Gonzo Gallery and Thomas W. Benton Update

Hi folks,

First of all a belated Happy New Year to you all! Lets hope 2014 is a good one to everybody.

I know updates have been few and far between in recent months, which is due to the amount of PhD related work that I have been wading through. As my thesis is now in the final stretches I hope to be able to devote a little more time to the site this year, not to mention finally finish that damn PhD once and for all.

Anyway, I have been in touch with DJ Watkins recently and he was kind enough to update me on changes to the official Gonzo Gallery and Tom Benton websites.

Here is what he had to say:

The Gonzo Gallery is now officially broadcasting from www.gonzogallery.com. Artwork by the usual cast of characters – Thomas W. Benton, Ralph Steadman, Hunter S. Thompson, and William S. Burroughs – is now online including work that’s never been available for purchase before. 
 
We also decided to leave behind the old Thomas W. Benton website and showcase his work in a lavishly post-modern style at www.tomwbenton.com. Unlike our previous, quasi-analog site, you can actually purchase original prints and paintings now.  
 
And if two new websites weren’t enough, curators, important curators, who stand as pillars of artistic acumen have chosen to include The Gonzo Museum in the Art Genome Project (Think Pandora for artwork) and feature the Museum on their website Artsy. Thus, Gonzo joins the illustrious ranks of The Getty and The Guggenheim in the annals of art history proving that savage genius will survive in an era of reality television and Snapchat. 
I have said it before and I will happily say it again – DJ Watkins has really done a sterling job on the above. Delighted to hear about the Art Genome Project and it is a testament to the fine job he has done in bringing the collections into the digital age. A lot of this material would be simply unavailable to people if it wasn’t for DJ and his dedication. He also has some more plans in store for 2014 so stay tuned to find out more.
All the best,
Rory

The Gonzo Museum

Hi guys,

First post of 2013 and a long overdue one at that! Some of you will recall the review I posted a while back of Thomas Benton: Artist/Activist by DJ Watkins which I thoroughly recommended at the time as an excellent addition to any Gonzo library. Well DJ Watkins didn’t just finish there and has since established The Gonzo Museum in Aspen. Check out the videos below to see the excellent museum that he has managed to put together. An absolute must see for any Gonzo fiend that finds themselves in that neck of the woods! If you are lucky enough to get to see this, make sure to tell the folks there that you heard about it at Totallygonzo. I promise they won’t run you out of the building.

All the best,

Rory

Charity Auction: Fender Steadman Stratocaster

Hey folks,

Here is part 1 of a 2 part update tonight devoted to Ralph Steadman. Below is a video featuring none other than Nils Lofgren and a very special Fender Stratocaster with exclusive artwork by Ralph Steadman. This beauty is going under the hammer for charity and the starting bid is a whopping $30,000. It will no doubt go for a lot more.

The guitar is going to be on display for the next six months at the Musical Instrument Museum in Phoenix before it departs to its new home. If you are interested in bidding you can do so here.

I on the other hand, as a lowly student, will be fawning over it like Wayne Campbell. Meanwhile stay tuned for some great Steadman news.

R

Review – Thomas W. Benton: Artist/Activist

Thomas W. Benton: Artist/Activist 

This stunning coffee-table compilation of Tom Benton’s art is a treasure trove of material that is of huge significance to not only political art history, but also the history of Gonzo Journalism.

Many of you are of course already familiar with Benton through his collaboration with Hunter S. Thompson on the Aspen Wallposters and his striking skull design for the cover of Fear and Loathing: On the Campaign Trail ’72. Yet to date Benton’s work has remained largely inaccessible, with the Aspen Wallposters proving to be particularly elusive due to their scarcity and the high price that they command on the rare occasion that they become available on the market.

Since I started this website just over three years ago, I have been inundated with enquiries regarding the Aspen Wallposters. I think it is fair to say that Benton has been criminally overlooked, not just in relation to his collaboration with Hunter S. Thompson, but also in terms of his contribution to protest art and political activism both at a local and national level.

In this sense, full credit must go to Daniel J. Watkins for undertaking the mammoth project of cataloguing over 500 pieces of art spanning five decades of Benton’s career, a task that involved traversing the length and breadth of the country in search of these prints, all of which were produced in limited unnumbered runs. No mean feat.

From this wider collection, Watkins has selected 150 prints divided into sections representing the evolution of Benton’s career, from his first posters as advertisements for various businesses and events in Aspen, through his political activism and collaboration with Hunter S. Thompson, to his later foray into abstract monotypes and oil paintings. The final section showcases the four buildings that Benton designed and built in Aspen.

Considering that my knowledge of art is fairly limited, I must admit that my initial interest in this book was based solely on the fact that the Aspen Wallposters were finally going to be widely available to the Gonzo community. In many ways they remained one of the final pieces of the Gonzo jigsaw that had yet to fall into place, which is pretty remarkable given the prominent role they have played in relation to Thompson’s infamous Campaign for Sheriff of Aspen, as detailed in his Rolling Stone article The Battle of Aspen – Freak Power in the Rockies. However, the influence of Benton upon Thompson, and vice versa, goes far beyond this collaboration, a fact that is evident from the very first image presented in this book – A stark ,volatile, grey and white print emblazoned with the words – ‘The Garden of Agony – Abandon All Hope Ye Who Enter Here.’ The footnote informs us that ‘The Garden of Agony’ was the name of Benton’s studio.

Any doubt that Benton was cut from the very same cloth as Thompson, certainly in a political and philosophical manner, are firmly laid to rest by the inclusion of Peggy Clifford’s excellent interview with Benton at the beginning of this book. When asked about his thoughts on American people in general, Benton replied – ‘Most of them are robots. When I go to Los Angeles and I see those people content with smog and congestion and not rebelling, I have to think they they’ve been brainwashed.’ On his opinion of the corporate interests taking over Aspen he states – ‘I think they are going to win. I’m a pessimist, but I’m not a pacifist. I think you ought to take your cuts at them. If you’re going to go down, go down fighting.’

 Given the deep affection for Aspen that was central to Benton’s creative drive it is unsurprising that he found the perfect platform of expression through the medium of campaign posters centred on local politics (and later on a national level). What is intriguing about many of these posters is the manner through which Benton’s aesthetic approach integrated political slogans with powerful visual symbols of the natural beauty of the Aspen wilderness. Of course there are exceptions, such as his poster for the Woody Creek Caucus which is emblazoned with one of the greatest political slogans I have ever seen (the hallmark of a certain Doctor that lived there).

Indeed it is of course the Gonzo section of the book that showcases the most recognisable aspect of Benton’s political art. The content included here is a rare treat for any fan of Hunter S. Thompson with the aforementioned Aspen Wallposters taking centre stage (all of which fold-out from the book). Their inclusion marks the first time that all six posters, each including Thompson’s writing on the reverse, have been made available since the original run of prints in 1970. I don’t want to spoil the details so all I will say is that the posters and accompanying text is pure vintage Gonzo at its best. To finally have this material is to fill a gap in the Gonzo narrative that has been there for far too long. Yet this is not the only Gonzo material that Watkins has included here, with an original voter registration poster for the Thompson for Sheriff campaign also featured, together with an article from The Aspen Times on the “Scurrilous Sheet” by Benton and Thompson and finally the two-page advertisement from Scanlan’s magazine in relation the ill-fated Nixon Wallposter.

 Benton’s collaboration with Thompson on the Aspen Wallposters appears to have been a seminal event in his artistic development, certainly in terms of influence carried forward in relation to his political art. The activism section of the book clearly illustrates this, with many of Benton’s prints echoing his work with Thompson, which is perhaps facilitated by the subject matter – a thorough disdain for Richard Nixon and American foreign policy.

 Overall this book is a testament to a man who not just embodied artistic vision, but who also had the courage and the passion to use his gift to make his feelings known in a world where speaking up is frequently rewarded with being shot down. Benton’s art tells a story, not just about a single cause or person, it is multi-faceted – at once portrait of a life, a city and a nation.

EDIT: You can buy the book here.

Thomas W. Benton: Artist/Activist – Signing tonight in Tattered Cover Denver

Heads up to those of you in Denver! Full review of this wonderful book to come tomorrow (I promise)

 

Colorado artist and journalist Daniel Joseph Watkins will offer a slide show and sign his new book Thomas W. Benton: Artist/Activist ($39.95 People’s Press), a collection of 150 images of artwork by silkscreen artist Thomas W. Benton. Benton’s posters cataloged political movements and elections from 1968 to 2006 and are a powerful visual account of the issues and campaigns that shaped history. Watkins’s book includes never-before-published images of the Aspen Wallposters, a collaboration of Benton’s art and Gonzo journalist Hunter S. Thompson’s writing that promoted their Freak Power movement. The book also includes Benton’s commercial work in Aspen as a signmaker/printmaker, his architectural projects in Colorado, and ten poems by close friend and lyricist Joe Henry.Request a signed copy: books@tatteredcover.com
Location:
1628 16th St.
Denver

, Colorado80202United States