‘Fear and Loathing’ exhibition begins where its inspiration began: Aspen

Aspen is set to host an exhibition that channels the raw, unfiltered energy of Hunter S. Thompson, Johnny Depp, and Ralph Steadman — a trio whose creative chaos redefined art and journalism.

The “Fear and Loathing” exhibition opens with a private preview on Dec. 27, followed by a public reception from 6-10 p.m. on Saturday, Dec. 28, at the Aspen Collective Gallery. 

Running through Feb. 12, the show dives into the wild synergy that shaped Gonzo journalism and bled into visual and performance art.

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Sarah McLellan, director of Technology and Business Development for the Aspen Collective Gallery, said the exhibition was sparked when the gallery’s curator, D.J. Watkins, met Johnny Depp and his art curator in New York.

“The discussion centered around Johnny and Hunter’s friendship over the years and the similarities with Johnny’s art and Hunter’s, as well as Hunter’s illustrator, Ralph Steadman’s work,” McLellan said. “D.J. has collected so much of Hunter’s Gunshot Art over the years, and we thought it would be a really beautiful parallel to display the works together.”

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She said the exhibition explores how each artist’s individual endeavors influenced the others, blending their artistic styles. 

The press release for the exhibition paints the image of Thompson’s typewriter rattling off pages of surreal truth somewhere in the shadows of Woody Creek Tavern while Steadman’s ink splattered vivid absurdities onto paper. 

Depp, who first brought Thompson’s world to life on-screen, continues the legacy in a different medium. This exhibition reveals how their intertwined artistry transcended disciplines, capturing rebellion, activism, and the pursuit of creative freedom.

Watkins highlighted the deep bond between Depp and Thompson.

“Johnny is from Louisville, Kentucky, and that is where Hunter is also from. Johnny always idolized Hunter, and when he got the role to play Hunter in ‘Fear and Loathing,’ he moved into Hunter’s basement,” Watkins said. “He was a method actor and moved in to learn Hunter’s mannerisms and style.”

He shared a story that captured Thompson’s eccentricity.

“Johnny was in Hunter’s basement, smoking a cigarette and ashing it on a nightstand,” he recalled. “Hunter came in and informed Johnny that the nightstand was actually a keg of dynamite. So they became fast friends after that.”

He said that the pair’s time spent at Woody Creek Tavern further deepened their relationship, culminating in Depp’s portrayal of Thompson in Fear and Loathing in Las Vegas.

The collection features Thompson’s infamous Gunshot Art — works born from literal blasts of defiance, reflecting his lifelong tendency to dismantle norms by any means necessary. 

Alongside these explosive pieces are Steadman’s unmistakable illustrations, chaotic yet precise, pulling viewers into satirical worlds dissecting politics, society, and the absurdity of human nature.

“Some of the works we have on display are works that Johnny made in Chicago while in a film about John Dillinger; this was the same time Hunter was making his Gunshot Art,” Watkins said. “(Depp and Thompson) were both really creative people, making art, making films. Hunter was a writer making art, and Johnny was an actor making art. They were living their lives and finding ways to creatively express themselves.”

Depp’s contributions offer a more intimate perspective. Known primarily for his acting, he has long used art as a private refuge. For years, his canvases were shared only with family and close friends, kept away from public view out of fear they’d be dismissed as a celebrity side project.

Now, he views art as an extension of the same impulses that drew him to film — a release and a form of storytelling.

“I’ve always used art to express my feelings and reflect on those who matter most to me, like my family, friends, and the people I admire,” he stated in a release.

His textured and personal works reflect the influence of his friendships with Thompson and Steadman, embodying the unpredictable and emotional essence of Gonzo.

“Some of the artworks that we have on the walls are dated 1994, 1992, and we have an Easy Rider poster that Hunter made in 1996,” Watkins said. “I think they were riffing off of each other. I think they had a lot in common, including living life like a work of art, too.”

Thompson’s imprint on Aspen remains unmistakable. 

From his 1970 bid for Pitkin County Sheriff to his political collaborations with Thomas W. Benton, his legacy weaves through the town’s cultural history. Steadman’s biting illustrations continue to challenge and inspire, defining the visual identity of Thompson’s works.

Watkins, whose own work preserves Aspen’s unconventional spirit, emphasized this point.

“What I have been trying to do over the years, with the books I’m writing, is to revere history and look at what we can do to keep things weird and cool in Aspen,” he said. “I wrote ‘Freak Power’ about Hunter S. Thompson’s campaign for sheriff. Everyone said that the origin of Gonzo Journalism was the Kentucky Derby article that Hunter and Ralph did together, but I think the start was when Hunter wrote his first article for Rolling Stone while running for sheriff called ‘The Battle of Aspen.'”

The “Fear and Loathing” exhibition offers a rare glimpse into the intertwined legacies of three artists who embraced madness as part of their craft. More than an art show, it stands as a tribute to their relentless pursuit of truth — distorted, amplified, but always unflinching.

“We want people to see how friends can influence each other’s art and artistic style,” McLellan said. “Even with the contemporary modern-day artists, people who are friends see a lot of similarities, and it’s kind of cool to look back at history to see that.”

She noted how the artists deliberately created provocative works to capture attention.

“Their art is not clean-cut. There are no specific lines or anything like that,” she said. “The art is very rough, and I think that is the unique thing you get out of it.”