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240
239
THOMAS W. BENTON (1930-2007)
239
●
ASPEN HUMANITIES SEMINAR / BOB DYLAN. 1969.
25
1
/
2
x19
3
/
4
inches, 64
3
/
4
x49
1
/
2
cm.
Condition B+: darkening and abrasions at edges; creases and minor abrasions in image; hand-signed by the artist
in pencil. Silkscreen. Paper. Framed.
Benton, who served in the Korean War, studied architecture through the G.I. Bill at the University of
Southern California. He practiced in Los Angeles, where he designed both commercial and residential
buildings, then moved to Aspen, Colorado in 1963. Benton became politically active in the middle of the
decade and abandoned architecture to focus on his art, the most visible product of which were his protest
posters. He is best remembered for his four-decade long association with Hunter S. Thompson, for whom
he designed campaign posters when Thompson was running for County Sheriff in 1970. They also
collaborated on the memorable Aspen Wall Posters, during that same period, as an organ of the Freak
Power movement that both men adhered to. “He went on to create campaign posters for more than fifty
candidates including George McGovern, Gary Hart and Willie Brown. Benton also created numerous
cause posters for local benefits, non-profits and charitable causes that suited his beliefs” (Benton p. 11).
“Benton combined his love of poetry, quotes and design to create dozens of conceptual works of art. The
visual images and words work in tandem to make a point and leave ample room for the viewer to reflect
on the composition” (Benton p. 101). Benton created this image, of a human brain in the crosshairs of
a rifle, the night Robert Kennedy was assassinated in June, 1968. He first used it on a poster that year
with the title
The American Dream,
and he would use it again on the cover of the
Aspen Wall Poster #4,
in 1970, each version bearing differences from the previous usage. Benton p. 115.
[700/1,000]
THOMAS W. BENTON (1930-2007)
240
●
VITAL ISSUES / BOB DYLAN. 1969.
25
1
/
2
x19
3
/
4
inches, 64
3
/
4
x49
1
/
2
cm.
Condition B+: staining in lower left margin; time-staining at edges; hand-signed by the artist in pencil.
Silkscreen. Paper. Framed.
“Movements always find expression of their anger and dreams in the arts, and Tom provided that
expression in Aspen. His political silkscreen posters were a hit - right on - whether about national or