Lester Johnson
American, 1919 - 2010
Classical Group #4, 1985
Oil on canvas
36 x 48 in
2004.15.1
Gift of Allen and Vicki Samson
Collection of the Haggerty Museum of Art, Marquette University
http://museum.marquette.edu/eMuseumPlus?service=ExternalInterface&module=collection&objectId=5391&viewType=detailView

Fan communities engage in collective behavior in order to affect change. Sometimes, this change is directly related to the fan object—as is the case when fans of a canceled show band together in order to compel media creators and owners to return the show to the air. Fans may also use their communities to affect change outside of that directly related to the fan object, by creating fundraisers, rallying around political figures, or using imagery related to the fan object in conjunction with imagery relating to specific social causes. Creators and owners of the fan object may approve of, promote, or even initiate these political and social campaigns, as they can provide inexpensive marketing opportunities. However, if the cause is controversial or goes against the perceived values of the creators and owners, they may attempt to distance themselves from it. 

New York artist Lester Johnson, a second-generation abstract expressionist, created oversized paintings filled with recognizable objects and figures. The use of recognizable subjects was especially radical in an adamantly pro-abstract-expressionist climate. Sculptor George Segal recalled: "The Abstract Expressionists were legislating any reference to the physical world totally out of art. This was outrageous to us." Rebellion came naturally to Lester Johnson, and he remained tenaciously outside the mainstream. Today, Johnson’s combination of abstract expressionist technique and recognizable subjects means that his work holds significance for both abstract and figurative artists.