Love this brilliant alternative poster for the Karloff Mummy, which is also one of my favourite movies of all time…
Hard To See.
Society is based mostly on principles that are set by men. This masculine point of view distorts the relation between men and women. The blurry portrait symbolises the fact that our vision of the world is troubled by the obvious inequality between both genders. The symbols for men and women create a pair of reading glasses that prone the need for balance and gender equality.
Based on the idea as the only African woman obeys orders of a man and as such can not object to his castration.
These posters form part of a collection available to view online from the Schlesinger Library, RIAS, Harvard University. Full credit to them for these images. I suggest you have a look at the rest as they’re all pretty nifty to look at. You can view the full collection here.
1. 20th anniversary of Shakaru, Poster, 1994
2. Nihon Buyo (Japanese dances), Poster, 1981
3. Theatre Poster, 1960-70
4. Japan exhibition, Poster, 1986
5. Man and Writing-Japan exhibition, Poster, 1995
I think that from the Nõ
I have learnt the essence
of the beauty of abstraction
that can exceed
the representation of reality.
The Kitchen Archive, ca. 1971–1999
The Getty Research Institute
Tadanori Yokoo, poster design, 1979. For Kanox, fire-resistant fabric.
Quicksilver concert, poster, 1967
Moscoso is without a doubt a leading figure among psychedelic poster artists. He studies art at the Cooper Union School in New York, and later attends Yale, where he meets Josef Albers, who has a great influence on his work. In 1959 he attends the San Francisco Art Institute in California. After graduating he specialises in lithographic techniques, and subsequently teaches them. In 1966 he commences his career as a graphic designer, drawing posters for the Family Dog concerts at the Avalon Ballroom, the Neon Rose posters for the Matrix and concert posters for the Fillmore West. In 1967 he displays his work at the “The Joint Show” exhibition, organised at the Moore Gallery in San Francisco, together with the other “Big Five” poster artists of the San Francisco scene: Wes Wilson, Stanley Mouse, Alton Kelley and Rick Griffin. During the Seventies he collaborates in the production of the underground comic book Zap Comix by Robert Crumb, while drawing CD covers for CBS and Round Records, like the ones for Jerry Garcia, Bob Weir, Herbie Hancock and David Grisman. Furthermore, he collaborates with various radio networks, designing T-shirts, advertisements and animated commercials, for which he receives two Clio Awards for “Creative excellence in advertising and design”. In 2002 the Museum of Modern Art in San Francisco organises an exhibition of his work.
Psychedelic graphic design reflects the culture and the student protests of the Sixties and Seventies by experimenting new, hardly legible, typefaces, and by using dazzling colours and flaking images which mix in blurry artworks. Moscoso’s works are a link between underground comics, rock music and psychedelic graphic design. All of them are characterised by broken up images and vivid colours which make the whole composition vibrate, strengthening the messages they convey. The artist resorts to a grotesque and paradoxical style, drawing inspiration from the world of comics. For example, in the posters designed for the Avalon Ballroom, every detail is treated meticulously, in a stunning mix of typography and images. Another example is Neptune’s Notion (1967), created for a concert of the psychedelic rock band Moby Grape, where Moscoso reinterprets the famous painting by Dominique Ingres, Jupiter and Thetis (1811): in a marine scenario, Jupiter is substituted by a pink Neptune whose drape is replaced by a large yellow fish with the title of the event hidden among its scales.