Interview with Brian Chambers – 60 Years of The Grateful Dead Retrospective
Interview with Brian Chambers – 60 Years of The Grateful Dead Retrospective
I had the honor of sitting down with Brian Chambers of The Chambers Project, a visionary curator whose work has just been officially licensed by the Grateful Dead in celebration of sixty years of the band’s legacy. In this exclusive interview, Brian breaks down the inspiration behind the tribute, the artists involved, and what it means to be recognized on such a historic, global level.
PACT / Rick Griffin
Sixty years of the Grateful Dead is a monumental milestone. What inspired you to honor their legacy through such a unique and immersive tribute?
The Grateful Dead has long been my favorite band, and the visual vocabulary that surrounds them has always been top-tier. Coupled with the significance of their 60th anniversary, it felt like the perfect moment to go all-in. To honor their legacy in the most genuine way possible, we turned to the heart of The Chambers Project: collaborative creation.
The Furtherrr Collective has always been at the core of my artistic soul. We’ve now been doing these live paintings together for over 16 years. So they had to be there. Then there’s Banjo, a dear friend of over a decade. We’d been talking about firing up an epic collaboration, and decided this was the moment to make it happen. Johnathan Singer is another dear friend and leading projection artist, so he was a no-brainer. The Dead supergroup we assembled, White Lightning, was our first foray into a musical collaboration. I think it worked beautifully. And of course, my partner Zoltron, who is one of my closest friends and favorite artists for the entirety of my career. Having him as both partner and head of production was a masterclass in creative problem-solving.
Essentially, honoring the Grateful Dead to the absolute best of my ability meant applying every trick I’ve learned over the years and involving all the masters I’ve met along the way. We came together and iced this cake as properly as we could.
"A Skeleton Amid Roses" (1900) by Edmund Sullivan
The Chambers Project is known for curating visionary and psychedelic art. How did the Grateful Dead’s influence shape the overall direction of this exhibition?
This show was built entirely around the original art of the Grateful Dead. I’ve collected work from Rick Griffin and The Big Five for years, and I’ve been committed to psychedelic art and culture my entire life. At some point, I realized many of my friends owned iconic album covers and concert poster originals, and that I could likely assemble a monumental retrospective. In January 2024, I committed to doing just that at the highest possible level.
This show marked a new direction for us: museum-level curation through a philanthropic lens, and the formal launch of our nonprofit, PACT (Psychedelic Arts and Culture Trust). Our mission is simple: honor the past, celebrate the present, and help shape the future of psychedelic art and culture through exhibitions that both contextualize history and celebrate visual brilliance. I’m incredibly proud of how this new chapter began.
"Can You Pass The Acid Test" (1965) by Paul Foster with writing by Jerry Garcia
Who were some of the standout artists involved, and what pieces or installations were created specifically for this tribute?
Ninety-five percent of the art on the walls was created while Jerry was still with us. Many of those artists have since passed. Of the twenty-three artists in the show, only three created new works specifically for this exhibition: AJ Masthay, Dennis Larkins, and Banjo. AJ and Dennis produced stunning commemorative pieces released as signed, limited-edition prints. Banjo contributed a show-stopping Griffin collaboration, his own rendition of the iconic Hawaiian Aoxomoxoa.
This event is fully licensed by the Grateful Dead. That’s major. What does it mean to you and your team to receive that level of validation on a global scale?
Working with the Grateful Dead has been an honor and a pleasure. Early on, when our conversations started, I think they might not have understood the depth of my commitment. But as I built the show and shared the incoming treasures with them, they quickly understood I was shooting for the stars. When Zoltron joined as head of production, that immediately gave them the confidence to collaborate with us at the level we envisioned. It’s been a ton of fun. A dream come true.
"Europe 72 Rainbow Foot" by Stanley Mouse & Alton Kelley
The Grateful Dead have always been tied to counterculture and creative experimentation. In what ways did you aim to channel that spirit into the experience?
The connection between the Dead, counterculture, and creative experimentation has always been undeniable. To honor that lineage, we anchored this exhibition at the true beginning: the Acid Tests. Projection mapping was born there, so we tipped our hat by bringing in Johnathan Singer. Glass pipe making emerged on Dead lot, which made involving Banjo just as essential.
On that note, on January 31, 2026, we’ll be opening Glass Is Dead, a group glass exhibition curated by Banjo and our first in-depth exploration of one of the many creative subcultures that grew directly out of the Grateful Dead. Throughout the run of this show, we’ll continue spotlighting the countless artistic fractals born from this world, each one an opportunity to explore, contextualize, and celebrate.
"Magic Bus - 60 Years of The Grateful Dead" by Dennis Larkins
Putting together a project of this magnitude takes vision, risk, and trust. What was the biggest challenge in bringing this tribute to life?
This project required an enormous amount of work and dedication. I’ve never worked this hard for this long. Thankfully, my entire team stepped up and believed in my vision. The team expanded, evolved, and partnering with Zoltron was a game-changer. He carries a tremendous amount of weight.
There were a ton of key players who trusted in me and my team to make this happen. Far too many to list. This has absolutely been a pinnacle moment in my career. I’m forever grateful for the team surrounding me, because I get more attention than I probably deserve. Yes, it was my idea and the result of a network I’ve built over thirty years, but my team and family are the reason it became a reality.
The Chambers Project's December 2025 GD60 concert event & art exhibition
For longtime Deadheads or new fans discovering the band through art, what do you hope they feel or take away from this tribute? Can anyone purchase art from this show? If so, how do they navigate the process?
My hope is that everyone who came to the opening left feeling inspired and full of joy. For anyone visiting throughout the exhibition, I hope they walk away with more knowledge than they arrived with. There’s so much to see and learn. The backstories behind these legendary works are incredible.
Seeing the linework on Edmund Sullivan’s A Skeleton Amid Roses from 1900 is simply amazing and something to be experienced. This is a museum-level show presented in a fun, accessible environment, and I encourage everyone to check it out.
As for availability, yes, we do have works for sale. We’ll be doing staggered releases throughout the exhibition, so I recommend joining our mailing list or following us on Instagram @the_chambers_project to stay updated on our future endeavours.
“For interest in originals or inquiries about selling, email brian@thechambersproject.com. I’m still very actively acquiring, and this will not stop!” – Brian Chambers
