1967: A Year in the Collections
1967 was a landmark year bridging early ’60s pop sensibility with an emerging hippie culture. The "Summer of Love" brought young people and wannabes to San Francisco with their shared interest in Eastern religions, communal living, and immersive light shows. It was a banner year for music with Jimi Hendrix performing at the first Monterey Pop Festival, The Doors releasing their first album, and Aretha Franklin releasing the enduring hit “Respect.” To see more art of the ’60s music scene, go to Smithsonian Insider’s Snapshot featuring posters from the "Summer of Love" in the Smithsonian collections.
1967 was the first year of the Smithsonian Folklife Festival. Coming together on the National Mall from all over the U.S., 58 traditional craftspeople demonstrated their artistry and 32 musical and dance groups performed at the open-air event. Mountain banjo-pickers and ballad singers, Chinese lion dancers, Indian sand painters, basket and rug weavers, New Orleans jazz bands, and a Bohemian hammer dulcimer band from Texas combined with a host of participants from rural and urban areas of the country.
The summer of 1967 was also known as the "Long Hot Summer," witnessing racial unrest in American cities such as Detroit, Newark, and Cincinnati. Dr. Martin Luther King Jr.’s speech “Beyond Vietnam” brought awareness to the volatile subject of the U.S. military involvement in Vietnam.


-
Rudi Gernreich
- Date
- 1967
- Artist
- Boris Chaliapin, 1904 - May 1979
- Sitter
- Rudi Gernreich, 1922 - 1985
- Object number
- NPG.78.TC400
- Data Source
- National Portrait Gallery
-
Marilyn Monroe
- Exhibition Label
- Born Los Angeles, California
- Based on a publicity still from Marilyn Monroe's 1953 film Niagara, Andy Warhol's portrait of the film star conveys both her glamour and her fragility. A gifted performer, Monroe became an iconic sex symbol, entertaining troops in Korea and electrifying movie audiences. Despite her success, she maintained an air of vulnerability. Warhol capitalized on these contradictions, first portraying Monroe after her 1962 death from a drug overdose. Using silkscreens, he created multiple renditions of the portrait. By emphasizing the images' off-register printing, Warhol created a powerful metaphor for the dissolution of Monroe's career and the disastrous impact of her overexposure. In this screenprint, one of a series of ten, Monroe's sensual features dissolve into a nearly impenetrable mask as Warhol's non-naturalistic colors and their improper alignment add a jarring, alienating effect to the familiar face.
- Date
- 1967
- Artist
- Andy Warhol, 6 Aug 1928 - 22 Feb 1987
- Printer
- Aetna Silkscreen Products, Inc.
- Publisher
- Factory Additions
- Sitter
- Marilyn Monroe, 1 Jun 1926 - 5 Aug 1962
- Object number
- NPG.97.48
- Data Source
- National Portrait Gallery
-
TV Game Unit #1, 1967
- Description
- From this assemblage of metal, wires and glass tubes, the future of video games would be built.
- In 1966, while working for Sanders Associates Inc., engineer Ralph Baer began to look into new ways to use television, focusing specifically on interactive games. In 1967, he created the first of several video game test units. Called TVG#1 or TV Game Unit #1, this device, when used with an alignment generator, produced a dot on the television screen that could be manually controlled by the user. Now that he was able to interact with the television, Baer could design increasingly sophisticated interfaces and programs.
- TV Game Unit #1 was designed by Baer and built with the assistance of Bob Tremblay, a technician who worked with Baer at Saunders. Though transistors were available, Baer, who had received his bachelor’s in television engineering, choose to use the familiar and proven technology of vacuum tubes for this early test unit.
- Like all the Ralph Baer prototypes, TV Game Unit #1 was used as evidence in many patent infringement cases. It still bears many of the court exhibit labels left over from these trials, as may be seen from the photograph.
- Location
- Currently not on view
- Date made
- 1966
- inventor
- Baer, Ralph H.
- patent holder
- Baer, Ralph H.
- ID Number
- 2006.0102.01
- accession number
- 2006.0102
- catalog number
- 2006.0102.01
- Data Source
- National Museum of American History
-
Los Angeles 3:30 PM
- Date
- 1967
- Artist
- Larry Lee, active c. 1967
- Object number
- NPG.78.TC83
- Data Source
- National Portrait Gallery
-
The Pill
- Date
- 1967
- Artist
- Robert S. Crandall, born 1921
- Object number
- NPG.88.TC157
- Data Source
- National Portrait Gallery
-
Marilyn Monroe
- Exhibition Label
- Based on a publicity still from Marilyn Monroe's 1953 film Niagara, Andy Warhol's portrait of the film star conveys both her glamour and fragility. A gifted performer, Monroe became an iconic sex symbol, entertaining troops in Korea and electrifying movie audiences. Despite her success, she maintained an air of vulnerability. Warhol capitalized on these contradictions, first portraying Monroe after her 1962 death from a drug overdose. Using silkscreens, he created multiple renditions of the actress. By emphasizing the images' off-register printing, Warhol created a powerful metaphor for the dissolution of Monroe's career and the blinding impact of her overexposure. In this screenprint, part of a series of ten, Monroe's sensual features dissolve into a nearly impenetrable mask as Warhol's non-naturalistic colors and their improper alignment produce a jarring effect, at once familiar and alienating.
- Date
- 1967
- Artist
- Andy Warhol, 6 Aug 1928 - 22 Feb 1987
- Printer
- Aetna Silkscreen Products, Inc.
- Publisher
- Factory Additions
- Sitter
- Marilyn Monroe, 1 Jun 1926 - 5 Aug 1962
- Object number
- NPG.97.50
- Data Source
- National Portrait Gallery
-
Jimi Hendrix
- Exhibition Label
- In the late 1960s Jimi Hendrix carried the blues into the twenty-first century by turning the electric guitar into an instrument of vast capabilities and poetic expression. Through a brilliant manipulation of feedback and amplification, Hendrix created soundscapes of deep texture and distortion, of electronic waves and wah-wah. Often dressed in a rainbow riot of color, he wrote songs about other planets and experiences that fit the era’s hallucinogenic experiences and its mythology of alternate dimensions. On stage he was simultaneously self-possessed and otherworldly, playing the guitar with his teeth and behind his back, even setting it on fire. Born of mixed white, black, and Cherokee ancestry, Hendrix was influenced by Elvis, Little Richard, and Muddy Waters; honed his blues chops on the "chitlin’ circuit"; and recorded with the Isley Brothers and King Curtis. His searing instrumental version of the national anthem is a rare example of nonverbal social protest and remains the iconic sound of Woodstock.
- Date
- 1967 (printed later)
- Artist
- Linda McCartney, 1941 - 1998
- Sitter
- Jimi Hendrix, 27 Nov 1942 - 18 Sep 1970
- Object number
- NPG.96.26
- Data Source
- National Portrait Gallery
-
Poems for peace sound recording : a benefit reading for the New York workshop in nonviolence / recorded and edited by Ann Charters
- Notes
- Notes with texts of poems in booklet (16 p.) inserted in original container.
- Read by the various authors.
- Recorded 7 April 1966 at St. Mark's Church in the Bouwerie, New York.
- Related materials may be found in the Moses and Frances Asch Collection, also held by this repository. Related materials may include correspondence between the studio, producers, and/or performers; original cover art designs; original production materials; business records; and audiotapes from studio production.
- Track information
- 101. Auto Poesy to Nebraska / Allen Ginsberg. New York
- 102. June 20, 1961, Tangiers / Peter Orlovsky
- 103. Elegy, Poems from Oklahoma / Allen Katzman
- 104. The Mouth is a Zoo, The Prize of War isAlways / Harold Dicker
- 105. Speech / Jackson MacLow
- 106. From "The Black Plague" / David Antin
- 201. Peace Freak Poem / Ed Sanders. New York
- 202. Is any Coherence Worth the Celebration? December Sixth and Seventh / Paul Blackburn
- 203. From "The Tablets," The Emptying / Armand Schwerner
- 204. Life has no Dimension / Art Berger
- 205. All Our Valises are Packed / Walter Lowenfels. New York
- 206. Heat Wave (A Discontinuous Poem) / Allen Plantz
- Publisher number
- BR 465 Broadside Records
- FW 9765 Folkways Records
- Repository Loc.
- Smithsonian Institution, Center for Folklife and Cultural Heritage, Ralph Rinzler Folklife Archives and Collections, 600 Maryland Ave., S.W., Suite 2001, Washington, D.C. 20024. Call 202-633-7322 for appointment. Fax: 202-633-7019. Email: rinzlerarchives@si.edu
- Date
- 1967
- editor
- Charters, Ann
- performer
- Orlovsky, Peter 1933-2010
- Katzman, Allen
- Dicker, Harold
- Mac Low, Jackson
- Antin, David
- Sanders, Ed
- Blackburn, Paul
- Schwerner, Armand
- Berger, Art
- Lowenfels, Walter 1897-1976
- Plantz, Allen
- Creator
- Ginsberg, Allen 1926-1997
- Local number
- Folkways 9765
- Folkways 465
- Data Source
- Ralph Rinzler Folklife Archives and Collections
-
Book: Phyllis Diller’s Marriage Manual
- Description
- Phyllis Diller’s Marriage Manual written by Phyllis Diller with drawings by Susan Perl was published by Doubleday and Company, Inc. in 1967. Throughout her career Phyllis Diller wrote three other comedy books (Phyllis Diller’s Housekeeping Hints, The Complete Mother, and The Joys of Aging and How to Avoid Them) as well as an autobiography (Like a Lampshade in a Whorehouse: My Life in Comedy).
- Phyllis Diller (1917-2012) began her comedy career in the 1950s at the age of 37 and broke barriers in the comedy world to become the first solo female comic to be a household name. She developed a stage persona of an incompetent housewife and dressed in outlandish outfits with wild hair. Her material focused on self-deprecating jokes that tackled the idealized image of American mothers and homemakers. She also created many mythical personas for her stage act including her “husband” Fang, her “neighbor” Mrs. Clean, and her “mother-in-law” Moby Dick.
- Location
- Currently not on view
- Date made
- 1967
- publisher
- Doubleday and Company, Inc.
- illustrator
- Perl, Susan
- maker
- Diller, Phyllis
- Doubleday and Company, Inc.
- ID Number
- 2003.0289.34
- accession number
- 2003.0289
- catalog number
- 2003.0289.34
- Data Source
- National Museum of American History
-
Cartridge Tape Recorder
- Description (Brief)
- This DeJur-Grundig portable tape recorder was made in West Germany in the mid-1960s. The recorder featured an unusual tape format, a specially-made tape cartridge rather than using a reel or cassette. The cartridge is a modular unit that slides out from under the name plate. The user turns it over and slides it back into place in order to use the other side. Since this was a special format not adopted by other manufacturers, unlike Philips’ cassette format or the Lear 8-track cartridge, it quickly faded from the market.
- Location
- Currently not on view
- date made
- 1967
- maker
- DeJur-Grundig
- ID Number
- 2010.0125.12
- catalog number
- 2010.0125.12
- accession number
- 2010.0125
- Data Source
- National Museum of American History
-
Ronald Reagan
- Date
- 1967
- Artist
- Personality Posters, Inc., active 1966 - 2000
- Sitter
- Ronald Wilson Reagan, 6 Feb 1911 - 5 Jun 2004
- Object number
- S/NPG.2010.79
- Data Source
- National Portrait Gallery
-
Marilyn Monroe
- Exhibition Label
- Born Los Angeles, California
- Based on a publicity still from Marilyn Monroe’s 1953 film Niagara, Andy Warhol’s portrait of the film star conveys both her glamour and her fragility. A gifted performer, Monroe became an iconic sex symbol, entertaining troops in Korea and electrifying movie audiences. Despite her success, she maintained an air of vulnerability. Warhol capitalized on these contradictions by portraying Monroe after her 1962 death from a drug overdose. Using silkscreens, he created multiple renditions of the portrait. By emphasizing the images’ off-register printing, Warhol created a powerful metaphor for the dissolution of Monroe’s career and the disastrous impact of her overexposure. In this screenprint, one of a series of ten, Monroe’s sensual features dissolve into a nearly impenetrable mask as Warhol’s non-naturalistic colors and their improper alignment add a jarring, alienating effect to the familiar face.
- Date
- 1967
- Artist
- Andy Warhol, 6 Aug 1928 - 22 Feb 1987
- Printer
- Aetna Silkscreen Products, Inc.
- Publisher
- Factory Additions
- Sitter
- Marilyn Monroe, 1 Jun 1926 - 5 Aug 1962
- Object number
- NPG.97.51
- Data Source
- National Portrait Gallery
-
Modern Painting with Sun Rays
- Exhibition History
- THE MARY BROGAN MUSEUM OF ART AND SCIENCE, Tallahassee, Florida. "The Big Idea: Pop Art and the Space Age," 20 February - 16 May 2004.
- RICHARD GRAY GALLERY, New York, New York. "Roy Lichtenstein's Modern Paintings" 29 October - 11 December 2010.
- Date
- 1967
- Artist
- Roy Lichtenstein, American, b. New York City, 1923–1997
- Accession Number
- 86.3042
- Data Source
- Hirshhorn Museum and Sculpture Garden
-
Christo's wedding dress design notes
- Place of publication, production, or execution
- Other
- Physical Description
- 1 photographic print : b&w ; 26 x 21 cm.
- Summary
- Identification on verso (handwritten): Christo, 1967 Wedding Dress [project]- white satin and silk ropes for opening night fashion show, Museum of Merchandise.
- Citation
- Christo's wedding dress design notes, 1967. Joan Kron papers, 1959-1971. Archives of American Art, Smithsonian Institution.
- Use Note
- Current copyright status is undetermined
- Location Note
- Archives of American Art, Smithsonian Institution Washington, D.C. 20560
- Date
- 1967
- Subject
- Christo
- Record number
- (DSI-AAA)8056
- Data Source
- Archives of American Art
-
Mother And Child
- Date
- (1967)
- Artist
- Raphael Soyer, American, b. Borisoglebsk, Russia, 1899–1987
- Accession Number
- 81.111
- Data Source
- Hirshhorn Museum and Sculpture Garden
-
Lobby card for the film Guess Who’s Coming To Dinner
- Description
- Lobby card features a color still from the film Guess Who's Coming to Dinner The image depicts Katharine Hepburn and Katharine Houghton seated at a table looking up at Spencer Tracy to the right of the frame. Sidney Poitier is shown standing next to the table, facing Tracy. A white box with blue and red text in the bottom left corner reads, [Columbia Pictures presents a / Stanley Kramer / production / Spencer / Tracy / Sidney / Poitier / Katharine / Hepburn / guess who's / coming to dinner / and introducing / Katharine Houghton / Music by DeVol · Written by William Rose / Produced and directed by Stanley Kramer · Technicolor®]. Black type in BL corner of lobby card reads, [Copyright ©1967 by Columbia Pictures Corporation. All Rights Reserved].
- Date
- 1967
- Created by
- Columbia Pictures Industries, Inc., founded 1919
- Subject of
- Sidney Poitier, Bahamian American, born 1927
- Spencer Tracy, American, 1900 - 1967
- Katharine Hepburn, American, 1907 - 2003
- Katharine Houghton, American, born 1945
- Directed by
- Stanley Kramer, 1913 - 2001
- Object number
- 2013.108.9.1
- Data Source
- National Museum of African American History and Culture
-
Woman in costume on stage at the Museum of Merchandise
- Place of publication, production, or execution
- Other
- Physical Description
- 1 photographic print : b&w ; 26 x 21 cm.
- Citation
- The Evening Bulletin. Woman in costume on stage at the Museum of Merchandise, 1967. Audrey Sabol papers, 1962-1967. Archives of American Art, Smithsonian Institution.
- Use Note
- Current copyright status is undetermined
- Location Note
- Archives of American Art, Smithsonian Institution Washington, D.C. 20560
- Date
- 1967
- Creator
- The Evening Bulletin
- Record number
- (DSI-AAA)1845
- Data Source
- Archives of American Art
-
Photograph of the Wall of Respect
- Place of publication, production, or execution
- No place, unknown, or undetermined
- Physical Description
- 1 photographic print on board : b&w ; 19 x 25 cm.
- Summary
- Black and white photograph on board showing the Wall of Respect, an outdoor mural created in 1967 on a building at 43rd and Langley in the South Side of Chicago. The mural was conceived and executed by the Organization of Black American Culture (OBAC). The wall features "Black Heroes" of African American history and culture.
- Citation
- Photograph of the Wall of Respect, circa 1967. Jeff Donaldson papers, 1918-2005. Archives of American Art, Smithsonian Institution.
- Use Note
- Current copyright status is undetermined
- Location Note
- Archives of American Art, Smithsonian Institution Washington, D.C. 20560
- Date
- circa 1967
- Subject
- Organization of Black American Culture
- Record number
- (DSI-AAA)18599
- Data Source
- Archives of American Art
-
1967 Calendar
- Date
- 1966
- Artist
- Morris Broderson, American, b. Los Angeles, California, 1928–2011
- Accession Number
- 86.646
- Data Source
- Hirshhorn Museum and Sculpture Garden
-
Models wearing Wes Wilson body suits
- Place of publication, production, or execution
- No place, unknown, or undetermined
- Physical Description
- 1 photographic print : b&w ; 26 x 21 cm.
- Summary
- The body suits seen here were shown at the Museum of Merchandise exhibition at the Young Men's/Young Women's Hebrew Association.
- Citation
- Models wearing Wes Wilson body suits, 1967. Audrey Sabol papers, 1962-1967. Archives of American Art, Smithsonian Institution.
- Use Note
- Current copyright status is undetermined
- Location Note
- Archives of American Art, Smithsonian Institution Washington, D.C. 20560
- Date
- 1967
- Subject
- Wilson, Wes
- Record number
- (DSI-AAA)1846
- Data Source
- Archives of American Art
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