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Review: Hippie Modernism: The Struggle for Utopia

2018; University of California Press; Volume: 77; Issue: 1 Linguagem: Inglês

10.1525/jsah.2018.77.1.116

2150-5926

Irene Cheng,

Art, Politics, and Modernism

Book Review| March 01 2018 Review: Hippie Modernism: The Struggle for Utopia Hippie Modernism: The Struggle for Utopia Walker Art Center, Minneapolis 23 October 2015–27 February 2016 Cranbrook Art Museum, Bloomfield Hills, Michigan 18 June–9 October 2016Berkeley Art Museum and Pacific Film Archive 8 February–21 May 2017 Irene Cheng Irene Cheng California College of the Arts Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2018) 77 (1): 116–118. https://doi.org/10.1525/jsah.2018.77.1.116 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Irene Cheng; Review: Hippie Modernism: The Struggle for Utopia. Journal of the Society of Architectural Historians 1 March 2018; 77 (1): 116–118. doi: https://doi.org/10.1525/jsah.2018.77.1.116 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search In the summer of 1967 nearly 100,000 people made their way to San Francisco, converging in the Haight-Ashbury neighborhood during what became known in the popular press as the “Summer of Love.” In retrospect, the events marked more a death knell than a climax, as those at the epicenter well knew. The Diggers, a local radical collective and street theater troupe, staged a funeral service on 6 October 1967 at Buena Vista Park in which participants carried and then set afire a coffin symbolizing the demise of the “hippie,” a figure they contended had been conjured by the mass media and commercialized to the point of losing any genuine cultural or political purchase. “Hippies” and 1967 continue to be easy signifiers, however, and in 2017 numerous cultural institutions in San Francisco dutifully organized commemorations of the fiftieth anniversary of the Summer of Love. These included an exhibition at the de... You do not currently have access to this content.