{"id":20660,"date":"2021-06-16T16:36:36","date_gmt":"2021-06-16T15:36:36","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=20660"},"modified":"2021-06-16T16:36:36","modified_gmt":"2021-06-16T15:36:36","slug":"the-art-of-john-alcorn-1935-1992","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2021\/06\/16\/the-art-of-john-alcorn-1935-1992\/","title":{"rendered":"The art of John Alcorn, 1935\u20131992"},"content":{"rendered":"<p><a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn16-big.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn16.jpg\" alt=\"alcorn16.jpg\" \/><\/a><\/p>\n<p><em>Ad art for Seventeen magazine, August 1970.<\/em><\/p>\n<p>Another member of the Groovy Set, John Alcorn was a very prolific illustrator and designer whose career included a period at Milton Glaser and Seymour Chwast&#8217;s Push Pin Studios. Alcorn&#8217;s art predates the groovy look, and also extends beyond it, but since I have a taste for this quasi-psychedelic style all the examples here are from the late 1960s\/early 1970s. An overview of Alcorn&#8217;s career may be found in <em>John Alcorn: Evolution by Design<\/em>, a book edited by Stephen Alcorn and Marta Sironi which was featured at <a href=\"http:\/\/50watts.com\/John-Alcorn-Evolution-by-Design\" target=\"_blank\">50 Watts<\/a>. And since I keep referring back to it, I&#8217;ve added some updates to <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2021\/03\/04\/the-groovy-look\/\" target=\"_blank\">the original groovy post<\/a>.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn12.jpg\" alt=\"alcorn12.jpg\" \/><\/p>\n<p><em>The Astrology Album, 1967.<\/em><\/p>\n<p>From an astrological album to\u00a0astrological covers for Sydney Omarr&#8217;s books, 12 of which were published by Signet in 1969.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn04.jpg\" alt=\"alcorn04.jpg\" \/><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn05.jpg\" alt=\"alcorn05.jpg\" \/><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn06.jpg\" alt=\"alcorn06.jpg\" \/><\/p>\n<p><!--more--><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn07.jpg\" alt=\"alcorn07.jpg\" \/><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn08.jpg\" alt=\"alcorn08.jpg\" \/><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn09.jpg\" alt=\"alcorn09.jpg\" \/><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn10.jpg\" alt=\"alcorn10.jpg\" \/><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn11.jpg\" alt=\"alcorn11.jpg\" \/><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn01.jpg\" alt=\"alcorn01.jpg\" \/><\/p>\n<p><em>Those Were The Days: Fifty Years Of Achievement 1919-1969. A compilation album prepared by RCA for the Enjay Chemical Company.<\/em><\/p>\n<p>John Lennon dismissed Paul McCartney&#8217;s old-time song pastiches as &#8220;granny music shit&#8221;. This compilation of granny music swipes the <em>Yellow Submarine<\/em> style so completely it even has the same Kabel typeface used in the film&#8217;s title sequence. What you might call the revenge of the pastiched.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn02.jpg\" alt=\"alcorn02.jpg\" \/><\/p>\n<p><em>Those Were The Days: Fifty Years Of Achievement 1919-1969. Back cover.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn13.jpg\" alt=\"alcorn13.jpg\" \/><\/p>\n<p>The speed with which the psychedelic art style was co-opted by corporations in order to sell more stuff must be one of the swiftest appropriations in cultural history. In 1966 the psychedelic poster style occupied a niche connected exclusively to sex, drugs and rock&#8217;n&#8217;roll. Two years later, thanks in large part to the popularity of The Beatles and <em>Yellow Submarine<\/em>, graphics derived from the pioneers at Push Pin studios and the San Francisco poster designers were being used to make old products seem fresh again. John Alcorn&#8217;s billboard for 7Up was <a href=\"https:\/\/www.collectorsweekly.com\/articles\/collecting-7ups-most-beautiful-hallucinatory-billboards\/\" target=\"_blank\">part of a 1969 campaign<\/a> that rescued the brand from bankruptcy with a series of trendy advertising designs, together with a slogan that positioned the drink in opposition to its rivals by declaring it to be the &#8220;Un-Cola&#8221;. Other corporations weren&#8217;t going to be left behind, as the designs below demonstrate. The Campbell&#8217;s ad suggests that psilocybin was now being used in the cream of mushroom soup.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn03.jpg\" alt=\"alcorn03.jpg\" \/><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn14.jpg\" alt=\"alcorn14.jpg\" \/><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/06\/alcorn15.jpg\" alt=\"alcorn15.jpg\" \/><\/p>\n<p><em>GQ magazine, March 1970.<\/em><\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2021\/05\/26\/the-art-of-mike-hinge-1931-2003\/\">The art of Mike Hinge, 1931\u20132003<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2021\/03\/04\/the-groovy-look\/\">The groovy look<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2016\/06\/02\/the-psychedelic-art-of-nicole-claveloux\/\">The psychedelic art of Nicole Claveloux<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/05\/22\/art-that-transcends\/\">Art that transcends<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/12\/09\/philippe-caza-covers\/\">Philippe Caza covers<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/12\/08\/saga-de-xam-by-nicolas-devil\/\">Saga de Xam by Nicolas Devil<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ad art for Seventeen magazine, August 1970. Another member of the Groovy Set, John Alcorn was a very prolific illustrator and designer whose career included a period at Milton Glaser and Seymour Chwast&#8217;s Push Pin Studios. Alcorn&#8217;s art predates the groovy look, and also extends beyond it, but since I have a taste for this &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2021\/06\/16\/the-art-of-john-alcorn-1935-1992\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;The art of John Alcorn, 1935\u20131992&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: The art of John Alcorn, 1935\u20131992","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[2,4,48,43,3,17,10],"tags":[2329,11556,3130,11557,6477,11558,178,340],"class_list":["post-20660","post","type-post","status-publish","format-standard","hentry","category-art","category-design","category-illustrators","category-magazines","category-music","category-psychedelia","category-typography","tag-50-watts","tag-john-alcorn","tag-milton-glaser","tag-push-pin-studios","tag-seymour-chwast","tag-sydney-omarr","tag-the-beatles","tag-yellow-submarine"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-5ne","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20660","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=20660"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20660\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=20660"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=20660"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=20660"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}