The Chambers Project – Psychedelic Art Gallery

In part two, @banjoglass breaks down the wild history of glass blowing, from the Italian island of Murano in the 13th century to the Dead lots of the 1990s ⚡️

Join us Saturday, January 31st for “Glass is Dead: A Grateful Pipe Show,” curated by @banjoglass that traces the lineage of the functional glass art phenomenon from Bob Snodgrass’ color-changing pipes to the masterful rigs of today ⚡️

Video by @seatsontitanic

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Open post by the_chambers_project with ID 18003028943700527

In part two, @banjoglass breaks down the wild history of glass blowing, from the Italian island of Murano in the 13th century to the Dead lots of the 1990s ⚡️

Join us Saturday, January 31st for “Glass is Dead: A Grateful Pipe Show,” curated by @banjoglass that traces the lineage of the functional glass art phenomenon from Bob Snodgrass’ color-changing pipes to the masterful rigs of today ⚡️

Video by @seatsontitanic ...

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On this day in 1966, the Trips Festival swallowed Longshoreman’s Hall in San Francisco for three straight days, merging sound, light, film, and chemical curiosity into what became the largest and most formative Acid Test of all.

Dreamt up by Ken Kesey, Stewart Brand, and Ramon Sender, with production support from Bill Graham and the Merry Pranksters, the festival drew an estimated 10,000 people to the old sailor’s union building in the hazy heart of Fisherman’s Warf.

Newly-formed bands like The Grateful Dead and Big Brother & the Holding Company electrified the room, while a giant bowl of acid-spiked punch transformed the crowd. Experimental filmmakers and light artists including Tony Martin, Robert Frank, and other Bay Area visionaries drenched the hall in projections and strobes, completing the sensory takeover.

The Trips Festival pulled psychedelia out of the underground, hurling into the face of mainstream consciousness. It helped launch the Haight-Ashbury scene, rewrote the rules of live performance, and cemented San Francisco as the psychedelic capital of America.

Its legacy lives on in experiential art, festival culture, and the enduring, countercultural belief that the audience isn’t just watching the show, they’re a part of it.

Come see this original piece of psychedelic history as part of our “60 Years of the Grateful Dead” retrospective, up now through June in Grass Valley, CA ⚡️

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Open post by the_chambers_project with ID 17932076709176563

On this day in 1966, the Trips Festival swallowed Longshoreman’s Hall in San Francisco for three straight days, merging sound, light, film, and chemical curiosity into what became the largest and most formative Acid Test of all.

Dreamt up by Ken Kesey, Stewart Brand, and Ramon Sender, with production support from Bill Graham and the Merry Pranksters, the festival drew an estimated 10,000 people to the old sailor’s union building in the hazy heart of Fisherman’s Warf.

Newly-formed bands like The Grateful Dead and Big Brother & the Holding Company electrified the room, while a giant bowl of acid-spiked punch transformed the crowd. Experimental filmmakers and light artists including Tony Martin, Robert Frank, and other Bay Area visionaries drenched the hall in projections and strobes, completing the sensory takeover.

The Trips Festival pulled psychedelia out of the underground, hurling into the face of mainstream consciousness. It helped launch the Haight-Ashbury scene, rewrote the rules of live performance, and cemented San Francisco as the psychedelic capital of America.

Its legacy lives on in experiential art, festival culture, and the enduring, countercultural belief that the audience isn’t just watching the show, they’re a part of it.

Come see this original piece of psychedelic history as part of our “60 Years of the Grateful Dead” retrospective, up now through June in Grass Valley, CA ⚡️ ...

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@banjoglass on Bob Snodgrass and the inception of functional glass in the Dead lots of the 1990s⚡️

Join us Saturday, January 31st for “Glass is Dead: A Grateful Pipe Show,” curated by @banjoglass that honors the history of this folk art phenomenon, from Bob’s color-changing p!pes to the modern masters of today.

Part one of the video by @seatsontitanic titanic Stay tuned for part two later this week!

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Open post by the_chambers_project with ID 18037683311528913

@banjoglass on Bob Snodgrass and the inception of functional glass in the Dead lots of the 1990s⚡️

Join us Saturday, January 31st for “Glass is Dead: A Grateful Pipe Show,” curated by @banjoglass that honors the history of this folk art phenomenon, from Bob’s color-changing p!pes to the modern masters of today.

Part one of the video by @seatsontitanic titanic Stay tuned for part two later this week! ...

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On this day in 1967, Timothy Leary delivered his now-iconic call to “Turn on, tune in, drop out” at the Human Be-In in Golden Gate Park.

The gathering fused the Bay Area subcultures of the era, from Berkeley radicals and Hells Angels to mystics and Diggers, with the psychedelic luminaries of the Beat Generation and “all the rock bands in San Francisco.”

The event would serve as the unofficial kickoff to the brief but monumental Summer of Love.

The piece shown here is the first major poster by artist Rick Griffin, and acted as the catalyst for Griffin’s ascent as a defining figure of the emerging psychedelic poster movement.

Brian Chambers tells the story.

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Open post by the_chambers_project with ID 18116010034607443

On this day in 1967, Timothy Leary delivered his now-iconic call to “Turn on, tune in, drop out” at the Human Be-In in Golden Gate Park.

The gathering fused the Bay Area subcultures of the era, from Berkeley radicals and Hells Angels to mystics and Diggers, with the psychedelic luminaries of the Beat Generation and “all the rock bands in San Francisco.”

The event would serve as the unofficial kickoff to the brief but monumental Summer of Love.

The piece shown here is the first major poster by artist Rick Griffin, and acted as the catalyst for Griffin’s ascent as a defining figure of the emerging psychedelic poster movement.

Brian Chambers tells the story. ...

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Sometimes the light’s all shinin’ on me
Other times I can barely see
Lately it occurs to me
What a long, strange trip it’s been
🌹

Fare thee well, Bobby. Thanks for 60 years of music and light ⚡️⚡️⚡️

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Open post by the_chambers_project with ID 18103756429700411

Sometimes the light’s all shinin’ on me
Other times I can barely see
Lately it occurs to me
What a long, strange trip it’s been
🌹

Fare thee well, Bobby. Thanks for 60 years of music and light ⚡️⚡️⚡️

...

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Sixty years ago today, on January 8, 1966, one of the early Acid Tests unfolded in California. Hosted by Ken Kesey and the Merry Pranksters, these gatherings collapsed the boundaries between art, sound, and experience, then spiked it all with Owsley’s electric Kool-Aid. This freewheeling brand of experimental chaos became a blueprint for the counterculture that followed.

For the Grateful Dead, the Acid Tests were foundational. They weren’t playing shows in the traditional sense, they were responding in real time to a room full of people experiencing psychedelics together. The improvisational style that emerged was conversational rather than performative, creating a feedback loop between band and audience that ultimately became the defining feature of Dead performances to this day.

The ripple effects of the Acid Tests were enormous: the Haight, the Summer of Love, psychedelic poster art, immersive concerts, liquid light shows, and the broader idea of American counterculture all trace back to these experiments in consciousness. Sixty years later, we’re still trippin.

We’re proud to be showing five of the Acid Test posters, including Owsley’s personally colored and signed copy, as part of our “60 Years of the Grateful Dead” retrospective on display through June.

Come experience these iconic pieces of counterculture history. We’ll be here Monday–Friday, 10am–4pm in Grass Valley, CA ⚡️

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Open post by the_chambers_project with ID 18103549549699505

Sixty years ago today, on January 8, 1966, one of the early Acid Tests unfolded in California. Hosted by Ken Kesey and the Merry Pranksters, these gatherings collapsed the boundaries between art, sound, and experience, then spiked it all with Owsley’s electric Kool-Aid. This freewheeling brand of experimental chaos became a blueprint for the counterculture that followed.

For the Grateful Dead, the Acid Tests were foundational. They weren’t playing shows in the traditional sense, they were responding in real time to a room full of people experiencing psychedelics together. The improvisational style that emerged was conversational rather than performative, creating a feedback loop between band and audience that ultimately became the defining feature of Dead performances to this day.

The ripple effects of the Acid Tests were enormous: the Haight, the Summer of Love, psychedelic poster art, immersive concerts, liquid light shows, and the broader idea of American counterculture all trace back to these experiments in consciousness. Sixty years later, we’re still trippin.

We’re proud to be showing five of the Acid Test posters, including Owsley’s personally colored and signed copy, as part of our “60 Years of the Grateful Dead” retrospective on display through June.

Come experience these iconic pieces of counterculture history. We’ll be here Monday–Friday, 10am–4pm in Grass Valley, CA ⚡️ ...

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Check out our feature in the January issue of @californialeafmag where @jacqbry sits down with Brian Chambers and @banjoglass to discuss the significance of our “60 Years of the Grateful Dead” retrospective, and what comes next.

On Saturday, January 31st, our first in-depth exploration of the artistic offshoots born from the Grateful Dead world turns to functional glass with “Glass Is Dead: A Grateful Pipe Exhibition,” curated by @banjoglass🔥

This exhibition traces the evolution of heady glass from its outlaw beginnings in Dead lots with Bob Snodgrass’ color-changing pipes, to its present standing as a rapidly growing fine art movement.

Featuring works by foundational masters alongside the contemporary artists carrying the flame, “Glass is Dead” places pipes at the forefront. Presented alongside an unprecedented exhibition of original Grateful Dead paintings, the show offers a rare opportunity to experience two deeply intertwined creative traditions in the same space.

Join us Saturday, January 31 at 5pm for a pre-show panel discussion exploring the genesis and evolution of this art form, followed by a Q&A with a soon-to-be-announced lineup of leading glass artists.

Doors at 6pm  $20 presale/$25 at the door  18+

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Open post by the_chambers_project with ID 18030850097773665

Check out our feature in the January issue of @californialeafmag where @jacqbry sits down with Brian Chambers and @banjoglass to discuss the significance of our “60 Years of the Grateful Dead” retrospective, and what comes next.

On Saturday, January 31st, our first in-depth exploration of the artistic offshoots born from the Grateful Dead world turns to functional glass with “Glass Is Dead: A Grateful Pipe Exhibition,” curated by @banjoglass🔥

This exhibition traces the evolution of heady glass from its outlaw beginnings in Dead lots with Bob Snodgrass’ color-changing pipes, to its present standing as a rapidly growing fine art movement.

Featuring works by foundational masters alongside the contemporary artists carrying the flame, “Glass is Dead” places pipes at the forefront. Presented alongside an unprecedented exhibition of original Grateful Dead paintings, the show offers a rare opportunity to experience two deeply intertwined creative traditions in the same space.

Join us Saturday, January 31 at 5pm for a pre-show panel discussion exploring the genesis and evolution of this art form, followed by a Q&A with a soon-to-be-announced lineup of leading glass artists.

Doors at 6pm  $20 presale/$25 at the door  18+ ...

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Mark Your calendars, Friends! 🗓️✍🏼⚡️ Saturday, Jan 31 6:00 pm
@the_chambers_project and @enterthepact present
“Glass is Dead, a Grateful Pipe Exhibition”
Celebrating the journey of functional art from its organic, psychedelic roots to its current status as a growing fine art phenomenon.
⚡️💀🥀
The influence of the Grateful Dead on American counterculture extends far beyond music. The art, community, and open-air economy found at their shows—and in their concert parking lots—gave rise to an entire movement of functional glass artists, one that continues to evolve decades after Bob Snodgrass first sold his revolutionary, color-changing glass pipes on Shakedown Street in the 1980s.
⚡️💃⚡️🕺🏻
Curated by @banjoglass , this exhibition places glass pipes at the forefront, featuring works from OG masters of the craft alongside pieces by contemporary artists carrying that legacy forward. The collection will be presented alongside a massive and unprecedented exhibition of original Grateful Dead paintings, creating a rare opportunity to experience two deeply intertwined artistic traditions together.
🎨🏺🎨
By bringing heady glass and original Dead art into the same space, “Glass is Dead” honors the shared history, creative energy, and cultural impact that continue to connect these movements—then and now.
🔥🔥🔥
Join us Saturday at 5:00pm for a pre-show slide talk exploring the genesis and evolution of this outlaw art form. Presentation will be followed by a Q & A with a soon-to-be-announced panel of heady glass dignitaries.

Stay tuned for details, can’t wait to see you, and happy new year everyone !

⚡️🥀⚡️🥀⚡️
Participating artists:
@bobsnodgrass1946
@ginnysnodgrassgietl
@hughglass
@jkellyglass
@jonnyg73
@original_gongster
@espglass
@roseroadskojima
@thinkins_glass
@justincarterglass
@wjcglass
@nikocray
@danhoffmanglass
@karmaglass420
@lilbearglass

Poster designed by @liminaltradingco

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Open post by the_chambers_project with ID 18083943629119617

Mark Your calendars, Friends! 🗓️✍🏼⚡️ Saturday, Jan 31 6:00 pm
@the_chambers_project and @enterthepact present
“Glass is Dead, a Grateful Pipe Exhibition”
Celebrating the journey of functional art from its organic, psychedelic roots to its current status as a growing fine art phenomenon.
⚡️💀🥀
The influence of the Grateful Dead on American counterculture extends far beyond music. The art, community, and open-air economy found at their shows—and in their concert parking lots—gave rise to an entire movement of functional glass artists, one that continues to evolve decades after Bob Snodgrass first sold his revolutionary, color-changing glass pipes on Shakedown Street in the 1980s.
⚡️💃⚡️🕺🏻
Curated by @banjoglass , this exhibition places glass pipes at the forefront, featuring works from OG masters of the craft alongside pieces by contemporary artists carrying that legacy forward. The collection will be presented alongside a massive and unprecedented exhibition of original Grateful Dead paintings, creating a rare opportunity to experience two deeply intertwined artistic traditions together.
🎨🏺🎨
By bringing heady glass and original Dead art into the same space, “Glass is Dead” honors the shared history, creative energy, and cultural impact that continue to connect these movements—then and now.
🔥🔥🔥
Join us Saturday at 5:00pm for a pre-show slide talk exploring the genesis and evolution of this outlaw art form. Presentation will be followed by a Q & A with a soon-to-be-announced panel of heady glass dignitaries.

Stay tuned for details, can’t wait to see you, and happy new year everyone !

⚡️🥀⚡️🥀⚡️
Participating artists:
@bobsnodgrass1946
@ginnysnodgrassgietl
@hughglass
@jkellyglass
@jonnyg73
@original_gongster
@espglass
@roseroadskojima
@thinkins_glass
@justincarterglass
@wjcglass
@nikocray
@danhoffmanglass
@karmaglass420
@lilbearglass

Poster designed by @liminaltradingco ...

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Dennis Larkins is a rock-and-roll art legend whose visionary approach to set design helped define what concerts look like today.

Throughout the 1970s and beyond, the artist and longtime designer created massive, immersive stage worlds for bands like the Grateful Dead, Santana, the Eagles, AC/DC, and more, transforming concerts into full-scale spectacles.

Among his most iconic works is the Stonehenge set for Led Zeppelin’s final US show, a design so legendary it later took on a second life in the mockumentary, This Is Spinal Tap.

In this clip, @startlingart_dennis_larkins reflects on the magic and the madness of designing rock shows at their peak, when ideas were wild and nothing was off limits.

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Open post by the_chambers_project with ID 17933067441151475

Dennis Larkins is a rock-and-roll art legend whose visionary approach to set design helped define what concerts look like today.

Throughout the 1970s and beyond, the artist and longtime designer created massive, immersive stage worlds for bands like the Grateful Dead, Santana, the Eagles, AC/DC, and more, transforming concerts into full-scale spectacles.

Among his most iconic works is the Stonehenge set for Led Zeppelin’s final US show, a design so legendary it later took on a second life in the mockumentary, This Is Spinal Tap.

In this clip, @startlingart_dennis_larkins reflects on the magic and the madness of designing rock shows at their peak, when ideas were wild and nothing was off limits. ...

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Ken Kesey’s Acid Tests were live experiments in sound, perception, and collective experience that not only served as the catalyst for the Grateful Dead, but the psychedelic movement at large.

At their center was Owsley Stanley, whose influence went far beyond synthesizing L*D. Owsley shaped the sonic environment of the Acid Tests, advancing live sound and fidelity in ways that permanently changed how music would be performed and perceived.

Brian Chambers tells the story.

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Open post by the_chambers_project with ID 18186981883344695

Ken Kesey’s Acid Tests were live experiments in sound, perception, and collective experience that not only served as the catalyst for the Grateful Dead, but the psychedelic movement at large.

At their center was Owsley Stanley, whose influence went far beyond synthesizing L*D. Owsley shaped the sonic environment of the Acid Tests, advancing live sound and fidelity in ways that permanently changed how music would be performed and perceived.

Brian Chambers tells the story. ...

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Our “60 Years of the Grateful Dead” opening weekend unfolded the only way it could. Music first, followed by a celebration of the art that continues to define the visual language of psychedelic culture in America.

Not only did this art shape the legacy of the biggest band of all time, the culture of creation that has always surrounded the Dead has launched countless artistic subcultures in the process.

We’re excited to announce that this epic opening was just the beginning. Throughout the run of “60 Years of the Grateful Dead,” on display now through June, we will be producing a number of micro exhibitions that celebrate the many art forms spawned from the Dead’s psychedelic culture of creation.

Our first in depth examination of the artistic fractals that came from the Grateful Dead world will be functional glass, with a grateful pipe exhibition on January 31st, curated by @banjoglass

We’ll be releasing more information on this upcoming show and series of happenings soon, so be sure to stay tuned! 🌀

Recap by @seatsontitanic ⚡️

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Open post by the_chambers_project with ID 17992917572736055

$Our “60 Years of the Grateful Dead” opening weekend unfolded the only way it could. Music first, followed by a celebration of the art that continues to define the visual language of psychedelic culture in America. Not only did this art shape the legacy of the biggest band of all time, the culture of creation that has always surrounded the Dead has launched countless artistic subcultures in the process. We’re excited to announce that this epic opening was just the beginning. Throughout the run of “60 Years of the Grateful Dead,” on display now through June, we will be producing a number of micro exhibitions that celebrate the many art forms spawned from the Dead’s psychedelic culture of creation. Our first in depth examination of the artistic fractals that came from the Grateful Dead world will be functional glass, with a grateful pipe exhibition on January 31st, curated by @banjoglass We’ll be releasing more information on this upcoming show and series of happenings soon, so be sure to stay tuned! 🌀 Recap by @seatsontitanic ⚡️$

Our “60 Years of the Grateful Dead” opening weekend unfolded the only way it could. Music first, followed by a celebration of the art that continues to define the visual language of psychedelic culture in America.

Not only did this art shape the legacy of the biggest band of all time, the culture of creation that has always surrounded the Dead has launched countless artistic subcultures in the process.

We’re excited to announce that this epic opening was just the beginning. Throughout the run of “60 Years of the Grateful Dead,” on display now through June, we will be producing a number of micro exhibitions that celebrate the many art forms spawned from the Dead’s psychedelic culture of creation.

Our first in depth examination of the artistic fractals that came from the Grateful Dead world will be functional glass, with a grateful pipe exhibition on January 31st, curated by @banjoglass

We’ll be releasing more information on this upcoming show and series of happenings soon, so be sure to stay tuned! 🌀

Recap by @seatsontitanic ⚡️ ...

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Check out some recent press we’ve gotten for our “60 Years of the Grateful Dead” retrospective. To read any of these fantastic articles, check out the Press section on our site.

If you haven’t seen the show yet, come experience the magic! We’re open Monday to Friday 10-5pm, excluding holidays 💫

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Open post by the_chambers_project with ID 18060632348639373

Check out some recent press we’ve gotten for our “60 Years of the Grateful Dead” retrospective. To read any of these fantastic articles, check out the Press section on our site.

If you haven’t seen the show yet, come experience the magic! We’re open Monday to Friday 10-5pm, excluding holidays 💫

...

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On Display Until June 2026!

Glass is Dead: A Grateful Pipe Exhibition

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