Sharp made contributions to Australian and international culture from the early 1960s, and was called Australia's foremost pop artist. His psychedelic posters of Bob Dylan, Donovan and others, rank as classics of the genre,and his covers, cartoons and illustrations were a central feature of Oz magazine, both in Australia and in London. Martin co-wrote one of Cream's best known songs, "Tales of Brave Ulysses", created the cover art for Cream's Disraeli Gears and Wheels of Fire albums, and in the 1970s became a champion of singer Tiny Tim, and of Sydney's embattled Luna Park.Wikipedia
Yet the images of the Australian artist, who has died aged 71, were finely crafted works in their own right. Like the greatest musicians of the 1960s, he allied flights of the imagination with expert technique. His most celebrated works, the covers he designed for two albums by Cream, Disraeli Gears and Wheels of Fire, complemented astutely the free-form, experimental sounds of rock’s first supergroup. His association with the band was itself indicative of the easy-going fluidity of the 1960s: he had bumped into Eric Clapton, Cream’s guitarist, at The Speakeasy, one of London’s leading nightclubs of the time. During their conversation, Sharp told Clapton of a poem he had recently written, while the guitarist recounted his struggle to find lyrics for some music he had composed.
Sharp’s interests, and career, took an abrupt turn in the mid-1970s when he was commissioned to oversee the restoration of Sydney’s Luna Park. It was a project into which he threw himself with enthusiasm but which soured when a fire in one of the theme park’s rides claimed seven lives in 1979. The park was overhauled, amid controversy over the site’s development.
Among those was Tiny Tim, whom he had first seen at the Royal Albert Hall in 1968 and supported financially, and the Sydneysider Arthur Stace, otherwise known as Mr Eternity, a reformed alcoholic and convert to Christianity who became famous for his chalk scrawling of the word “eternity” in various Sydney locations. Sharp appropriated the logo, which went on to appear in lights on Sydney Harbour Bridge during the millennium celebrations.
Yet his interest in such left-field figures also marked him out from many of his Pop Art contemporaries, who became embroiled in, and enjoyed the fruits of, the increasing commercialisation of the art scene. Sharp’s support for those he saw as the true heirs of 1960s radicalism made him an authentic and impassioned advocate of that culturally remarkable time." ( By Peter Aspden www.ft.com )