The 1960s was a decade when all kinds of crazy stuff slipped into the mainstream, but many artists who championed the use of hallucinogenic drugs as “an artistic tool” were quickly popped into the file named “psychedelic” and then promptly forgotten about. As a result, psychedelic art has largely fallen by the wayside in favour of more conventional makers and thinkers (presumably ones who weren’t high as a kite or seeing unicorns and wizards when they took to their easels) and unfairly shunned from art for nigh on half a century now.
Reflections from Damaged Life, the new exhibition by Raven Row looks to pull back the kaleidoscopic veil which has covered psychedelic art, reassessing its unfair dismissal as whimsical and ungrounded and instead focusing on the experimental spirit and conceptual fluidity which underpins it. The collection combines work by Pierre Huyghe and The Otolith Group in a joyous celebration of a counterculture which marked a huge transition in contemporary art.
- Cheer Up Luv: the photography project sharing womens' experiences with sexual harassment
- “Bold, concise, minimalist and sometimes abstract”: a look at Jeong Hwa Min’s new illustrative approach
- Patrik Mollwing’s illustrations and wigglegrams depict a cast of colourful characters
- Between the pages of Polanski’s suburbia-themed sixth issue
- Hacking Heidelberg: how Erik Spiekermann came to reinvent the printing process
- ManvsMachine on its hugely diverse campaign for Air Max Day
- BBC’s new typeface BBC Reith is designed to improve legibility on screen
- Life through the lens of enchanting photographer Vicki King
- The New York Times Magazine’s new cover is actually a painting
- Illustrator Ram Han’s Alice in Wonderland dreamscape
- Ikea uses ASMR technology in 25-minute, tingle inducing advert
- Designs of the Year 2017 shortlist includes Wolfgang Tillmans’ Remain campaign, the Refugee flag and Me & EU