MURDERABILIA COLLECTORS AND TRUE CRIME ART

If art is said to be subject to interpretation, then those doing the interpreting are subject to controversy over what they consider art. A stroll along a wall in any art museum will undoubtedly show depictions of violent war battles, suicides, and numerous scenes of bloodshed in various shades of red paint. Gracing the walls of the wealthy around the world are such artworks to which fellow members of the elite compliment and ogle when invited into their homes. But, not all walls are created equal. Someone’s Monet is another’s Manson. The question is, who are these “someone”s who invite artworks or memorabilia of those whom we fear into their homes?

Perhaps the most well-known collector of murderabilia to date is Joe Coleman. An artist himself and once dubbed “America's premier portraitist of sociopathic murderers”, Coleman owns numerous pieces of highly desired  items in the crime art world, including the infamous letter written by sadist and child rapist Albert Fish to victim Grace Budd’s mother. Coleman states that he creates and collects “outsider art” that deals with subject matter or people themselves that are outside the norm. Just some of the subjects Coleman has integrated into his own artwork include: Jeffery Dahmer, Harry Houdini, Edgar Allen Poe, and Carl Panzram, who Coleman made a comic strip of. Even as a child, Coleman’s first paintings were of saints bleeding to death or stabbings due to his devout Catholic mother routinely taking him to church and him taking in the surrounding imaginary. This theme carried on into the artwork he currently creates that has been sought after have people across the world, including celebrities Johnny Depp and Leonardo DiCaprio.

When once asked why he finds the entire practice of serial killer art so appealing, Coleman said, “That's the stuff I can relate to and understand because that's the stuff where the feelings are everything, where the person is everything... They're not concerned with trends, or with sales in the art world, or making a sophisticated statement in our history... They're desperate to put these things down on paper.”

Whatever reasons a collector may have, its clear that once hooked, a person’s hunt to gather more murderabilia never ends. Coleman is considered an aficionado on the subject now and recently lent his commentary to a documentary based on fellow crime art enthusiasts by Julian P. Hobbes called “Collectors.”  Appearing in the film are Richard Staton and his companion and business partner Tobias Allen, the creator of the widely controversial serial killer board game that is banned in Canada.  The documentary follows both men as they travel to Elmer Wayne Henley’s art show in Houston, Texas and covers the uproar from buyers and protestors alike. Henley, along with partner Deal Corll, murdered and raped 27 children in the early 1970s and currently serves multiple life sentences, but was prompted by Staton himself to take up painting. In the documentary, both men conduct a rare interview with Henley, visit various crime scenes and both spend time with Henley’s mother. The art show would prove to be a tumultuous event with a large turnout of protestors carrying signs that read “Hang Henley, Not His Art.” Nonetheless, the documentary itself has gone on to do well with Jack Anderson of Newsday saying, “Its effect is coolly appalling” and Frank Schreck of The Hollywood Reporter states, “As distasteful as it is compulsively to watch.”

But before the documentary, Richard Staton, a mortician, hadn’t been absent from the spotlight in the crime art world. Responsible for three “Death Row Art Shows” and dealers for numerous killers such as Henley and Henry Lee Lucas, Staton is said to have made the murderabilia industry what it is today, for better or worse. Beginning in the late 1980s, Staton wrote to various criminals in prison and would build up considerable correspondence with them. “It was really great for a while -- Manson and (Richard) Ramirez would call and leave messages on the answering machine. Gacy called about 80 times a day . . . but in the end, they're losers who live in a little cell and try to titillate guys like me on the outside. They're game-players, very evil sociopaths." Yet despite labeling them all as such, Staton began a business relationship with Gacy as Gacy’s exclusive art dealer. Although Illnois, the state where Gacy was incarcerated, halted Gacy’s right to sell his art, Staton helped him get around the law by visting Gacy in prison and then taking the paintings as “gifts.” Once on the outside with the artwork, Staton would sell them and drop off another so-called “gift” into Gacy’s prison account. Staton says on the relationship, “I got a third of the profit and Gacy got the rest. I guess I made about $3,500, all put together."

Nowadays, Staton considers himself retired from the industry and active trading with now over 1,500 crime art artifacts in his possession including pieces by Richard Speck, Ottis Toole, Lucas, Gacy, and Manson. Staton is now comfortable in his native Baton Rouge, Louisiana as a husband, father and bassist’s for his church’s choir. When asked about his murderabilia collecting in retrospect, Staton says, “Victims' families must think I'm the worst creature who ever breathed air, and maybe in that sense I am. I am not ashamed of it nor am I proud of (collecting). But I certainly wouldn't do it again. I remain haunted about it to this day."

Collector and art dealer Zachary Godwin is not as remorseful as Staton. An avid collector with numerous autographed photographs and letters from various serial killers including Charles Ng, Godwin recently became the proud dealer to jailed murderer Wayne Lo. Lo is in prison for the murdering two and injuring four people on a 1992 college campus shooting. A website created and managed by Godwin, skidlo.net, sells artwork and embroidered t-shirts handmade by Lo to any interested parties. As of now, the earnings stand at $300 and all the proceeds go to a scholarship in the name of Galen Gibson, one of Lo’s victims. Lo acknowledges how the industry can be insulting to grieving families of victim’s. “Victims' families have the right to be offended, but we are not trying to intentionally harm them in any way.”

The clash between families of victims and the crime art collectors is continuous. But sometimes realizing that there are indeed families of victims out there can be enough to shake a person. Knowing this firsthand is creator and front man of American band Nine Inch Nails Trent Reznor. Reznor purchased the home where the infamous 1969 Tate LeBianca murders took place at the hands of Manson Family members as a place to record his new album at the time, The Downward Spiral, which went on to be the most successful selling album in Reznor’s career. At the time of purchasing the home, Reznor says he wasn’t even aware or certain of the house’s history until he and a friend researched it after it looked similar to photographs. After Reznor moved out, the house was soon demolished, but Reznor salvaged the front door that still had the faint impression of Susan Atkin’s scrawling of “Le Pig” in Tate’s blood from the night of the murder. The door currently resides in Reznor’s Nothing Studios in a converted funeral parlor in New Orleans. But Reznor’s murderabilia collecting will most likely stop there after a deeply moving encounter he had with Sharon Tate’s sister.  

“While I was working on Downward Spiral, I was living in the house where Sharon Tate was killed. Then one day I met her sister. It was a random thing, just a brief encounter. And she said: 'Are you exploiting my sister's death by living in her house? 'For the first time, the whole thing kind of slapped me in the face. I said, 'No, it's just sort of my own interest in American folklore. I'm in this place where a weird part of history occurred. I guess it never really struck me before, but it did then. She lost her sister from a senseless, ignorant situation that I don't want to support. When she was talking to me, I realized for the first time, 'What if it was my sister?' I thought, 'F**k Charlie Manson.' I went home and cried that night. It made me see there's another side to things, you know?”

Along with Reznor, Jonathon Davis had his walk on the dark side and collection of murderabilia. Being the frontman of multi-platinum alternative band Korn, one would think Davis’s musical honors would be the items he treasured most, but that isn’t the case. “I really caught the bug of collecting serial killer artifacts” says Davis and that would certainly appear so. In his current possession, Davis owns numerous paintings by Richard Ramirez and Gacy, both Pogo and Patches clown suits originally worn by Gacy himself, the 1928 letter of detailed confession by Albert Fish, and a signed legal document and VW Bug belonging to Ted Bundy.

It is this VW, however, that has brought Davis under legal fire. A fellow collector of crime artifacts, Arthur Rosenblatt, sued Davis in June of 2004 for $4 million dollars for a breach of contract. Rosenblatt claimed he had set out to create a museum of criminal justice artifacts called the Museum Of Justice & Odditorium (MOJO MUSEUM) and in 2001, Davis approached him with the want to be involved and contribute $250,000 to the museum.  But, Rosenblatt says he only received intimidation and two-timing from Davis. He alleges that between 2001 and 2003, Rosenblatt left his job to move out to Los Angeles to get the museum started with the aid of Davis, but wound up only loaning Davis over $20,000 worth of artifacts including Ted Bundy’s Bug that he never had returned to him. Rosenblatt claims that Davis did once agree to give the car back to him only if Rosenblatt didn’t sue him. Moreover, the museum idea itself was taken from him, Rosenblatt states, when Davis started appearing on local TV and radio shows stating it was a ‘serial killer museum’ and other contradictory terms to what Rosenblatt had set out to create.

 The two managed to come to an agreement in December of 2005, but before the ink could dry, Davis said a few less than kind words about Rosenblatt in an interview, which Rosenblatt claims violated the terms of the contract, and Rosenblatt took Davis back to court in 2006 for Breach of Contract and Fraud by False Promise in the amount of $250,000.

Despite all the warring and the years of collecting, Davis has started to sell off his collection. Perhaps having the same epiphany Trent Reznor underwent, Davis says collecting has only filled his life with negativity and he can’t bear to be around them anymore. Davis states, “There is definitely a vibe and weird s**t attached to those things. I really don't want to glorify these people and what they did and display the s**t...I wasn't thinking straight when I bought that stuff. I was sucked into it because it was so dark, and I'm like, 'This is cool.'…When I started to think about it, I was like, 'What about those 70 girls' parents — their babies got killed in that car, and I wanna display it! That is f**ked up.'"

But regardless of the changes of heart felt by Trent Reznor and Jonathon Davis, numerous other celebrities continue to collect including shock rocker Marilyn Manson and cult film director John Waters who both own paintings by the killer clown himself, Gacy.

And so the industry goes on. A director of the mayor's Crime Victims Office in Houston, Texas named Andy Kahan did extensive research into the ever booming macabre branch of the art world and estimates that criminal artwork and artifacts have created an over $250,000 a year revenue. So it’s evident that as long as there are crime art collectors, incarcerated murderers or rapists will keep the murderabilia front filled with things to collect. Collectors’ walls will still accumulate the works of serial killers as long as morbid curiosity inhabits the human brain, while angered victim’s families hope for a form of conscience to take it over. And despite numerous states having put a ban on criminal’s selling their artwork, eager buyers will manipulate ways just as Richard Staton did. Perhaps a statement given from entertainment writer and reviewer Tom Joad on Staton’s documentary is in fact the most applicable to not only viewing the film, but when analyzing the collectors themselves. He writes, “You'll be left both enlightened by the macabre world of these collectors as well as mortified by their audacity.”