“Echoes: origini e rimandi dell’art rock britannico” curated by Francesco Spampinato is an exhibition project that investigates and highlights the convergence between the worlds of visual arts and rock music from the 1960s to the 1980s. The project is divided into three exhibitions that will take place starting on April 17 at the Fondazione Luigi Rovati.
The catalogue expands on this reflection through the analysis of hybrid visual projects linked to the music of The Beatles, Pink Floyd, Yes, Genesis, and Peter Gabriel, entrusted to artists such as Peter Blake and Jann Haworth, Richard Hamilton, Hipgnosis, Roger Dean, and many others. With the aim of reclaiming the role of early British art rock as a unique model for reflection on the mechanisms of pop culture itself, as well as a tool for allegorizing English traditions and culture, the catalogue presents the origins of the contamination between visual art and pop music, namely the birth, around 1967, of that border territory that takes shape between the bastions of high culture and the more enlightened regions of low culture, and which today seems to have spread to all areas of art, communication, and commerce.
The catalogue is divided into three chapters, one for each exhibition. The first chapter is dedicated to the Beatles and illustrates the disruptive effect that the four boys from Liverpool had on young people and society in general: the revolution brought about by the Beatles was not limited to music, but profoundly transformed visual culture, consolidating the dynamics of the star system and then transcending them to achieve mythical status. The second chapter is dedicated to Pink Floyd, Yes, and Genesis and traces the psychedelic and surrealist imagery that accompanies the productions of these legendary bands. Finally, the third chapter focuses on Peter Gabriel, the soul of Genesis in their early years and a successful solo artist, in a journey that explores the theme of the fragmentation of the self in artistic research.
The catalogue expands on this reflection through the analysis of hybrid visual projects linked to the music of The Beatles, Pink Floyd, Yes, Genesis, and Peter Gabriel, entrusted to artists such as Peter Blake and Jann Haworth, Richard Hamilton, Hipgnosis, Roger Dean, and many others. With the aim of reclaiming the role of early British art rock as a unique model for reflection on the mechanisms of pop culture itself, as well as a tool for allegorizing English traditions and culture, the catalogue presents the origins of the contamination between visual art and pop music, namely the birth, around 1967, of that border territory that takes shape between the bastions of high culture and the more enlightened regions of low culture, and which today seems to have spread to all areas of art, communication, and commerce.
The catalogue is divided into three chapters, one for each exhibition. The first chapter is dedicated to the Beatles and illustrates the disruptive effect that the four boys from Liverpool had on young people and society in general: the revolution brought about by the Beatles was not limited to music, but profoundly transformed visual culture, consolidating the dynamics of the star system and then transcending them to achieve mythical status. The second chapter is dedicated to Pink Floyd, Yes, and Genesis and traces the psychedelic and surrealist imagery that accompanies the productions of these legendary bands. Finally, the third chapter focuses on Peter Gabriel, the soul of Genesis in their early years and a successful solo artist, in a journey that explores the theme of the fragmentation of the self in artistic research.
Echoes
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