Otis Rush
Poster
1967 (made)
1967 (made)
| Artist/Maker | |
| Place of origin |
Wes Wilson described his graphic design aesthetic as "visual poetry set into poster formats." Wilson worked primarily in bold colours, to complement the psychedelic light shows which took place during performances at the Fillmore Auditorium and its rival the Avalon Ballroom. His eye-catching posters feature inventive lettering - which became increasingly stylised and illegible as his style evolved. Wilson began designing posters for Bill Graham's Fillmore venue from its opening in 1966, but soon designed exclusively for the Fillmore. The collaboration was relatively short-lived, ending acrimoniously in 1967 (with the exception of two additional posters he created in December 1968).
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Object details
| Categories | |
| Object type | |
| Title | Otis Rush (generic title) |
| Materials and techniques | Colour offset lithograph |
| Brief description | "Otis Rush" psychedelic poster #53 by Wes Wilson. USA, 1967. |
| Physical description | Poster for concert. Image of a man's face and a woman's face and hair. Colour of image is blue at the top moving through yellow, green, red and pink to the bottom. Text box in black and white. |
| Dimensions |
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| Marks and inscriptions | Bill Graham Presents In San Francisco / Otis Rush / & his Chicago Blues Band / The Mothers / The Morning Glory / March 3, 4, 5 / Fri Sat 9pm $3.00 & Sun 2 7pm $2.00 / Fillmore / Auditorium. (Text of poster.) |
| Credit line | Gift of the American Friends of the V&A; Gift to the American Friends by Leslie, Judith and Gabri Schreyer and Alice Schreyer Batko |
| Production | Otis Rush psychedelic performance poster |
| Subjects depicted | |
| Place depicted | |
| Summary | Wes Wilson described his graphic design aesthetic as "visual poetry set into poster formats." Wilson worked primarily in bold colours, to complement the psychedelic light shows which took place during performances at the Fillmore Auditorium and its rival the Avalon Ballroom. His eye-catching posters feature inventive lettering - which became increasingly stylised and illegible as his style evolved. Wilson began designing posters for Bill Graham's Fillmore venue from its opening in 1966, but soon designed exclusively for the Fillmore. The collaboration was relatively short-lived, ending acrimoniously in 1967 (with the exception of two additional posters he created in December 1968). |
| Bibliographic reference | Christoph Grunberg, ed. Summer of Love: Art of the Psychedelic Era London: Tate, 2005. 239 p. : ill. (some col.) ISBN: 1854375954. |
| Other number | LS.927 - Leslie Schreyer Loan Number |
| Collection | |
| Accession number | E.507-2004 |
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| Record created | February 3, 2005 |
| Record URL |
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