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SUMMARY:Community Day: Free Admission at the Arboretum
DESCRIPTION:The first Tuesday of each month\, the Arboretum is open without charge to visitors. See dates and times UC Santa Cruz Arboretum & Botanic Garden is open. NOTE: Due to limited parking at the Arboretum and the popularity of Community Day\, we greatly encourage visitors to carpool\, bike\, walk or use public transportation as much as possible.
URL:https://events.ucsc.edu/event/community-day-free-admission-at-the-arboretum/2025-05-06/
LOCATION:Arboretum\, 122 Arboretum Road\, Santa Cruz\, CA\, 95064
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SUMMARY:Younger Lagoon Reserve Tours
DESCRIPTION:Take a tour of Younger Lagoon Reserve!  This 90-minute\, behind-the-scenes hiking tour takes visitors into the 25-acre lagoon and beach area. Come and see what scientists are doing to track local mammals\, restore native habitats\, and learn about the workings of one of California’s rare coastal lagoons.   \nYounger Lagoon Reserve Beach Tours are free and open to the public. Space is limited to 18 participants. Call 831-459-3800 or book online  \nYounger Lagoon Reserve also offers a virtual tour in both English and Spanish.
URL:https://events.ucsc.edu/event/younger-lagoon-reserve-tours-820/
LOCATION:Seymour Marine Discovery Center\, 100 McAllister Way\, Santa Cruz\, CA\, 95060
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SUMMARY:"All the Pages Are My Days": Print and Visual Culture of the Grateful Dead in Context
DESCRIPTION:This exhibition celebrates the art and print material generated by the Grateful Dead and their fans in the context of the printing explosion of the 1960s and ‘70s. As the Dead came into popularity and an anti-establishment counterculture spread throughout the nation\, democratic print technologies were concomitantly adopted into widespread use. In the Bay Area and beyond\, activists\, experimental poets\, and psychedelic artists took advantage of spirit duplicators\, mimeographs\, and other accessible technologies to create and disseminate works of self-expression and political action. This exhibition focuses on the social life of printed materials\, placing the Dead’s print culture in cultural and political situ.  \nIn the 1960s\, a new generation of young people–products of the post-war baby boom who by then formed a sizable segment of the overall U.S. population–were bristling against convention and finding their voice. As the civil rights and worldwide independence movements achieved momentum and the “New Left” found ideological purchase\, activists identified new means of sharing vital information through the creation of alternative publications and an underground press. The mainstream–or “overground”–press took notice: \nThe information officers of the New American Left have rediscovered an ancient political ally: print power. All over the country\, radical and "movement" organizations have spawned their own print shops run by their own pressmen to churn out an increasing number of posters\, pamphlets\, handbills\, and flyers. Whether it's to mobilize a march on Washington\, explain the advantages of "Free Speech" for GIs\, or advertise courses at an alternative university\, the rebel presses are rolling. By the thousands\, their folded-and-stapled brochures\, decorated with crude graphics\, are being given away at hastily set up campus tables or sold in the standard subculture outlets (Associated Press 1970). \nRadical print shops popped up in the Bay Area and spread internationally\, circulating a wide network of print material engaged with politics\, art and literature\, and prodigious social change. As revolutionary ideas spread\, artists experimented with the expressive capacities of emergent print technologies\, collectively crafting an unconventional and acrobatically imaginative graphic identity. \nThe exploratory\, democratic\, and liberatory attitude expressed in the print culture of the period was reflected across genres of artmaking\, and was to be found\, acutely and enduringly\, in the music of and visual culture surrounding the Grateful Dead. This exhibition also features artifacts reflective of the band’s visual vernacular\, born from the psychedelic vocabulary of the ‘60s and ‘70s and transformed\, over time\, into a distinctive brand and cultural touchstone. The band was formed at a moment of optimism amid radical upheaval in the Bay Area\, and their visual language has transmitted the spirit of the period to new and nostalgic audiences across the decades that followed.
URL:https://events.ucsc.edu/event/all-the-pages-are-my-days-print-and-visual-culture-of-the-grateful-dead-in-context/
LOCATION:McHenry Library\, 1156 High St\, Santa Cruz\, CA\, 95064
CATEGORIES:Exhibits
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