“Blacklight Magic” at the Columbus Museum of Art salutes aggregate from the accord assurance to the Age of Aquarius.
The accord sign, the pill, the smiley face, the Age of Aquarius and a clenched, aloft fist: They all adjure up the counterculture canicule of the 1960s and ’70s. Fluorescent colors, atramentous lights and 3D glasses add to the acquaintance of a funky, consciousness-expanding display at the Columbus Museum of Art.
“Blacklight Magic” continues through Sept. 8 in the Open Gallery, a alley on the museum’s aboriginal floor. It includes 24 ample posters and two cases abounding with abate images, best works from the accumulating of Daniel Donahue. The Madison, Wisconsin-based historian is columnist of the book “Ultraviolet: 69 Blacklight Posters from the Aquarian Age and Beyond.”
The display posters — abounding with bouncing images that bless peace, environmentalism, chargeless adulation and anarchy — are afraid in about atramentous with atramentous lights animated from the ceiling. Kaleidoscope and 3D glasses are available, authoritative the annual ability images pop out or agitate in consciousness-expanding fashion.
Jeff Sims, the museum’s artistic producer, programmed the display as allotment of an advancing attending at pop culture.
“I anticipation atramentous ablaze posters were article that visitors would be accustomed with but additionally would abatement alfresco the accustomed branch of accomplished art,” Sims said. “I anticipation we could attending not aloof at the ‘wow’ factor, but additionally at the amusing role the posters played.”
Many of the posters are not anachronous and abounding of the artists are bearding or unknown. And proving that the age wasn’t as aware as one ability think, best of the accepted artists were men. Only one woman, California artisan Nancy Parker, has works in the show. Her “Citadel” (1969), in purple, blooming and red, could be an aeriform appearance of a fortress. In “Dove of Peace” (undated), the axial aerial angel is amidst by the chat and attribute for “peace.” Both of Parker’s mosaic-like pieces are lovely.
Also admirable is Jupiter Rubin’s “Zephyr” (1970), a abstract eyes of a abundant mural with a adhesive blooming background, vivid-colored plants and flowers, a hummingbird and a atramentous brace with planets and stars as their eyes and added features.
“Age of Aquarius” (artist and date unknown) shows a brace basking in the alignment of planets believed to access affairs for love, accord and affinity on earth.
“Black Power” (1971) angrily expresses the movement in artisan Zash M.J.B.’s adhesive green, red and atramentous affiche of a man with a aloft fist.
Matt Boulton celebrates “Peace” (undated) with a the iconic two-finger address set adjoin the letter “V” and bouncing blooming leaves that accommodate some hidden symbols.
Much added from the era is highlighted: the archetypal hairstyle in “Afro Queen” (1972); ecology activism in “Give Apple a Chance” (undated); and a affiche adaptation of “The American Dream” from Art Bevacqua’s 1967 assignment featuring a star-spangled assistant (just like it sounds).
Found in the cases are abate images of symbols and personalities from the era, including Muhammad Ali, Angela Davis, James Brown, Diana Ross, the Jackson 5 and the Beatles.
Not anybody was captivated with the movement, and that additionally is reflected in the exhibition.
Cartoonist R. Crumb’s acclaimed “Keep on Truckin’ ” quartet of big-shoed guys ambling bottomward the road, from the underground annual Zap Comix (1968), shows up with a disclaimer.
The image, broadly appointed after his permission, became a arrow in Crumb’s side. He is quoted in the accompanying panel: “This brainless animation bent on badly … I didn’t appetite to about-face into a greeting agenda artisan for the adverse culture.”
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