Chapter Fourteen--Counterlandscapes: Color Images, Added Illustrations, and Outtakes
Outside the Gates of Eden: The Dream of America from Hiroshima to Now
Michigan Governor George Romney and his son Mitt survey the World's Fair.
This "communal living in a world of awesome beauty" was already taking place, but it belonged not to the future or the futurama, but to a backward-looking, technophilic counterculture in spots like Libre and New Buffalo and Tolstoy Farm.
Cushman didn't just photographed the street life and its types. He also had the sense to risk taking photographs of the artwork displayed in Ron Thulin's Psychedelic Shop, which closed soon after, overwhelmed by the influx of unruliness in the Summer of Love.
Cushman's sharp, ironic observations of the Haight were made at the site of the Diggers' Intersection Game, just a few months after it had managed to successfully liberate the Haight's streetscape, if only for a short while.
After the Kent State inquiries and the publication of a blistering indictment of the university, the campus police, the National Guard and even the Governor, there was a brief period of reconciliation and remembrance; during that time the architect Bruno Ast won a competition to produce a memorial at the site of the killings. But the contrition was short-lived, and the project was shrunk beyond recognition. Here is the lovely, meditative memorial he originally designed, in the maquette that was as close as it came to serving its function healing a riven community and nation.
In 1969, Life sent two young, hip staff members-- writer John Stickney and photographer John Olson-- to the Family of Mystic Arts Colony in Sunny Valley, an unincorporated hamlet in central Oregon. To be allowed to photograph, the pair agreed not to reveal the name or location of the commune-- already, counterculture communes were deeply wary of the effect of publicity on the complex social and economic ecosystems they were seeking to enact-- and the cover feature emerged out of a period of some days of participant-observation. That didn't prevent the result from looking both patronizingly quaint and absurdly romantic, even sentimental; Life's editorial staff was far too entrenched in the late-stage visual and conceptual ethos of the magazine to venture outside its well-worn visual and journalistic platitudes.
Roberta Price, Peter [Rabbit] and Nancy's zome, Libre Commune, probably 1969 or 1970