"What is 'Art Psychedelic'?"
subtitle: "'Psychedelic' Isn't A Swear Word"
by John "Brojo" Wooldridge
What do you think of when you hear or read the word "psychedelic"? Jimi Hendrix? LSD? The Doors? Strobe lights? Marijuana? All of these, and many more, are correct responses, but they aren't nearly the only probable responses. In fact, psychedelia was, and is, so popular that it has been unfortunately relegated to popular culture (or "pop culture") at the expense of also being appreciated as art. The genre is known collectively as "Art Psychedelic", and not only is it a true artistic genre, but Art Psychedelic includes the "fine arts" as well. Many people act as if the word "psychedelic" is either a swear word or is illegal; I can reassure you that it's still legal to use the word "psychedelic".
Psychedelic, which means "mind-manifesting", refers (in this context) to anything reminiscent of the psychoactive effects of entheogens (formerly known incorrectly as "hallucinogens") such as LSD, mescaline, psilocybin, DMT, etc. However, a person doesn't necessarily have to have tried any of these mind-expanding sacraments in order for them to appreciate psychedelic artwork. In fact, because much art falls into more than one genre, many people who aren't "experienced" with entheogens (to quote Jimi Hendrix) have appreciated Art Psychedelic without even being aware of it - such as the artwork of Salvador Dali or of M.C. Escher. Genres closely related to Art Psychedelic include Op Art (optical art), much Surrealism, and some abstract art, among others. Collectively, Art Psychedelic includes many, many artists. Picking my favorite psychedelic artists is difficult (if not impossible) because there are so many great artists in this genre, but eight of my favorites include: M.C. Escher, Rick Griffin, Victor Moscoso, Alex Gray, Salvador Dali, Wes Wilson, Peter Max, and Yando. However, any list of great psychedelic artists would be incomplete without mentioning (in alphabetical order): Lee Conklin, Erial, Bob Fried, Gary Grimshaw, Greg Irons, "Kelly" (Alton Kelley), Jean Larcher, Carl Lundgren, Bonnie MacLean, Bob Masse, Moire, "Mouse" (Stanley Miller), Norman Orr, Bridget Riley, "San Andreas Fault", "Satty" (Wilfred Podreich), Bob Schnepf, David Singer, Randy Tuten, John Van Hamersveld, Victor Vasarely, and many others.
Here is a link to more specific examples of artists which I, personally, consider to be psychedelic (as well as some related terms). Judge for yourself, though; on the one hand such classifications are highly subjective, but on the other hand this is something that I've studied extensively. This list could probably never include all psychedelic artists, but is meant to serve as examples for further research:
https://www.angelfire.com/trek/brojo/Art_Psychedelic.html
Between the absinthe-inspired poster art of Tolouse Lautrec (absinthe is another entheogen) and the LSD-inspired poster art of Wes Wilson, there was a great decline in the quality of most popular artwork. One need only compare chapter one of The Art of Rock by Paul Grushkin to chapters two and three in order to see how comparatively dull-colored, unimaginative, and extremely boring most of the poster art was in the 1950s and the early 1960s. By comparison, chapters two and three show mid-sixties to late-sixties poster art, most of which is brightly colored, extremely detailed, and visually stimulating psychedelic poster art.
But poster art is just one example of the massive artistic improvements during the psychedelic era, whose peak was circa 1966-1970. In my personal opinion, the psychedelic era was the greatest artistic renaissance in the history of America. Rock-and-roll music evolved from young white men in vest-suits holding guitars tightly against their upper chests like court minstrels, to the free-form improvisations and wild experimentations of "acid rock". Average, predictable stage lighting was shown to be dull and boring when compared to the new brightly-colored, constantly-moving "liquid lightshows". Earthtone three-piece suits were replaced by Day-Glo paisleys and tie-dyes, alongside a new emphasis on functionality through comfort. Posters, music, lighting, and clothing are, however, just a few examples of the massive cultural and personal changes for the better which occurred when people realized that even one entheogenic experience could open their "doors of perception" and allow them to perceive the entire universe in a new and exciting way, sometimes even a better way.
Several things combine to destroy Art Psychedelic as a mainstream genre - temporarily at least, including an unsuccessful strike by lightshow artists, lies by the American government about mind-expanding soft drugs (such as LSD supposedly causing chromosome damage or marijuana supposedly being a "gateway drug" - both of which are absolute lies), the murderous rampages of the Hell's Angels at Altamont and also of the pseudo-hippie "Manson Family", and the end of the Vietnam War - which caused a general "deradicalization". But the main thing which wounded Art Psychedelic were the constant attacks (both verbal and physical) perpetrated by the "pigs" (police officers) and by other inexperienced, uptight "squares". I've often wondered whether these "pigs" and "squares" came to regret their actions when the peace, love and marijuana of the hippies were finally crushed, only to be swiftly replaced by the violence, anger and heroin of the punk-rockers.
But all hope is not lost. Although crushed, Art Psychedelic never died, and - after a lull during Ronald Raygun's 1980s - has been on the resurgence. Moreover, two beautiful children were born along the way: "jam rock" (including bands such as Phish and Widespread Panic) and "raves" (dance parties centered around "techno" music). The future of Art Psychedelic looks as bright as a wide-pupiled sunrise.
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