Artist Gary Baseman revels in man’s baser instincts.
It would be fair to say that any psychoanalyst worth his faded Moroccan wall hangings and suggestive African carvings would have a field day with Gary Baseman’s work — all lustful devils and naked ladies and strange mysterious creamy substances oozing out of places they shouldn’t.
Luckily we ain’t no shrinks, so are free to enjoy Baseman’s work with all its passing suggestions of biblical temptation, classical mythology, Mexican Day of the Dead aesthetics and a good dose of Tom and Jerry-worthy chaos — as should you be.
If the LA-born artist’s work looks familiar, it may be because you’ve admired his covers for The New Yorker, you’ve played the board game Cranium, you’ve watched the Disney cartoon Teacher’s Pet, or you went through an art-toy phase (it happens to the best of us ) — his “Toby” dolls are a cult collectible. If not, become acquainted via this lively new book of his works.
Gary Baseman: The Door is Always Open (Rizzoli) is out on 5 March