Developing TiME LiFE is a rare look inside the creative process of Hernan Bas, from the perspective of the artist himself. Focusing on three works (The Sip In, The GloFish Enthusiast, and A Moment Eclipsed) produced for his recent Lehmann Maupin exhibition TIME LIFE, Bas shares the distinctly American historical, cultural, and literary references that inform the narrative and visual content of each painting and work on paper. This body of work features a series of strange and seemingly obscure moments and cult phenomena that are the heart of American culture. The title, TIME LIFE, is inspired by the Time-Life Book series Mysteries of the Unknown. Published between 1987 and 1991, each book focused on a different paranormal topic, such as ghosts, UFOs, psychic powers, and dreams. For TIME LIFE, each work focused on a singular theme, straddling the boundaries between pop culture and history, fiction and reality, and the artist’s personal interests and curiosities.
The works on paper featured here comprise the “origin story” of TIME LIFE. Bas has an extensive practice of drawing and making paintings on paper that informs the way he thinks through line, color, and the development of his characters. This presentation, created by Bas himself, offers insight into the artist’s humor, wit, and ability to eloquently unveil the most bizarre aspects of American culture—a necessary outlet during this period of isolation.
Inquire about these and other artworks by Hernan Bas:
inquire@lehmannmaupin.com
Hernan Bas in his studio.
Hernan Bas creates works that weave together adolescent adventures and the paranormal with classical poetry, religious stories, mythology, and literature. His subjects are often young men, typically in the transitional moment between boyhood and manhood. While the young male figure remains prominent in this body of work, each individual painting becomes an in-depth investigation into a singular critical subject, addressing topics such as LGBTQIA+ activism and desire, politics, news, conspiracy theories, and the occult.
Click here to read Bas’ full biography.
Hernan Bas, TIME LIFE
Exhibition walk-through
November 7, 2019 – January 4, 2020
Lehmann Maupin, New York
“[Bas’ compositions] function as metaphysical set pieces, chock-full of references and suffused by a kind of magical queerness. Yet here, the artist focused each painting on a single interest. Bas managed to delve deeper into his obsessions and bolster his vision, which in turn heightened the mesmeric allure his images exert upon us.”
— Darren Jones, Artforum, March 2020
The original Sip-In at Julius bar in New York
April 21, 1966
Photo by Fred W. McDarrah/Getty Images
The original Sip-In at Julius bar in New York
April 21, 1966
Photo by Fred W. McDarrah/Getty Images
The Sip-In
It sounds like the start of a dirty joke…
“So three gay guys walk into a bar…”
But, it’s actually the start of a quiet revolution.
On the afternoon of April 21, 1966, three gay guys did indeed walk into a bar, but they were looking to NOT be served. With a photographer in tow, these men proclaimed they were “homosexuals” and as they had hoped the bartender extended his hand and cupped the glass placed before them.
Further reading: Before the Stonewall Uprising, There Was the ‘Sip-In’, The New York Times, April 20, 2016
Hernan Bas, The Sip In, 2019
Acrylic on linen, 84 x 108 inches (213.4 x 274.3 cm)
Photo by Silvia Ros. Private collection
Hernan Bas, The Sip In, 2019 (detail)
Acrylic on linen, 84 x 108 inches (213.4 x 274.3 cm)
Photo by Silvia Ros. Private collection
By being refused service, the three men, members of the Mattachine Society (one of the earliest gay rights organizations in the United States), could challenge the state law of New York that barred service to homosexuals.
They succeeded.
I decided to commemorate the occasion, and more precisely, the moment that started it all, the simple refusal of a drink with the slightest gesture of a hand.
Interior of Julius’ Bar, Greenwich Village, New York
Exterior of Julius’ Bar, Greenwich Village, New York
I wanted [the painting] to be as historically accurate as possible so first I had to set the stage...the location: Julius’ Bar.
The bar is still open to this day, and thanks in part to the Sip-In, it is a historical landmark, just like the other West Village gay icon The Stonewall Inn. Despite it still being around, I couldn’t find any images of the interior that suited the vantage point I wanted to paint from. Working from Miami, I couldn’t just hop on the subway and go take a few snapshots.
To my surprise, I discovered I could in fact, just walk in using Google Earth...
So now the stage was set, I had my vantage point.
Corner of Waverly Place and 10th Street
New York, c. 1940
Movie still from Next Stop, Greenwich Village (1976)
Movie still from Author! Author! (1982)
At first I was excited to see the shop in the distance was called “Three Lives & Co.” How perfectly fitting. Then it dawned on me that this now popular bookshop was likely not present in 1966. I was right.
It was surprisingly difficult to find what was in the window on that day in 1966. In 1940, it was a deli. (Edward Hopper allegedly painted this corner in a night scene.)
Julius’ Bar has appeared in a number of films, but in each one I could never get the correct vantage point.
Eventually I stumbled on a film still with Al Pacino, and just as it was in the ’40s it was still a deli in the 1960s.
Angelo’s Deli wasn’t as metaphorically apt as Three Lives & Co. but with this mystery solved, it was time to focus on the men and the key element of the hand refusing service.
Reference material for The Sip In, featuring the artist’s own hand
Reference material for The Sip-In, featuring the artist’s own hand
Hernan Bas, The Sip In, 2019 (detail)
Acrylic on linen, 84 x 108 inches (213.4 x 274.3 cm)
Photo by Silvia Ros. Private collection
In the original photograph of the Sip-In, the bartender is the dominant figure. I wanted to reduce his role, he was after all an unwitting byproduct to the action.
I decided the hand, just the gesture was enough, a phantom of sorts. A butler’s glove to add some civility.
Fun Fact: The phantom glove proved difficult to sketch, and as I work alone in the studio, it became quickly clear that it would be me modeling the very hand that refused three gay men a drink.
(Though I intended the glove to resemble one used by a butler, the one I modeled with is of the more traditional “art handling” variety.)
HERNAN BAS
Sip In (study), 2019
Pencil and ink on paper
30 x 45 inches (paper)
76.2 x 114.3 cm
33.5 x 48.5 x 2 inches (framed)
85.1 x 123.2 x 5.1 cm
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Sip In (study), 2019 (detail)
Pencil and ink on paper
30 x 45 inches (paper)
76.2 x 114.3 cm
33.5 x 48.5 x 2 inches (framed)
85.1 x 123.2 x 5.1 cm
查詢HERNAN BAS
Sip In (version 2), 2019
Acrylic and pencil on paper
22 x 29.5 inches (paper)
55.9 x 74.9 cm
26 x 33.75 x 2 inches (framed)
66 x 85.7 x 5.1 cm
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Sip In (version 2), 2019 (detail)
Acrylic and pencil on paper
22 x 29.5 inches (paper)
55.9 x 74.9 cm
26 x 33.75 x 2 inches (framed)
66 x 85.7 x 5.1 cm
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Sip In (final grouping), 2019
Acrylic, charcoal, and graphite on paper
26 x 80.5 inches (paper)
66 x 204.5 cm
29.5 x 84 x 2 inches (framed)
74.9 x 213.4 x 5.1 cm
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Sip In (final grouping), 2019 (detail)
Acrylic, charcoal, and graphite on paper
26 x 80.5 inches (paper)
66 x 204.5 cm
29.5 x 84 x 2 inches (framed)
74.9 x 213.4 x 5.1 cm
查詢HERNAN BAS
Sip In (final grouping), 2019 (detail)
Acrylic, charcoal, and graphite on paper
26 x 80.5 inches (paper)
66 x 204.5 cm
29.5 x 84 x 2 inches (framed)
74.9 x 213.4 x 5.1 cm
查詢“Rather than remembering the first impression, I have a curious sense of having always known the work. This inevitably has something to do with Bas’ painting itself, so instantaneously familiar and immediately resolved, so steady in its subject matter, so true to its personal vocabulary and obsessions.”
— Christian Rattemyer, Director, SculptureCenter, New York in Hernan Bas (2014)
Reference material for A Moment Eclipsed
A Moment Eclipsed
Growing up in Florida you encounter a familiar trope on a pretty regular basis…pictures of dudes holding fish. It’s a right of passage for a fisherman, showing off your trophy for all to see.
There’s even a Tumblr page dedicated to this. It’s called...naturally...HotGuysHoldingFish.
…Not to make anyone feel bad, but “Hot” is debatable.
Hernan Bas, A Moment Eclipsed #1, 2019
Acrylic on linen, 108 x 84 inches (274.3 x 213.4 cm)
Photo by Silvia Ros. Private collection
Hernan Bas, A Moment Eclipsed #2, 2019
Acrylic on linen, 108 x 84 inches (274.3 x 213.4 cm)
Photo by Silvia Ros. Private collection
I wanted to capture a similar moment, but with some perspective on just how triumphant the moment is in the grand scheme of things.
So, it’s rather straightforward, the big moment is literally eclipsed by an eclipse.
One solar, another lunar.
Taxidermy in the artist’s collection
I’ve lived with a vintage taxidermy hammerhead in my studio for six years. He/She was the early catalyst for these works. I found myself haunted by the phrase “A Hammerhead Shark in the Dark.”
Reference material for A Moment Eclipsed
Reference material for A Moment Eclipsed
Reference material for A Moment Eclipsed
There’s plenty of ways to “hold” a hammerhead, but for my purposes I wanted a particular pose…
So, I stepped in as usual, modeling for myself with a “hammerhead head” I cut out of cardboard.
HERNAN BAS
A Moment Eclipsed (study), 2019
Pencil and watercolor on paper
29.5 x 22 inches (paper)
74.9 x 55.9 cm
33.75 x 26 x 2 inches (framed)
85.7 x 66 x 5.1 cm
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A Moment Eclipsed (study), 2019 (detail)
Pencil and watercolor on paper
29.5 x 22 inches (paper)
74.9 x 55.9 cm
33.75 x 26 x 2 inches (framed)
85.7 x 66 x 5.1 cm
查詢HERNAN BAS
A Moment Eclipsed (study), 2019 (detail)
Pencil and watercolor on paper
29.5 x 22 inches (paper)
74.9 x 55.9 cm
33.75 x 26 x 2 inches (framed)
85.7 x 66 x 5.1 cm
查詢HERNAN BAS
A Moment Eclipsed (study), 2019 (detail)
Pencil and watercolor on paper
29.5 x 22 inches (paper)
74.9 x 55.9 cm
33.75 x 26 x 2 inches (framed)
85.7 x 66 x 5.1 cm
查詢In the first few versions I sketched, the t-shirt was blank on the figure. But the more I looked at the reference photo of myself, the Moby Dick t-shirt I was wearing just made me laugh in relation to the context. So a coincidental wardrobe choice that morning brought a bit of humor into a somewhat bleak scene.
Fun Fact: I made a series of works in 2002-3 titled “A Little Moby Dick in All of Us.”
“A cultural magpie and child of the 1980s, Bas often finds his way to source material through re-capitulated images, and sometimes even through pop culture references. This manner of discovery extends back as far as he can remember: ‘early on, I found art by poring through the library, not through the museum,’ he has explained.”
— Chad Alligood, independent curator in Hernan Bas: A Brief Intermission (2018)
Reference material for The GloFish Enthusiast
Reference material for The GloFish Enthusiast
Reference material for The GloFish Enthusiast
Hernan Bas, The GloFish Enthusiast, 2019 (detail)
Acrylic on linen, 84 x 72 inches (213.3 x 182.8 cm)
Photo by Silvia Ros. Private collection
Reference material for The GloFish Enthusiast
Reference material for The GloFish Enthusiast
The GloFish Enthusiast
Alongside being a big fan of fishing as a child (as I still am today, catch and release) I was also a big aquarium enthusiast.
While I haven’t maintained a tank in some years, I found myself living in the studio last year with a tank of guppies. These big time breeders had begun to take over the small pond in my backyard and I didn’t have the stomach to do away with them.
The tank itself became the inspiration for this work. It wasn’t just any old 10-gallon tank... it was designed for GloFish.
Hernan Bas, The GloFish Enthusiast, 2019 (detail)
Acrylic on linen, 84 x 72 inches (213.3 x 182.8 cm)
Photo by Silvia Ros. Private collection
Relatively new to the fish trade, GloFish have been genetically altered and bred to literally glow under blacklight.
With GloFish as my subject I had to consider what sort of character would be attracted to this variety of aquatic pet.
While researching aquarium enthusiasts I quickly found myself delving into a subworld (somewhat literally) of people who maintain basement “fish rooms.”
Reference material for The GloFish Enthusiast
Reference material for The GloFish Enthusiast
While this was subject enough to delve into, I had to consider this was no ordinary collection of fish. These needed a special sort of basement environment. One more like a teenage marijuana den.
With the stage set, I felt the character needed to be fully invested in the world. He would need to “glow” too...he needed the vibrance and style of a ’90s raver.
I came to love the idea that a scene and a character (when combined) that would be something a parent may worry about (i.e. a raver in a drug-den basement) was in fact a fellow you may begin to worry about for completely different reasons. And so The GloFish Enthusiast was born.
Fun Fact: The painting itself is phosphorescent.
HERNAN BAS
The GloFish Enthusiast (visor study), 2019
Acrylic and pencil on paper
29.5 x 22 inches (paper)
74.9 x 55.9 cm
33.75 x 26 x 2 inches (framed)
85.7 x 66 x 5.1 cm
查詢HERNAN BAS
The GloFish Enthusiast (visor study), 2019 (detail)
Acrylic and pencil on paper
29.5 x 22 inches (paper)
74.9 x 55.9 cm
33.75 x 26 x 2 inches (framed)
85.7 x 66 x 5.1 cm
查詢Hernan Bas, The GloFish Enthusiast, 2019
Acrylic on linen, 84 x 72 inches (213.3 x 182.8 cm)
Photo by Silvia Ros. Private collection
Hernan Bas, The GloFish Enthusiast, 2019
Acrylic on linen, 84 x 72 inches (213.3 x 182.8 cm)
Photo by Silvia Ros. Private collection
查詢Inquire about works by Hernan Bas: inquire@lehmannmaupin.com