샌프란시스코 록 포스터와 히피들의 사회적인 이상향

서지정보

ㆍ발행기관 : 미술사문화비평학회 ㆍ수록지정보 : 미술사문화비평 / 1권
ㆍ저자명 : 서금옥

목차

Ⅰ. 머리말
Ⅱ. 록 포스터의 전개과정과 양상
Ⅲ. 히피문화와 유토피아
1. 환경보호와 평화추구
2. 성(性)의 해방과 인간본능의 존중
3. 인디언세계의 동경
Ⅳ. 맺음말

영어 초록

This thesis deals with psychedelic of rock posters which emerged from Haight-Ashbury, San Francisco around the mid- to late 1960s, with a special reference toposter artists such as Wes Wilson, David Singer, Rick Griffin, Stanley Mouse, AltonKelley.With the birth of ‘psychedelic rock’music, rock posters emerged as a means ofpromoting regular concerts in dance halls. However, rock posters were characterizedby obscure lettering, primary colors, decorative styles, and the use of images whichhad nothing to do with concerts, and did not function as informative commercialposter; instead, they absorbed the newly emerging hippie culture, i.e. hippies’innerconsciousness and philosophy. In particular, the hallucinatory culture of the hippiehad a direct implication for the styles of rock posters. Hallucination provided hippieswith inner freedom rather than indulgence in pleasures. In addition, it enabled themto dream about their own ideals.The social atmosphere of the United States in the 1960s was increasinglycharacterized by confusion and anxieties from the Vietnam War, assassinations, andcivil rights movements. The young generation thought that human selfishness andmaterialism had created these phenomena, and began to value the inner, spiritualworld. They believed that hallucination could offer ‘immediate enlightenment’and‘instant Nirvana’, and sought to change the world through ‘love.’Thus love ofhuman beings, nature and world was expressed in rock posters as well. First, The sublime love of the world was expressed in hippies’yearning for the 'peaceful world.’The antiwar movement gathered hippies, and rock posterscontinued to theme peace with the images of goddess of peace, peace symbol andflowers throughout the 1960s. Second, the sublimation of human love was sought inthe liberation of physical pleasure. It was to transform the preexisting norms ofsexuality and to avoid hypocrisy, in order to experience orgasm intrinsic to sexualintercourse. To express such ecstasy of sexual intercourse, artists often portrayed inrock posters sensual women with a seductive and ecstatic face, who are dancing inthe nude. In addition, they combined various hallucinatory elements such as tobacco,LSD tablets, yellow eyes, organically flowing colorful patterns, distorted figures andso on. Third, the sublime love of the nature was pursued in aspiration for naturalisticway of life as well as an antipathy to consumer culture based on materialcivilization. Here Americans Indians’life provided an ideal model. The postersportrayed American Indians with aureole and inward eyes, and it shows that theywere considered as divine existence. In this way, hallucinatory motifs of rock posters in the 1960s visualized theaspirations for an ideal world within the hippie culture, and their significantcontribution lies in the creation of the ‘psychedelic style,’a new and uniqueAmerican style.

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