ABSTRACT The Australian artist Martin Sharp (1942–2013) produced a series of psychedelic artworks in London between 1966 and 1968, the most famous of which were the Disraeli Gears record cover for rock group Cream and the Bob Dylan Blowin’ in the Mind poster. Sharp’s work exemplifies the connection between early twentieth century Modernist art movements, Pop art and acid-induced psychedelia of the 1960s. In addition, the poster Max Ernst: The Birdman from 1967, represents a homage to Dada and Surrealism, with special reference to anarchy, desire, and freedom of expression. In the spirit of Dada, the poster is meaningfully confrontational, exposing the darker side of the 1960s countercultural revolution in Western societies. This aspect of the youth movements of the 1960s is part of a continuum, drawing upon ideas and activities championed during the late 1910s and early 1920s by proponents of Dada and Surrealism. These resurfaced within the multifaceted counterculture of the 1960s, spurred on by Cold War tensions, rejection of 1950s conservative mores, opposition to nuclear proliferation, the conflict in Vietnam, an explosion in popular music, and the widespread use of psychedelic drugs such as LSD. Sharp’s art is part of this confrontational continuum.

中文翻译：

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对抗连续体：现代主义和马丁夏普的迷幻艺术

摘要 澳大利亚艺术家 Martin Sharp (1942–2013) 于 1966 年至 1968 年间在伦敦创作了一系列迷幻艺术作品，其中最著名的是摇滚乐队 Cream 的 Disraeli Gears 唱片封面和 Bob Dylan Blowin' in the Mind 海报。夏普的作品体现了 20 世纪早期现代主义艺术运动、波普艺术和 1960 年代由酸引起的迷幻之间的联系。此外，海报 Max Ernst：1967 年的鸟人代表了对达达主义和超现实主义的敬意，特别提到了无政府状态、欲望和言论自由。本着达达精神，海报具有明显的对抗性，揭示了 1960 年代西方社会反文化革命的阴暗面。1960 年代青年运动的这一方面是连续体的一部分，借鉴达达和超现实主义支持者在 1910 年代末和 1920 年代初倡导的想法和活动。这些在 1960 年代多方面的反主流文化中重新浮出水面，受到冷战紧张局势、1950 年代保守习俗的拒绝、反对核扩散、越南冲突、流行音乐的爆发以及迷幻药（如 LSD）的广泛使用的刺激。夏普的艺术是这种对抗性连续体的一部分。