Zap Comix: Masters of Psychedelic Art

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Zap Comix: Masters of Psychedelic Art
Curated by: Chris Byrne, Gary Panter

134 Tenth Avenue
New York, NY 10011
May 12th, 2011 - June 25th, 2011
Opening: May 12th, 2011 6:00 PM - 8:00 PM

Tue-Sat 11-6


Andrew Edlin Gallery is pleased to present Zap: Masters of Psychedelic Art, 1965-74, curated by Gary Panter and Chris Byrne. Exhibition dates are May 5 - June 18, 2011.
There is an accompanying catalogue with an essay by Chris Byrne and Gary Panter.

Zap was a hippie comic book that blew everyone's mind.

On February 25th, 1968, Robert Crumb could be seen peddling a strange new kind of comic book out of a baby carriage on of the corner of Haight and Ashbury in San Francisco, the epicenter of the hippie phenomenon then circling the globe. Zap was the cartoon extension of all the other social experiments and art forms feeding off each other at the time, including rock concerts, light shows, psychedelic posters, and acid tests.

Joining Crumb in the original Zap Lineup were Robert Williams, Victor Moscoso, Rick Griffin, S. Clay Wilson, Spain Rodriguez and Gilbert Shelton. Williams, a celebrated painter and founder of Juxtapoz Magazine, was included in the 2010 Whitney Biennial. Griffin(the only deceased artist in the group) is most widely recognized for his long association with the Grateful Dead, for whom he completed numerous album covers, posters and logos.

Victor Moscoso studied at The Cooper Union and under Josef Albers at Yale, developing Albers' color theories in his optically vibrant counterculture posters. S. Clay Wilson, Gilbert Shelton and Spain Rodriguez all had previous association with underground comix such as East Village Other, The Fabulous Furry Freak Brothers and Captain Piss Gums and Perverted Pirates.

Zap tested the legal boundaries of free expression by indulging in outrageous fantasy and imaginative violence in its dope-induced yarns. The hippie readers may have come to the magazine for validation of their anti-war, anti-pollution, pro-drug, back-to-nature values, but Zap dared to critique and satirize the messy cultural and social work-in-progress as well -from the underground's canned and militant "us versus them" to the more troubling and existential "are we them?"- the satirical finger was now simultaneously pointed outward and inward, making the audience and authors legitimate targets.

Zap Comix remains the best known anthology of its kind, and it continues today (Zap number 15 at last count). Every few years a new issue is published when the artists have completed enough material. The focus of this exhibition is those early Summers of Love (and Haight), when the original seven begat their visionary deconstruction of the comic book with remarkable innovations in storytelling and drawing.