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Ocula ReportFrieze Week 2018: London, Masters and 1-5412 Oct 2018 : Amah-Rose McKnight-Abrams for Ocula{{document.location.href}}
A rush of politics kicked off Frieze Week this year, with a talk between Chelsea Manning and James Bridle organised by the Institute of Contemporary Arts at the Royal Institution, three days ahead of the opening of Frieze London, Frieze Masters and 1-54 (4–7 October 2018). The event felt more like a press conference, with attendees seemingly...
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Ocula ConversationCristina Ricupero and Jörg HeiserCurators, Busan Biennale{{document.location.href}}
Divided We Stand, the tongue-in-cheek title of the 9th Busan Biennale (8 September–1 November 2018), speaks to the psychological effects of borders on individual and collective social consciousness. Co-curated by artistic directors Cristina Ricupero and Jörg Heiser, with guest curator Gahee Park, the exhibition explores the divisions haunting...
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Ocula ReportAnni Albers: In Focus6 Oct 2018 : Inga Lace for Ocula{{document.location.href}}
Walking through the Anni Albers exhibition at the K20, Kunstsammlung Nordrhein-Westfalen, in Düsseldorf this summer (9 June–9 September 2018), I couldn't help thinking about the 1944 poem by American dancer and artist Raymond Duncan, 'I Sing the Weaver'. The poem talks about weaving as a practice linking a weaver's body to the world; a view that...
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With their thick applications of paint and distinct, layered brushstrokes, American artist Hernan Bas' sensual portraits and landscapes are inspired by literature, sexuality, old-world romanticism and the supernatural.

Bas grew up in Florida and was struck by the superficial obsession with idealised male bodies in Miami in the 1980s and 1990s. Addressing such vanity, Bas made early paintings with the diet drink Slim Fast. In Slim Fast Silhouette (1999–2000), a thin young man sits with a finger outstretched, his body rendered in splotchy browns. The series' inclusion in a landmark exhibition titled Making Art in Miami: Travels in Hyperreality (2000) at the Museum of Contemporary Art in North Miami launched Bas' career.

Male beauty is paramount to Bas's figurative paintings. Stirred by the romance and sentimentalism of 19th-century writers like Oscar Wilde and Joris-Karl Huysmans, Bas' work is particularly concerned with the 'dandy' figure—a young, effeminate and handsome man—whom he renders often lounging with a blank expression in luxuriant settings. In _Bloomsbury revisited (air plants) _(2017), for example, a comely man's face is reflected in a golden mirror surrounded by ornamental objects such as a painted plate, a flickering candle and spidery succulents. Similarly, in the 2018 painting How best to tolerate the stench of modernity, a freckled, adolescent-looking boy daintily holds a fan in a lush, quilted red space that dissolves into abstract shapes towards the bottom of the canvas. In four bathers by a river (2017), young men in various stages of undress wade into an inky body of water, surrounded by plants.

With their layered imageries, Bas' paintings are the results of extensive research. He is informed by men's fashion magazines and books including Boy Scout manuals and legends of the occult. Ultimately, a long-standing interest in an 'otherworldly and coded history of homosexuality' (as the artist puts it) unites his oeuvre. The series 'Insects from Abroad'—exhibited at Perrotin Tokyo in 2018—was inspired by an 1874 book describing foreign bugs—Bas was struck that the book's poetic and fantastical language was similar to that used to describe dandies in the same century. Similarly, his series 'Bright Young Things'—first exhibited at Lehmann Maupin in 2016—is based on the homoerotic undertones of the aristocrats of 1920s London.

In addition to portraiture, Bas is also known for his byzantine and eerie landscapes. Ubu Roi (the war march) (2009) depicts a fantastical scene replete with ornate castles, stormy cliffs, a rayless river and mysterious marching figures. These heady, dreamlike paintings arise from Bas' interest in the paranormal, a fascination he attributes to mysterious experiences while growing up in suburban Florida.

Bas graduated from the New World School of Arts in Miami in 1996 and later left Cooper Union after one semester. His work has been featured in numerous solo and group exhibitions, including at Kunstverein Hannover; Brooklyn Museum, New York; Saatchi Gallery, London; and the 53rd Venice Biennale.

Bas lives and works in Detroit.

by Elliat Albrecht | Ocula | 2018
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