George Hansen

My latest piece has gone up on-line:

Here is a sample:

Dade walked into the café and handed me a lemon-orange, 32-page booklet of odd multi-colored drawings, spotted with odd words, a joint work from the mid-to-late ‘60s of a sextet of Chicago artists who, from the oscillating lines and melting shapes, the jarring chromatics and lingual nonsense, had sat through too many screenings of The Yellow Submarine. When I reached home, waiting was a brick-red, 68-page booklet of odd, multi-colored, wordless drawings, the product of a solo Chicago artist who may have been in the same audience, sucking on the same sugar cubes.
Dade had known nothing about the orange book, The Hairy Who Sideshow (1967), not even how he’d come to possess it. I had heard the name “Hairy Who” but knew nothing about them. I had received the red book, Sketchbook of an Artist (2022), because I had promised to review it. But I had known nothing about its creator, George Hansen, except that, in the early ‘70s, he had received a cease-and-desist letter from Albert Morse, Robert Crumb’s attorney, because Hansen’s style too closely resembled his client’s, and I had only known that because, nearly a decade before Dade reached my table, I had written about Albert and Robert.
By the time you reach 80, I thought, you have cast enough lines into the sea that you can not be surprised what you haul in before breakfast.