Peter Max Interview (December 25, 1987)
Peter Max (born Peter Max Finkelstein, October 19, 1937) is a German-American artist known for using bright colors in his work. Works by Max are associated with the visual arts and culture of the 1960s, particularly psychedelic art and pop art.
Early life and education
Peter Max was born in Berlin, the son of German Jews Salla and Jakob.[1] They fled Berlin in 1938, settling in Shanghai, China, where they lived for the next ten years.[2] Peter's time in Shanghai influenced much of his later work. He loved the colours and the "calligraphic ballet" that he witnessed daily at the Buddhist temple across the street from the family villa.[3]
In 1948, the family moved to Haifa, Israel, where they lived for several years. Peter attended school in Mount Carmel, but was often drawing instead of taking notes. His principal suggested to his parents that he be put in art lessons after school, and he began to study under Professor Hünik, a Viennese Expressionist.[3]
From Israel, the family continued moving westward and stopped in Paris for several months—an experience that Max said greatly influenced his appreciation for art. In their short time in Paris, Max's mother enrolled him in drawing classes at the Louvre, where he began to study Fauvism.[4] After nine months in Paris, Max and his family made their final move, settling in Brooklyn, New York, USA.
Max and his parents first settled in Bensonhurst, Brooklyn, in 1953 where he attended Lafayette High School, classmates with future actor Paul Sorvino. In 1956, Max began his formal art training at the Art Students League of New York in Manhattan, studying anatomy, figure drawing and composition under Frank J. Reilly who had studied at the League alongside Norman Rockwell.[5]
Career
1960s
In 1962, Max started a small Manhattan arts studio known as "The Daly & Max Studio," with friend Tom Daly. Daly and Max were joined by friend and mentor Don Rubbo, and the three worked as a group on books and advertising for which they received industry recognition. Much of their work incorporated antique photographic images as elements of collage. Max's interest in astronomy contributed to his self-described "Cosmic '60s" period, which featured psychedelic, counter culture imagery.
In 1967, Max solidified his place as a counter-cultural icon by designing the flyers for the second ever 'Be In', a political gathering of mainly hippies in New York's Central Park after the Easter parade on March 26, 1967.[6]
Max appeared on The Tonight Show on August 15, 1968.[7] He was featured on the cover of Life magazine's September 5, 1969 edition under the heading "Peter Max: Portrait of the artist as a very rich man."[8]
1970s
U.S. postage stamp featuring Max's artwork commemorating Expo '74
In 1970, many of Max's products and posters were featured in the exhibition "The World of Peter Max," which opened at the M.H. de Young Memorial Museum in San Francisco.[9] The United States Postal Service commissioned Max to create the 10-cent postage stamp to commemorate the Expo '74 World's Fair in Spokane, Washington, and Max drew a colorful psychedelic scene with a "Cosmic Jumper" and a "Smiling Sage" against a backdrop of a cloud, sun rays and a ship at sea on the theme of "Preserve the Environment."[10] According to The New York Times, "His DayGlo-inflected posters became wallpaper for the turn on, tune in, drop out generation."[2]
On July 4, 1976, Max began his Statue of Liberty series leading to his efforts with Chrysler CEO Lee Iacocca to help in the restoration of the statue.[11] Also that year, "Peter Max Paints America" was commissioned by the ASEA of Sweden. The book project commemorated the United States Bicentennial and included the following foreword: "Peter Max Paints America is based on works of art commissioned by ASEA of Sweden on the 200th anniversary of the founding of the United States of America, in sincere recognition of the historic bonds of friendship between the people of Sweden and the people of the United States, recalling that Sweden was one of the first countries to extend its hand in friendship to the new nation."[12] Max had also been commissioned to design bilingual welcome signs for the US borders, and they were set to be unveiled in 1976; the signs, however, did not go up. Max's stylized signs were considered 'too psychedelic' – which to the then-government meant that they encouraged drug use. Despite Max's objections to these accusations, the signs remained in storage until 1977, when the administration change brought a change in attitude. The signs remained in place until 1984, when they were replaced by 'more conventional signage.'[13]
One of Max's art galleries, at The Forum Shops at Caesars in 2008
In 1989, Max designed the cover photo—as well as the 45 rpm single picture-sleeve photo—of Aretha Franklin's Through the Storm album.
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