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Mucking up the pages of the New Yorker, the New York Times, Rolling Stone, Forbes, the Atlantic Monthly, Blab, and more, Gary Baseman has populated the finest publications with his inimitable brand of illustration. Now Dumb Luck, presents the first complete collection of his work, spanning more than ten years. According to Baseman himself, his art inhabits "that muddy spot where the line between genius and stupidity has been smudged beyond recognition." Dark and dopey, hokey and heartbreaking, his world is populated with freaky folks, maimed bunnies, weird wiener dogs, and anthropomorphic ice-cream cones that yearn and burn just like we do. Baseman's particular genius lies in capturing those ridiculous and all-too-often appalling aspects of being human. Hilarious testimony to the mind of its creator, Dumb Luck is both an art manifesto and a raw celebration of idiocy.
- Sales Rank: #1683122 in Books
- Published on: 2004-05
- Original language: English
- Number of items: 1
- Dimensions: 11.75" h x 1.25" w x 8.38" l,
- Binding: Hardcover
- 336 pages
From Publishers Weekly
Eradicating the boundary between sick and silly, Baseman’s paintings and illustrations inhabit a world of cute-and-cuddly depravity. Populated by goofy, wide-eyed dogs, winking devils and decapitated clowns, each work is a self-contained narrative of cartoon mayhem, each character a collision of the adorable and the grotesque. Even Baseman’s more mainstream work, including the designs for the popular "Cranium" board game and his Emmy Award-winning animated series, Teacher’s Pet, engender a freak-show fascination, a lingering hint of the Grand Guignol. That the few (and refreshingly brief) essays sprinkled throughout this massive monograph should belabor these less-than-subtle contrasts ad nauseam is hardly surprising. Even the artist himself avers that his work is about "smudging the line between genius and stupidity beyond recognition." After all, since the visual language of cartoons is his primary tool, simple oppositions and immediate, gruesome gags are a prerequisite. This is not to imply that Baseman’s work is trite or disposable. Although he wears his influences on his sleeve, serving up healthy portions of Looney Tunes, underground comix, Charles Addams and Red Grooms, these reference points lend each image an eerie familiarity. His characters (not to mention the blazing primary colors in his compositions) are vivid, outlandish and genuinely funny. A cheerful, peg-legged bunny holding a rabbit-foot keychain is hilarious by any standard. And therein lies this volume’s greatest virtue: the text is downright minimal, leaving ample room for hundreds of large, richly colored illustrations. In this case, each picture is truly worth a thousand words.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Baseman is an acclaimed gallery artist and a successful illustrator. His distinctively off-kilter work is familiar to readers of the New Yorker and many other mainstream publications, and his profile was significantly raised a few years ago when he created the animated kids' show Teacher's Pet. The disparate, intertwined facets of the prolific Baseman are all on view in this bountiful collection. The wildly loopy paintings and drawings--influenced by Warner Brothers cartoons, vintage comic strips, Hieronymus Bosch, Day of the Dead artifacts, and Japanese pop art--display obsessively recurring figures: crimson cats with phallic noses, cuddly devils, spiral-necked hounds, fez-sporting skeletons, and characters that are simply unrecognizable or indescribable. Their visceral impact is heightened by Baseman's vivid, sometimes jarring colors and bold, simple designs. The overall effect veers from cuddly to off-putting, usually within the same work. Somewhat creepy and frequently sexual, Baseman's quirky critters are ultimately harmless and oddly inviting. This dazzling volume attests to Baseman's success at breaking boundaries between fine art and mass media. Gordon Flagg
Copyright © American Library Association. All rights reserved
Review
""His world is still a sad, miserable, grotesque, hilarious place where the only thing worse than being tortured by your unattainable object of desire is to actually attain it."
Most helpful customer reviews
1 of 1 people found the following review helpful.
Bold and playful illustration and cartoons for adults
By C. Collins
Gary Baseman is a very successful illustrator and everyone who reads magazines will recognize his unique style and recognizable imagery. He uses cartoon characters to populate his paintings and these figures are usually involved in some devious and chaotic activities that are full of dark humor. He has limited his palette to the three primary colors of red, blue, and yellow along with white and black. Green, orange, purple, gray, and the earth tones rarely are used - though you will find some pink used for flesh tones. The imagery of cartoon characters involved in some acts of menace, cruelty, absurdity, and chaos constitutes the majority of the subject matter of his work. He has created a self-contained reality where little emerges from outside to divert the central themes he conveys. When he does use something from beyond his own imagery, such as newspaper clippings or magazine photographs, he manipulates the image to integrate it into his visual vocabulary. For the majority of the work, the visual field is not deep and classical perspective is not used. This is because cartoon images do not covey to the viewer that they live in a completely realized reality but are a self contained statement. His brushstroke and painting style is direct and resembles the painting style of the naive and primitive non-academic painters. There is just enough shading and color variation to make his point with no need to create lush and beautiful surfaces. Baseman uses popular imagery; images used to amuse children, and have these images doing very absurd adult nonsense. The book contains a short essay by Barry Smolin which links Baseman's work to his early influences of Warner Brother's cartoon characters, MAD magazine, and the Marx Brothers. Smolin also identifies the three primary images in Baseman's work, the dorky everyman with oversized nose, the devil, and the unattainable female. The nose is very phallic. There is also a short artist's statement from Baseman where he identifies humor and desire as primary themes in his work. To rise in the world of illustrators, an artist must develop a recognizable style that has a broad enough vocabulary and possibilities that it can address the needs of a broad range of customers. Baseman has accomplished this. This book is full of over 200 of his paintings, all reproduced in color, that disturbingly entertain.
0 of 0 people found the following review helpful.
This is a great addition to any resource library
By Benton Brown
This is a great addition to any resource library. Fans will gush and newcomers will be thoroughly introduced to Baseman's unique style and ironic themes.
0 of 0 people found the following review helpful.
the dumber the better
By Manos
There's something about this guy I really love. His art appears simple at first, but after awhile it can get as complex as I want to imagine it to be. It's funny too. Large book and very well printed and bound. Just an all around great art book, nice on the coffee table too.
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