Gonzo: The Art
by Ralph Steadman
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Book Summary Information
Author: Ralph SteadmanEdition: Hardcover
Audio: English (Unknown); English (Original Language); English (Published)
Published: 1998-10-15
ISBN: 0151003874
Number of pages: 208
Publisher: Houghton Mifflin Harcourt
Book Reviews of Gonzo: The Art
Book Review: a brilliant sensory experience
Summary: 5 Stars
Often in the shadow of collaborator Thompson, Steadman here gets to be the star & rightly so even though the good Gonzo doc does show up a few times. He has had other volumes out as well but this seems to be his greatest hits package or something, from various eras. Psychedelic spinning eyeballs, dripping blood, pliticians, decay & newspaper cuttings gloriously meshed together into true revelation. His styles do change & themes do too. He recounts that despite people thinking he was present for the escapades in the great Red Shark in Las Vegas, Ralph says he's never be mad enough to get in a car w/ hunter S. Thompson & also the difference w/ him being English & Hunter being extremely American. Anyway this was on the shelf next to Jean-Michel Basquiat & if anyone's getting art books I would thoroughly recommend both. BAD CRAZINESS!
Summary of Gonzo: The Art
A three-decade retrospective of Ralph Steadman?s caustic, witty, outrageous art-including illustrations from Fear and Loathing in Las Vegas and the other legendary collaborations with Hunter S. Thompson that spawned gonzo journalism. Illustrated throughout in color and black-and-white, with an introduction by Hunter S. Thompson.
Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman "the Albert Gore of twentieth century art." It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's Fear and Loathing in Las Vegas and other works, here his art is given free rein, and works with titles like "Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself..." and "Good time crucifix" combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. --James DiGiovanna
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