American People, Faith Ringgold’s first exhibition outside Harlem, opened at Spectrum Gallery on 57th Street in December 1967. The exhibition featured her three murals, including U.S. Postage Stamp Commemorating The Advent of Black Power (1967). Despite Ringgold’s determination to exhibit her paintings throughout the mid-1960s, she initially met with little success. The white-owned commercial galleries on 57th Street were dismissive, and Spiral, identified affectionately as the “old men of Black art“ by the painter Vivian Brown, declined to admit her into the group. But following public displays of her work in Harlem in 1966 — including in a traveling caravan exhibition organized by Amiri Baraka “(then LeRoi Jones) and Betty Blayton-Taylor for the Black Arts Repertory Theater — she was invited to join the cooperative Spectrum Gallery, where New York school abstraction was still prominent and every artist on the roster except Ringgold was white.
In the mid-1960s, electric music pioneer Robert Moog created modular synthesizers using transistor technologies. His early synths featured modules that generate and modify the pitch, timbre, and volume of sounds when connected, or “patched” by cables. This allowed for unprecedented control of sonic parameters but made it difficult to replicate the same sound twice. Moog’s inventions came to the attention of the rock world when they were demonstrated at the Monterey Pop Festival in 1967. The following year, Wendy Carlos’s album Switched-On Bach became the first chart-topping hit utilizing a Moog synthesizer. The instrument has its performance debut at a 1969 concert in the Sculpture Garden at the Museum of Modern Art in NYC, where Moog introduced a quartet of synthesizers built specifically for live events.
Inspired by Wendy Carlos, Keith Emerson of the then-new band Emerson, Lake and Palmer sought out one of the synthesizers that Robert Moog had built for the 1969 concert at MoMA. The band’s 1970 hit single, Lucky Man,” with an expansive Moog solo by Emerson, helped to establish the synthesizer as a lead instrument in popular music. Emerson collaborated with Moog to expand the synthesizer and optimize it for live performance, adding additional components and preset modules that recall sounds.
Photographed as Part of Play It Loud: Instruments of Rock and Roll, on Exhibit at The Metropolitan Museum Art in NYC Through October 1st, 2019.
Robert Indiana (1928 – 2018) was closely associated with the hard-edged painting and Pop Art movements. Using the formal vocabulary of advertisements, his work often explores the power of words and numbers. In Purim: The Four Facets of Esther II (1967), he represents Stars of David and elements of the Biblical story of Esther, who was Queen of Persia in the fifth century BCE. Esther saved her fellow Jews from destruction, the feat to which Indiana refers in the fourth panel.
The Jewish Museum (where this photo was taken) commissioned this print in an edition of ninety for its annual Purim fundraising ball in 1967.
David Hockney’s most famous paintings of Los Angeles, such as A Bigger Splash (1967), depict a commonplace aspect of the city: private swimming pools. This is the final and the largest of three versions on the same theme, all based on an image that the artist found in a book about home pools. Hockney took care to keep the backdrop as flat — almost abstract — as possible, using rollers to apply the acrylic of the azure sky. The splash, in contrast, meticulously rendered with small brushes, took the artist nearly two weeks to finish. “I loved the idea of painting this thing which lasts for two seconds,” he said. “The painting took much longer to make than the splash existed for.” The result is one of the most iconic depictions of a certain upscale California lifestyle; aspirational, and perhaps more Hollywood make-believe than real.
Photographed as Part of the David Hockney Career Retrospective, on view at The Metropolitan Museum of Art in NYC Through February 25th, 2018.
It was 1967 and photographer David Magnus stepped into the ultimate temple of musical genius and creativity known as Abbey Road Studios in London. There, he joined The Beatles and their invited guests, who would all participate in the first world-wide global satellite broadcast performance of a song John Lennon had written called “All You Need Is Love.” Little did David know at the time that he would be the only photographer there.
The Beatles sang “All You Need Is Love” for a global audience, and Magnus’s beautiful never-before-seen images, now on exhibit (and for sale) at the Morrison Hotel Gallery in SoHo, NYC take you on a journey inside what went on in front of the television cameras and behind the scenes on the day of that their global satellite broadcast, which happened fifty years ago. We attended the show’s opening reception at MHG back in June and had a groovy time. Please enjoy our photos from the show!
Here’s are a few more details of that day 50 years ago:
On June 25, 1967, performers representing 19 countries from around the world appeared on Our World, the first international television production broadcast by satellite.
An estimated 400 million viewers watched the two-and-a-half hour program, which featured talent including Pablo Picasso and Maria Callas and was closed out by a performance of “All You Need Is Love” by The Beatles.
Photographer David Magnus was a friend of and regular collaborator with the band, was on hand to take pictures of the historic gig. The majority of these photos have never been seen before by the public.
When I look at this photo of Ringo at his drumkit, I just see Barry Wom from The Rutles. Anyone else?
High res images from the All You Need is Love collection can be found at the Morrison Hotel Gallery Website (Click This Link), where you will also find information on how to purchase these fine art prints. The gallery is located at 116 Prince Street, 2nd Floor in SoHo, New York City.