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220 Artforum 220 ARTFORUM OCT.FEAT.Raymond.indd 220 9/6/12 5:07 PM Opposite page: Chris Johanson, Above: Chris Johanson, Same Untitled, 1996, acrylic on wood, Brain, Same Body, Different 60 x 40". Day, 2011, acrylic and latex on wood, 28 x 49". AS THE STORY GOES, about 12,000 years ago human beings migrated to the West Coast of North America. They came from Siberia by way of the Bering land bridge and brought with them a system of spiritual beliefs based in rituals of astral projection, animal metamorphosis, and the healing séance. Approxi- mately 11,500 years later, another migration arrived Golden State at the Pacific Coast, this time from Europe—human beings of a decidedly more monotheistic bent, intent JON RAYMOND ON THE ART OF CHRIS JOHANSON on transforming the wilderness into an open-air fac- tory of resource extraction. At this axis of magic and enterprise, ritual and engineering, Chris Johanson was born in San Jose, California, in 1968. After passing his childhood in the pre-Silicon Bay Area, he spent his teenage years skateboarding and listening to punk. He went to col- lege briefly but withdrew before graduating, to pursue the more pressing destiny of becoming a painter— OCTOBER 2012 221 OCT.FEAT.Raymond.indd 221 9/6/12 12:39 PM Johanson’s rough-hewn cartoon first of houses, then of art. His work met with rapid zines, posters, and other underground ephemera, acclaim, with early shows at Alleged Gallery in New offering a primitive rebuttal to the city’s storied style taps a realist vein, documenting York and inclusion in Yerba Buena Center for the countercultural graphics—Zap Comix as drawn by his peculiar, late--new age, Northern Arts’ 1997 Bay Area Now triennial. In 2001, he a hungry child. The images of that period—what California milieu, home of Wavy exhibited in the Institute of Contemporary Art, have become known as “neighborhood pictures”— Gravy, Alan Watts, and Steve Jobs. Philadelphia’s “East Meets West: ‘Folk’ and Fantasy were by and large products of a homegrown Ashcan from the Coasts,” and in 2002 he mounted a major School ethos, depicting the life of the Bay Area streets installation for the Whitney Biennial. Since then, he’s as Johanson experienced it on ground level: the become a recognized figure around the globe, known hunched bums, junkies, commuters, and random for his crude-seeming but conceptually acute draw- pedestrians traveling the blocks in isolation, encoun- ings, paintings, installations, music, and curating tering outbursts of conviviality and violence, dogged efforts and also as an ambassador of a certain vibe- at all times by their own mental demons. In empty, smacked West Coast mind frame. As his charismatic, Hopperesque compositions, his work bore witness often comedic work has flourished, he’s come to to an American scene’s continual decline: One man embody that rarest of breeds—an artist who actually robs another at knifepoint outside a liquor store. means something to people outside the precincts of Two dudes attempt a handshake, or possibly a drug the art world, and who might even be leading his deal, on a busy sidewalk. Many people look like audience somewhere on a moral plane. angry clowns. He was first known as a mere punk drawer. Johanson’s early work was aggressively raw and Loosed on the lo-fi music world of the Bay Area, distinctly cartoony—borderline hobo art—and Johanson made his early contributions to the scene aimed at a select audience of peers. As an acolyte of in the form of scrawled pictures on discarded wood the California punk culture of the 1980s, exemplified and wrinkled paper, much of it purposed as flyers, by mildly elder statesmen like Jello Biafra (Dead Chris Johanson, Untitled, 1996, acrylic on wood, approx. 48 x 72". 222 ARTFORUM OCT.FEAT.Raymond.indd 222 9/6/12 5:27 PM Above: Chris Johanson, This Right: Chris Johanson, Untitled Will Pass, 2011, acrylic on paper, (Easy to Deal with Shape Picture), 7 7 17 ⁄8 x 23 ⁄8". 1999, acrylic on paper, 14 x 10". Kennedys) and Darby Crash (the Germs), Johanson but the hard work payed [sic] off i feel a lot artist in his early reviews, he now made street art in pursued a method of artmaking that was reflexively better about myself much more grounded. Or the most literal sense, using discarded wood, paper, antisocial, secretive, and heavy on antihippie senti- this text, accompanying a messy abstract shape on and house paint to build small indoor cities, diora- ment. Perhaps not surprisingly, some of the early a page ripped from a spiral notebook: hi i am an mas that again tapped into the vernaculars of West pictures bear a resemblance to those of Raymond easy to deal with shape picture. engage with Coast culture. In low-built metropolises and awk- Pettibon, whose single-panel, text-laden images were my casualness. ward suburbs, in scrawny forests, on snaking high- already iconic in the punk scene via the samizdat of As in almost all Johanson’s dialogue, the satiric ways clogged with message-emblazoned cars, his Long Beach–based record label SST. But even as the spark is hard to miss: a funny, illuminating confu- beaten-down people traveled their daily circuits, artists’ handwriting reflected similar tendencies and sion between the confessional and the delusional, attending drum circles and dance workshops, doing their draftsmanship overlapped, their oeuvres were the intimate and the utterly generic. With a kind of drugs and mowing lawns, as all the while their col- always distinct in tone. Johanson’s never contained amazed irony, and in the most colloquially flaccid lected mental energy pooled into menacing clouds the graphic allusiveness of Pettibon’s, for instance— syntax and vocabulary, Johanson nails the daily above their heads. The junky, Funk-y aesthetic of the Krazy Kat quotations or the film-noir refer- speech of an entire population for whom ambitions Johanson’s installations could bring to mind another ences—or any of the Angeleno’s ornate diction. personal and corporate have become almost indis- California artist, Ed Kienholz, but mostly they Rather, in Johanson’s hands, the rough-hewn car- tinguishable, and whose quest for spiritual fulfill- extended the broader physics of his own, idiosyn- toon style tapped a more realist vein, documenting ment has become only one more component in the cratic galaxy, a place of wonky angles, jerry-rigged his peculiar, late–new age, Northern California bureaucracy of daily life. The inner voice, in other construction techniques, and constant, jockeying milieu, home of Wavy Gravy, Alan Watts, and Steve words, of California itself. tension, if not battle, between the individual and the Jobs. To quote one figure from a 1996 drawing, By the mid-1990s, Johanson was already identi- community, the neighborhood and the cosmos. If on directly addressing the viewer: i work very hard at fied as a member of the so-called Mission School occasion his decrepit style discouraged close viewing, remaining present in my body in the moment so (joining artists such as Barry McGee and Margaret appearing too rickety and oblong to approach, the i am very aware of all the factors that i am Kilgallen) and had begun to explore the format carnival colors and satisfying, ungainly shapes were dealing with at any given moment it took a lot of the installation, producing blown-out, 3-D city- inviting, too, obviously pitched less against the audi- of effort to get here it was by no means easy scapes related to his flat images. Dubbed a street ence than the user-friendly, corporate minimalism OCTOBER 2012 223 OCT.FEAT.Raymond.indd 223 9/12/12 6:18 PM Above: Chris Johanson, The Award Below: Chris Johanson, Untitled, of Self, 2009, found wood, acrylic, 2008, found wood, acrylic, paint, that was already the house style of the South Bay’s abetted by his long relationship with Deitch Projects. 1 paint. Installation view, Davidson 100 ⁄2 x 101". College, NC. digital capitalism. In 2007, he founded the record label Awesome Vistas In the past decade, Johanson has also made forays to disseminate albums by such art-altered musicians into abstraction, arranging his signature color as Portland, Oregon’s Dragging an Ox Through In low-built metropolises and schema (always drawn from buckets of house paint) Water, San Francisco’s Enablers, and Johanson’s own across a variety of segmented wheels, modular grids, bands, such as Sun Foot and Is. He has helped orga- awkward suburbs, Johanson’s faceted shapes, even an occasional rainbow swastika. nize punk shows in independent grocery stores, people traveled their daily circuits, He’s established an outer-space frame of reference, Ethiopian restaurants, vacant lots, and art fairs. This doing drugs and mowing lawns, as populated by distant planets, stars, and gnomic, often year, he’s collaborated on a sprawling local-history all the while their collected mental tautological statements of wisdom (the vast space show in San Francisco, “Streetopia,” incorporating of your own mind is inside the vast space of performance art, theater, muraling, gardening, energy pooled into menacing your own life, as an example). He cycles through installation, and more. His prints appear in book- clouds above their heads. these motifs, finding new seams and pockets, ada- stores and record shops, on album sleeves and post- mantly refusing to improve his craft. In fact, if any- ers; his figures on murals and skateboard decks and thing, Johanson’s drawing skills have only further Pendleton blankets. Since Johanson’s days as a teen deteriorated over the years, becoming more rudimen- zine maker, he and his work have become an elemen- tary, leaving the viewer often with little more than tal part of the West Coast cultural landscape, a hardy stick figures on barren ground.
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