kweskin Jug Band – Electric Train – Big Brother & The Holding Company, 1966
Erscheinungsland: USA
Gestaltung: Mouse Studios / Alton Kelley
Auftrag: Family Dog Productions, San Francisco, US
Material/Technik: Offset
51 x 35.5 cm
Eigentum: Museum für Gestaltung Zürich / ZHdK
Literatureo

Kastor, Jacaeber (Hg.), The Art of the Fillmore. The Poster Series 1966–1971, New York 1999.

Image creditso

Plakat, Jim Kweskin Jug Band – Electric Train – Big Brother & The Holding Company, 1966, USA, Gestaltung: Mouse Studios / Alton Kelley
Abbildung: Museum für Gestaltung Zürich / ZHdK

Plakat, Job, 1896, Frankreich, Gestaltung: Alfons Maria Mucha
Abbildung: Museum für Gestaltung Zürich / ZHdK