Jean-Michel Basquiat - Revision history

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	=== Drawings ===		=== Drawings ===
	~~[[File:Drawing by Jean-Michel Basquiat, (Axe-Rene) 1982.jpeg\|left\|thumb\|Basquiat drawing of the supportive art critic [[Rene Ricard]], ''Untitled (Axe/Rene)'', 1984]]~~

	In his short career, Basquiat produced around 1500 [[drawing]]s, as well as around 600 paintings and many sculpture and mixed media works. Basquiat drew constantly, and often used objects around him as surfaces when paper was not immediately at hand.<ref>{{Cite web\|url=https://www.theguardian.com/artanddesign/2017/sep/24/jean-michel-basquiat-boom-for-real-barbican-review\|title=Basquiat: Boom for Real review – restless energy\|last=Cumming\|first=Laura\|date=September 24, 2017\|website=the Guardian\|language=en\|access-date=April 19, 2018}}</ref><ref>{{Cite web\|url=https://www.encyclopedia.com/people/literature-and-arts/american-art-biographies/jean-michel-basquiat\|title=Jean-Michel Basquiat facts, information, pictures {{!}} Encyclopedia.com articles about Jean-Michel Basquiat\|website=www.encyclopedia.com\|language=en\|access-date=April 19, 2018}}</ref> Since childhood, Basquiat produced cartoon-inspired drawings when encouraged by his mother's interest in art, and drawing became a part of his expression as an artist.<ref>{{Cite news\|url=https://theculturetrip.com/north-america/usa/new-york/articles/the-art-of-jean-michel-basquiat-legacy-of-a-cultural-icon/\|title=The Art of Jean-Michel Basquiat: Legacy of a Cultural Icon\|last=Steel\|first=Rebecca\|work=Culture Trip\|access-date=April 19, 2018}}</ref> Basquiat's drawings were produced in many different media, most commonly ink, pencil, felt-tip or marker, and oil-stick.<ref name="pbs" /> Basquiat sometimes used [[Xerox art\|Xerox]] copies of fragments of his drawings to paste on to the canvas of larger paintings.<ref>{{Cite web\|url=https://www.vanityfair.com/news/1988/11/jean-michel-basquiat\|title=Jean-Michel Basquiat\|last=Haden-Guest\|first=Anthony\|date=\|website=\|access-date=April 20, 2018}}</ref>		In his short career, Basquiat produced around 1500 [[drawing]]s, as well as around 600 paintings and many sculpture and mixed media works. Basquiat drew constantly, and often used objects around him as surfaces when paper was not immediately at hand.<ref>{{Cite web\|url=https://www.theguardian.com/artanddesign/2017/sep/24/jean-michel-basquiat-boom-for-real-barbican-review\|title=Basquiat: Boom for Real review – restless energy\|last=Cumming\|first=Laura\|date=September 24, 2017\|website=the Guardian\|language=en\|access-date=April 19, 2018}}</ref><ref>{{Cite web\|url=https://www.encyclopedia.com/people/literature-and-arts/american-art-biographies/jean-michel-basquiat\|title=Jean-Michel Basquiat facts, information, pictures {{!}} Encyclopedia.com articles about Jean-Michel Basquiat\|website=www.encyclopedia.com\|language=en\|access-date=April 19, 2018}}</ref> Since childhood, Basquiat produced cartoon-inspired drawings when encouraged by his mother's interest in art, and drawing became a part of his expression as an artist.<ref>{{Cite news\|url=https://theculturetrip.com/north-america/usa/new-york/articles/the-art-of-jean-michel-basquiat-legacy-of-a-cultural-icon/\|title=The Art of Jean-Michel Basquiat: Legacy of a Cultural Icon\|last=Steel\|first=Rebecca\|work=Culture Trip\|access-date=April 19, 2018}}</ref> Basquiat's drawings were produced in many different media, most commonly ink, pencil, felt-tip or marker, and oil-stick.<ref name="pbs" /> Basquiat sometimes used [[Xerox art\|Xerox]] copies of fragments of his drawings to paste on to the canvas of larger paintings.<ref>{{Cite web\|url=https://www.vanityfair.com/news/1988/11/jean-michel-basquiat\|title=Jean-Michel Basquiat\|last=Haden-Guest\|first=Anthony\|date=\|website=\|access-date=April 20, 2018}}</ref>
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	===Heads===		===Heads===
	~~[[File:Untitled acrylic and mixed media on canvas by --Jean-Michel Basquiat--, 1984.jpg\|thumb\|''Untitled (Scull/Skull)'' (1981)]]~~

	Heads and skulls are seen as significant focal points of many of Basquiat's most seminal works. Two pieces, [[Untitled (Scull/Skull)\|''Untitled (Scull/Skull, 1981)'']]<ref>{{cite web\|url=https://www.theguardian.com/artanddesign/2017/may/19/jean-michel-basquiat-110m-sothebys\|title=Is this Basquiat worth $110m? Yes – his art of American violence is priceless \|website=the Guardian\|accessdate=March 26, 2019}}</ref> and ''Untitled (Head, 1982)'',<ref>{{Cite web\|url=http://www.sothebys.com/en/auctions/ecatalogue/2017/contemporary-art-evening-auction-n09761/lot.24.html\|title=Sothebys catalog\|last=\|first=\|date=\|website=\|archive-url=\|archive-date=\|url-status=\|access-date=}}</ref> held by the [[Broad Foundation]] and [[Yusaku Maezawa\|Maezawa Foundation]], respectively, can be seen as primary examples. In reference to the potent image depicted in both pieces, Fred Hoffman writes that Basquiat was likely, "caught off guard, possibly even frightened, by the power and energy emanating from this unexpected image."<ref name = "Hoffman" /> Further investigation by Fred Hoffman of pieces like ''Masonic Lodge'' 1983 and ''Untitled'' (1983) in his book ''The Art of Jean-Michel Basquiat'' reveals a deeper interest in the artist's fascination with heads that proves an evolution in the artist's oeuvre from one of raw power to one of more refined cognizance.<ref>Hoffman, Fred. ''The Art of Jean-Michel Basquiat'', Gallerie Enrico Navarra / 2017</ref>		Heads and skulls are seen as significant focal points of many of Basquiat's most seminal works. Two pieces, [[Untitled (Scull/Skull)\|''Untitled (Scull/Skull, 1981)'']]<ref>{{cite web\|url=https://www.theguardian.com/artanddesign/2017/may/19/jean-michel-basquiat-110m-sothebys\|title=Is this Basquiat worth $110m? Yes – his art of American violence is priceless \|website=the Guardian\|accessdate=March 26, 2019}}</ref> and ''Untitled (Head, 1982)'',<ref>{{Cite web\|url=http://www.sothebys.com/en/auctions/ecatalogue/2017/contemporary-art-evening-auction-n09761/lot.24.html\|title=Sothebys catalog\|last=\|first=\|date=\|website=\|archive-url=\|archive-date=\|url-status=\|access-date=}}</ref> held by the [[Broad Foundation]] and [[Yusaku Maezawa\|Maezawa Foundation]], respectively, can be seen as primary examples. In reference to the potent image depicted in both pieces, Fred Hoffman writes that Basquiat was likely, "caught off guard, possibly even frightened, by the power and energy emanating from this unexpected image."<ref name = "Hoffman" /> Further investigation by Fred Hoffman of pieces like ''Masonic Lodge'' 1983 and ''Untitled'' (1983) in his book ''The Art of Jean-Michel Basquiat'' reveals a deeper interest in the artist's fascination with heads that proves an evolution in the artist's oeuvre from one of raw power to one of more refined cognizance.<ref>Hoffman, Fred. ''The Art of Jean-Michel Basquiat'', Gallerie Enrico Navarra / 2017</ref>

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	==Biography==		==Biography==
	===Early life: 1960–1975===		===Early life: 1960–1975===
	Jean-Michel Basquiat was born in [[Brooklyn]], New York, on December 22, 1960, shortly after the death of his older brother, Max. He was the second of four children of Matilde Basquiat (née Andrades) (July 28, 1934 – November 17, 2008)<ref name="He died in peace">[http://www.hst1066.com/comm/2008_09/185/Matilde.pdf "In Loving Memory: Matilde Basquiat"] {{Webarchive\|url=https://web.archive.org/web/20110712225944/http://www.hst1066.com/comm/2008_09/185/Matilde.pdf \|date=July 12, 2011 }}, Lodge Communications 185, Harry S Truman Lodge No.1066, [[F.&A.M.]], December 4, 2008. New York, New York. Sad Tidings for Brother John Andrades.</ref> and Gérard Basquiat (1930 – July 7, 2013).<ref name="Jean-Michel Basquiat's Dad Leaves Behind Son's Art, and Tax Problem">[http://www.dnainfo.com/new-york/20130905/boerum-hill/jean-michel-basquiats-dad-leaves-behind-sons-art-tax-problem "Jean-Michel Basquiat's Dad Leaves Behind Son's Art, and Tax Problem"] {{webarchive\|url=https://web.archive.org/web/20140504004110/http://www.dnainfo.com/new-york/20130905/boerum-hill/jean-michel-basquiats-dad-leaves-behind-sons-art-tax-problem \|date=May 4, 2014 }} by James Fanelli, September 5, 2013, 6:27am.</ref><ref name="hyped">[https://www.nytimes.com/books/98/08/09/reviews/980809.09boswort.html Hyped to Death] by ''[[The New York Times]]'' (August 9, 1998).</ref> He had two younger sisters: Lisane, born in 1964, and Jeanine, born in 1967.<ref>{{cite book \|title=Artists, Performers, and Black Masculinity in the Haitian Diaspora \|first=Jana Evans \|last=Braziel \|publisher=Indiana University Press \|year=2008 \|page=174 \|isbn=978-0-253-35139-5}}</ref~~><ref name="He died in peace" /~~>		Jean-Michel Basquiat was born in [[Brooklyn]], New York, on December 22, 1960, shortly after the death of his older brother, Max. He was the second of four children of Matilde Basquiat (née Andrades) (July 28, 1934 – November 17, 2008)<ref name="He died in peace">[http://www.hst1066.com/comm/2008_09/185/Matilde.pdf "In Loving Memory: Matilde Basquiat"] {{Webarchive\|url=https://web.archive.org/web/20110712225944/http://www.hst1066.com/comm/2008_09/185/Matilde.pdf \|date=July 12, 2011 }}, Lodge Communications 185, Harry S Truman Lodge No.1066, [[F.&A.M.]], December 4, 2008. New York, New York. Sad Tidings for Brother John Andrades.</ref> and Gérard Basquiat (1930 – July 7, 2013).<ref name="Jean-Michel Basquiat's Dad Leaves Behind Son's Art, and Tax Problem">[http://www.dnainfo.com/new-york/20130905/boerum-hill/jean-michel-basquiats-dad-leaves-behind-sons-art-tax-problem "Jean-Michel Basquiat's Dad Leaves Behind Son's Art, and Tax Problem"] {{webarchive\|url=https://web.archive.org/web/20140504004110/http://www.dnainfo.com/new-york/20130905/boerum-hill/jean-michel-basquiats-dad-leaves-behind-sons-art-tax-problem \|date=May 4, 2014 }} by James Fanelli, September 5, 2013, 6:27am.</ref><ref name="hyped">[https://www.nytimes.com/books/98/08/09/reviews/980809.09boswort.html Hyped to Death] by ''[[The New York Times]]'' (August 9, 1998).</ref> He had two younger sisters: Lisane, born in 1964, and Jeanine, born in 1967.<ref name="He died in peace" /><ref>{{cite book \|title=Artists, Performers, and Black Masculinity in the Haitian Diaspora \|first=Jana Evans \|last=Braziel \|publisher=Indiana University Press \|year=2008 \|page=174 \|isbn=978-0-253-35139-5}}</ref>

	His father, Gérard Basquiat, was born in [[Port-au-Prince]], Haiti, and his mother, Matilde Basquiat, who was of Puerto Rican descent, was born in [[Brooklyn]], New York. Matilde instilled a love for art in her young son by taking him to art museums in Manhattan and enrolling him as a junior member of the [[Brooklyn Museum\|Brooklyn Museum of Art]].<ref name="hyped"/><ref>{{Cite book\|last1=Kwame \|first1=Anthony Appiah\|last2=Gates\|first2=Henry Louis \|title=Africana: Arts and Letters : An A-to-Z Reference of Writers, Musicians, and Artists of the African American Experience\|publisher=Running Press\|year=2005\|page=69\|isbn=0-7624-2042-1\|url=https://books.google.com/?id=_FhqCO4RJl8C&pg=PA69}}</ref> Basquiat was a precocious child who learned how to read and write by the age of four and was a gifted artist. His teachers, including artist José Machado, noticed his artistic abilities, and his mother encouraged her son's artistic talent. By the age of 11, Basquiat was fully fluent in French, Spanish and English. In 1967, Basquiat started attending [[Saint Ann's School (Brooklyn)\|Saint Ann's School]], an arts-oriented exclusive private school.<ref>Phoebe Hoban, [https://www.nytimes.com/1996/08/18/movies/one-artist-imitating-another.html "One Artist Imitating Another,"] ''The New York Times''</ref><ref>Arthur C. Danto, [https://www.thenation.com/article/flyboy-buttermilk/ "Flyboy in the Buttermilk,"] "The Nation"</ref><ref>Lisa J. Curtis, [http://www.brooklynpaper.com/stories/28/16/28_16basquiat.html "Homecoming: Fort Greene's poet-painter Basquiat is fondly remembered,"] "Brooklyn Paper"</ref> There he met his friend Marc Prozzo; together they created a children's book, written by Basquiat and illustrated by Prozzo. Basquiat became an avid reader of Spanish, French, and English texts and a good athlete, competing in track events.		His father, Gérard Basquiat, was born in [[Port-au-Prince]], Haiti, and his mother, Matilde Basquiat, who was of Puerto Rican descent, was born in [[Brooklyn]], New York. Matilde instilled a love for art in her young son by taking him to art museums in Manhattan and enrolling him as a junior member of the [[Brooklyn Museum\|Brooklyn Museum of Art]].<ref name="hyped"/><ref>{{Cite book\|last1=Kwame \|first1=Anthony Appiah\|last2=Gates\|first2=Henry Louis \|title=Africana: Arts and Letters : An A-to-Z Reference of Writers, Musicians, and Artists of the African American Experience\|publisher=Running Press\|year=2005\|page=69\|isbn=0-7624-2042-1\|url=https://books.google.com/?id=_FhqCO4RJl8C&pg=PA69}}</ref> Basquiat was a precocious child who learned how to read and write by the age of four and was a gifted artist. His teachers, including artist José Machado, noticed his artistic abilities, and his mother encouraged her son's artistic talent. By the age of 11, Basquiat was fully fluent in French, Spanish and English. In 1967, Basquiat started attending [[Saint Ann's School (Brooklyn)\|Saint Ann's School]], an arts-oriented exclusive private school.<ref>Phoebe Hoban, [https://www.nytimes.com/1996/08/18/movies/one-artist-imitating-another.html "One Artist Imitating Another,"] ''The New York Times''</ref><ref>Arthur C. Danto, [https://www.thenation.com/article/flyboy-buttermilk/ "Flyboy in the Buttermilk,"] "The Nation"</ref><ref>Lisa J. Curtis, [http://www.brooklynpaper.com/stories/28/16/28_16basquiat.html "Homecoming: Fort Greene's poet-painter Basquiat is fondly remembered,"] "Brooklyn Paper"</ref> There he met his friend Marc Prozzo; together they created a children's book, written by Basquiat and illustrated by Prozzo. Basquiat became an avid reader of Spanish, French, and English texts and a good athlete, competing in track events.
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	At the time, and while dating others, Basquiat was living with his girlfriend, Suzanne Mallouk,<ref>{{Cite web\|url=https://www.theguardian.com/artanddesign/2017/sep/03/jean-michel-basquiat-retrospective-barbican\|title=The graffiti artist turned painter became the star of the 1980s New York art scene.\|website=The Guardian\|access-date=2019-07-04}}</ref> who later specifically described his [[Sexual orientation\|sexuality]] in [[Jennifer Clement]]'s book, ''Widow Basquiat'', as: "... not monochromatic. It did not rely on visual stimulation, such as a pretty girl. It was a very rich multichromatic sexuality. He was attracted to people for all different reasons. They could be boys, girls, thin, fat, pretty, ugly. It was, I think, driven by intelligence. He was attracted to intelligence more than anything and to pain."<ref name=":0">{{Cite book\|title=Widow Basquiat: A Love Story\|last=Clement\|first=Jennifer\|publisher=Broadway Books\|year=2014\|isbn=978-0553419917\|location=\|pages=}}</ref>		At the time, and while dating others, Basquiat was living with his girlfriend, Suzanne Mallouk,<ref>{{Cite web\|url=https://www.theguardian.com/artanddesign/2017/sep/03/jean-michel-basquiat-retrospective-barbican\|title=The graffiti artist turned painter became the star of the 1980s New York art scene.\|website=The Guardian\|access-date=2019-07-04}}</ref> who later specifically described his [[Sexual orientation\|sexuality]] in [[Jennifer Clement]]'s book, ''Widow Basquiat'', as: "... not monochromatic. It did not rely on visual stimulation, such as a pretty girl. It was a very rich multichromatic sexuality. He was attracted to people for all different reasons. They could be boys, girls, thin, fat, pretty, ugly. It was, I think, driven by intelligence. He was attracted to intelligence more than anything and to pain."<ref name=":0">{{Cite book\|title=Widow Basquiat: A Love Story\|last=Clement\|first=Jennifer\|publisher=Broadway Books\|year=2014\|isbn=978-0553419917\|location=\|pages=}}</ref>

	In late 1981, Basquiat met Annina Nosei with his first exhibition in her gallery in a group show called Public Address with [[Keith Haring]] and [[Barbara Kruger]] among others, and he joined the Annina Nosei gallery and worked in a basement below the gallery toward his first American one-man show from March 6 to April 1, 1982.<ref>{{Cite web\|url=https://www.artsy.net/article/christies-its-culture-or-its-not-culture-an\|title='IT'S CULTURE OR IT'S NOT CULTURE': An Interview with Annina Nosei\|date=2014-03-04\|website=Artsy\|language=en\|access-date=2019-04-04}}</ref> Nosei provided him with a loft to live in which also served as a studio at 101 Crosby Street.<ref>{{Cite journal\|last=Metcalf\|first=Stephen\|date=~~July-August~~ 2018\|title=The Enigma of the Man Behind the $110 Million Painting\|url=https://www.theatlantic.com/magazine/archive/2018/07/jean-michel-basquiat-artist-or-celebrity/561728/\|journal=The Atlantic\|volume=\|pages=\|via=}}</ref><ref>{{Cite web\|last=Weaver\|first=Shaye\|date=2018-08-29\|title=‘Walk on the Wild Side’ tours retrace the humble beginnings of Sonic Youth, Madonna, Basquiat and more\|url=https://www.amny.com/things-to-do/walk-on-the-wild-side-nyc-tour-1-20723602/\|access-date=2020-08-02\|website=amNewYork\|language=en-US}}</ref> In March 1982, he painted in [[Modena]], Italy, for his second Italian exhibition. By May 1982, he had left the Annina Nosei gallery and [[Bruno Bischofberger]] became his worldwide art dealer.<ref>{{Cite web\|last=\|first=\|date=\|title=History\|url=http://www.brunobischofberger.com/history\|url-status=live\|archive-url=\|archive-date=\|access-date=2020-08-04\|website=Galerie Bruno Bischofberger\|language=en}}</ref> That same year, at the age of 21, Basquiat became the youngest artist to ever exhibit at [[Documenta]] in [[Kassel]], Germany, where his works were exhibited alongside [[Joseph Beuys]], [[Anselm Kiefer]], [[Gerhard Richter]], [[Cy Twombly]], and Andy Warhol.<ref>{{Cite web\|title=documenta 7 - Retrospective - documenta\|url=https://www.documenta.de/en/retrospective/documenta_7\|access-date=2020-08-03\|website=www.documenta.de}}</ref><ref>{{Cite web\|last=\|first=\|date=June 21, 2019\|title=21 Facts About Jean-Michel Basquiat\|url=https://www.sothebys.com/en/articles/21-facts-about-jean-michel-basquiat\|url-status=live\|archive-url=\|archive-date=\|access-date=\|website=Sotheby's}}</ref> Starting in November 1982, Basquiat worked from the ground-floor display and studio space [[Larry Gagosian]] had built below his [[Venice, California\|Venice]], California home. There, Basquiat commenced a series of paintings for a 1983 show, his second at [[Gagosian Gallery]] which was then in West Hollywood.<ref name="articles.latimes.com">Fred Hoffman (March 13, 2005), [https://articles.latimes.com/2005/mar/13/entertainment/ca-basquiat13 Basquiat's L.A. – How an '80s interlude became a catalyst for an artist's evolution] ''[[Los Angeles Times]]''.</ref> He brought along his girlfriend, then-unknown aspiring singer [[Madonna]].<ref>{{cite news\|url=https://www.independent.co.uk/arts-entertainment/art/news/larry-gagosian-reminisces-about-the-days-madonna-was-his-driver-8446624.html\|title=Larry Gagosian reminisces about the days Madonna was his driver\|work=The Independent \| location=London\|first=Alice\|last=Jones\|date=January 10, 2013}}</ref> Gagosian recalled:<blockquote>Everything was going along fine. Jean-Michel was making paintings, I was selling them, and we were having a lot of fun. But then one day Jean-Michel said, "My girlfriend is coming to stay with me." I was a little concerned—one too many eggs can spoil an omelet, you know? So I said, "Well, what's she like?" And he said, "Her name is Madonna and she's going to be huge." I'll never forget that he said that. So Madonna came out and stayed for a few months and we all got along like one big, happy family.<ref>{{Cite news\|url=https://www.interviewmagazine.com/art/larry-gagosian#page2\|title=Larry Gagosian – Interview Magazine\|date=November 27, 2012\|work=Interview Magazine\|access-date=November 1, 2017\|language=en-US}}</ref></blockquote> During this time, Basquiat took considerable interest in the work that [[Robert Rauschenberg]] was producing at [[Gemini G.E.L.]] in West Hollywood, visiting him on several occasions and finding inspiration in the accomplishments of the painter.<ref name="articles.latimes.com"/>		In late 1981, Basquiat met Annina Nosei with his first exhibition in her gallery in a group show called Public Address with [[Keith Haring]] and [[Barbara Kruger]] among others, and he joined the Annina Nosei gallery and worked in a basement below the gallery toward his first American one-man show from March 6 to April 1, 1982.<ref>{{Cite web\|url=https://www.artsy.net/article/christies-its-culture-or-its-not-culture-an\|title='IT'S CULTURE OR IT'S NOT CULTURE': An Interview with Annina Nosei\|date=2014-03-04\|website=Artsy\|language=en\|access-date=2019-04-04}}</ref> Nosei provided him with a loft to live in which also served as a studio at 101 Crosby Street.<ref>{{Cite journal\|last=Metcalf\|first=Stephen\|date=July–August 2018\|title=The Enigma of the Man Behind the $110 Million Painting\|url=https://www.theatlantic.com/magazine/archive/2018/07/jean-michel-basquiat-artist-or-celebrity/561728/\|journal=The Atlantic\|volume=\|pages=\|via=}}</ref><ref>{{Cite web\|last=Weaver\|first=Shaye\|date=2018-08-29\|title=‘Walk on the Wild Side’ tours retrace the humble beginnings of Sonic Youth, Madonna, Basquiat and more\|url=https://www.amny.com/things-to-do/walk-on-the-wild-side-nyc-tour-1-20723602/\|access-date=2020-08-02\|website=amNewYork\|language=en-US}}</ref> In March 1982, he painted in [[Modena]], Italy, for his second Italian exhibition. By May 1982, he had left the Annina Nosei gallery and [[Bruno Bischofberger]] became his worldwide art dealer.<ref>{{Cite web\|last=\|first=\|date=\|title=History\|url=http://www.brunobischofberger.com/history\|url-status=live\|archive-url=\|archive-date=\|access-date=2020-08-04\|website=Galerie Bruno Bischofberger\|language=en}}</ref> That same year, at the age of 21, Basquiat became the youngest artist to ever exhibit at [[Documenta]] in [[Kassel]], Germany, where his works were exhibited alongside [[Joseph Beuys]], [[Anselm Kiefer]], [[Gerhard Richter]], [[Cy Twombly]], and Andy Warhol.<ref>{{Cite web\|title=documenta 7 - Retrospective - documenta\|url=https://www.documenta.de/en/retrospective/documenta_7\|access-date=2020-08-03\|website=www.documenta.de}}</ref><ref>{{Cite web\|last=\|first=\|date=June 21, 2019\|title=21 Facts About Jean-Michel Basquiat\|url=https://www.sothebys.com/en/articles/21-facts-about-jean-michel-basquiat\|url-status=live\|archive-url=\|archive-date=\|access-date=\|website=Sotheby's}}</ref> Starting in November 1982, Basquiat worked from the ground-floor display and studio space [[Larry Gagosian]] had built below his [[Venice, California\|Venice]], California home. There, Basquiat commenced a series of paintings for a 1983 show, his second at [[Gagosian Gallery]] which was then in West Hollywood.<ref name="articles.latimes.com">Fred Hoffman (March 13, 2005), [https://articles.latimes.com/2005/mar/13/entertainment/ca-basquiat13 Basquiat's L.A. – How an '80s interlude became a catalyst for an artist's evolution] ''[[Los Angeles Times]]''.</ref> He brought along his girlfriend, then-unknown aspiring singer [[Madonna]].<ref>{{cite news\|url=https://www.independent.co.uk/arts-entertainment/art/news/larry-gagosian-reminisces-about-the-days-madonna-was-his-driver-8446624.html\|title=Larry Gagosian reminisces about the days Madonna was his driver\|work=The Independent \| location=London\|first=Alice\|last=Jones\|date=January 10, 2013}}</ref> Gagosian recalled:<blockquote>Everything was going along fine. Jean-Michel was making paintings, I was selling them, and we were having a lot of fun. But then one day Jean-Michel said, "My girlfriend is coming to stay with me." I was a little concerned—one too many eggs can spoil an omelet, you know? So I said, "Well, what's she like?" And he said, "Her name is Madonna and she's going to be huge." I'll never forget that he said that. So Madonna came out and stayed for a few months and we all got along like one big, happy family.<ref>{{Cite news\|url=https://www.interviewmagazine.com/art/larry-gagosian#page2\|title=Larry Gagosian – Interview Magazine\|date=November 27, 2012\|work=Interview Magazine\|access-date=November 1, 2017\|language=en-US}}</ref></blockquote> During this time, Basquiat took considerable interest in the work that [[Robert Rauschenberg]] was producing at [[Gemini G.E.L.]] in West Hollywood, visiting him on several occasions and finding inspiration in the accomplishments of the painter.<ref name="articles.latimes.com"/>

	[[File:Jean-Michel Basquiat (1960-1988) home on 57 Great Jones Street.jpg\|left\|thumb\|Basquiat lived from 1983 to 1988 at 57 [[Great Jones Street\|Great Jones]] in downtown Manhattan, where he died. A plaque commemorating his life was placed on July 13, 2016, by the [[Greenwich Village Society for Historic Preservation]].]]		[[File:Jean-Michel Basquiat (1960-1988) home on 57 Great Jones Street.jpg\|left\|thumb\|Basquiat lived from 1983 to 1988 at 57 [[Great Jones Street\|Great Jones]] in downtown Manhattan, where he died. A plaque commemorating his life was placed on July 13, 2016, by the [[Greenwich Village Society for Historic Preservation]].]]

Simba at 16:10, 14 September 2020

2020-09-14T16:10:02Z

← Older revision		Revision as of 21:40, 14 September 2020
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	{{Infobox artist		{{Infobox artist
	\| name = Jean-Michel Basquiat		\| name = Jean-Michel Basquiat
	\| image = ~~Jean-Michel Basquiat 1986 by William Coupon.jpg~~		\| image =
	\| caption = Basquiat in 1986, photo by [[William Coupon]]		\| caption = Basquiat in 1986, photo by [[William Coupon]]
	\| birth_date = {{Birth date\|1960\|12\|22}}		\| birth_date = {{Birth date\|1960\|12\|22}}
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	}}		}}

	'''Jean-Michel Basquiat''' (~~{{IPA-fr\|ʒɑ̃ miʃɛl baskja\|lang}};~~ December 22, 1960 – August 12, 1988) was an American artist of [[Haitian Americans\|Haitian]] and [[Puerto Ricans\|Puerto Rican]] descent. Basquiat first achieved fame as part of [[SAMO]], an informal [[graffiti]] duo who wrote enigmatic [[epigram]]s in the cultural hotbed of the [[Lower East Side]] of [[Manhattan]] during the late 1970s, where [[rap]], [[punk visual art\|punk]], and [[street art]] coalesced into early [[hip-hop music]] culture. By the 1980s, his [[Neo-expressionism\|neo-expressionist]] paintings were being exhibited in galleries and museums internationally. The [[Whitney Museum of American Art]] held a retrospective of his art in 1992.		'''Jean-Michel Basquiat''' (December 22, 1960 – August 12, 1988) was an American artist of [[Haitian Americans\|Haitian]] and [[Puerto Ricans\|Puerto Rican]] descent. Basquiat first achieved fame as part of [[SAMO]], an informal [[graffiti]] duo who wrote enigmatic [[epigram]]s in the cultural hotbed of the [[Lower East Side]] of [[Manhattan]] during the late 1970s, where [[rap]], [[punk visual art\|punk]], and [[street art]] coalesced into early [[hip-hop music]] culture. By the 1980s, his [[Neo-expressionism\|neo-expressionist]] paintings were being exhibited in galleries and museums internationally. The [[Whitney Museum of American Art]] held a retrospective of his art in 1992.

	Basquiat's art focused on dichotomies such as wealth versus poverty, integration versus segregation, and inner versus outer experience. He [[Appropriation (art)\|appropriated]] poetry, drawing, and painting, and married text and image, [[Abstract art\|abstraction]], [[Figurative art\|figuration]], and historical information mixed with contemporary critique.		Basquiat's art focused on dichotomies such as wealth versus poverty, integration versus segregation, and inner versus outer experience. He [[Appropriation (art)\|appropriated]] poetry, drawing, and painting, and married text and image, [[Abstract art\|abstraction]], [[Figurative art\|figuration]], and historical information mixed with contemporary critique.
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	According to Andrea Frohne, Basquiat's painting ''Untitled (History of the Black People, 1983)'' "reclaims Egyptians as African and subverts the concept of ancient Egypt as the cradle of Western Civilization".<ref name="Frohne1999">{{citation \|mode=cs1 \|url=https://books.google.com/books?id=nkUZqSBlXM4C \|title=The African Diaspora: African Origins and New World Identities \|date=1999 \|pages=439–451 \|chapter=Representing Jean-Michel Basquiat \|chapter-url=https://books.google.com/books?id=nkUZqSBlXM4C&pg=PA441 \|last=Frohne \|first=Andrea \|editor1-last=Okpewho \|editor1-first=Isidore \|editor2-last=Davies \|editor2-first=Carole Boyce \|editor3-last=Mazrui \|editor3-first=Ali AlʼAmin \|publisher=Indiana University Press \|location=Bloomington, Indiana \|edition=1st \|isbn=978-0-253-33425-1}}</ref>{{rp\|439–449}} At the center of the painting, Basquiat depicts an Egyptian boat being guided down the [[Nile\|Nile River]] by [[Osiris]], the Egyptian god of the earth and vegetation.<ref name="Frohne1999"/>{{rp\|448}} On the right panel of the painting appear the words "Esclave, Slave, Esclave". Two letters of the word "Nile" are crossed out and Frohne suggests that, "The letters that are wiped out and scribbled over perhaps reflect the acts of historians who have conveniently forgotten that Egyptians were black and blacks were enslaved."<ref name="Frohne1999"/>{{rp\|448}} On the left panel of the painting Basquiat has illustrated two [[Nubia]]n-style masks. The [[Nubian people\|Nubians]] historically were darker in skin color, and were considered to be slaves by the Egyptian people.<ref name="Frohne1999"/>{{rp\|439–449}} Throughout the rest of the painting, images of the [[Atlantic slave trade]] are juxtaposed alongside images of the [[Slavery in Ancient Egypt\|Egyptian slave trade]] centuries before.<ref name="Frohne1999"/>{{rp\|439–449}} The sickle in the center panel is a direct reference to the slave trade in the United States, and slave labor under the plantation system. The word "salt" that appears on the right panel of the work refers to the Atlantic slave trade, as salt was another important commodity traded at that time.<ref name="Frohne1999"/>{{rp\|439–449}}		According to Andrea Frohne, Basquiat's painting ''Untitled (History of the Black People, 1983)'' "reclaims Egyptians as African and subverts the concept of ancient Egypt as the cradle of Western Civilization".<ref name="Frohne1999">{{citation \|mode=cs1 \|url=https://books.google.com/books?id=nkUZqSBlXM4C \|title=The African Diaspora: African Origins and New World Identities \|date=1999 \|pages=439–451 \|chapter=Representing Jean-Michel Basquiat \|chapter-url=https://books.google.com/books?id=nkUZqSBlXM4C&pg=PA441 \|last=Frohne \|first=Andrea \|editor1-last=Okpewho \|editor1-first=Isidore \|editor2-last=Davies \|editor2-first=Carole Boyce \|editor3-last=Mazrui \|editor3-first=Ali AlʼAmin \|publisher=Indiana University Press \|location=Bloomington, Indiana \|edition=1st \|isbn=978-0-253-33425-1}}</ref>{{rp\|439–449}} At the center of the painting, Basquiat depicts an Egyptian boat being guided down the [[Nile\|Nile River]] by [[Osiris]], the Egyptian god of the earth and vegetation.<ref name="Frohne1999"/>{{rp\|448}} On the right panel of the painting appear the words "Esclave, Slave, Esclave". Two letters of the word "Nile" are crossed out and Frohne suggests that, "The letters that are wiped out and scribbled over perhaps reflect the acts of historians who have conveniently forgotten that Egyptians were black and blacks were enslaved."<ref name="Frohne1999"/>{{rp\|448}} On the left panel of the painting Basquiat has illustrated two [[Nubia]]n-style masks. The [[Nubian people\|Nubians]] historically were darker in skin color, and were considered to be slaves by the Egyptian people.<ref name="Frohne1999"/>{{rp\|439–449}} Throughout the rest of the painting, images of the [[Atlantic slave trade]] are juxtaposed alongside images of the [[Slavery in Ancient Egypt\|Egyptian slave trade]] centuries before.<ref name="Frohne1999"/>{{rp\|439–449}} The sickle in the center panel is a direct reference to the slave trade in the United States, and slave labor under the plantation system. The word "salt" that appears on the right panel of the work refers to the Atlantic slave trade, as salt was another important commodity traded at that time.<ref name="Frohne1999"/>{{rp\|439–449}}

	Another of Basquiat's pieces, ''Irony of Negro Policeman'' (1981), is intended to illustrate how he believes African-Americans have been controlled by a predominantly [[Caucasian race\|Caucasian]] society. Basquiat sought to portray that African-Americans have become complicit with the "institutionalized forms of whiteness and corrupt white regimes of power" years after the [[Jim Crow laws\|Jim Crow era]] had ended.<ref name="Frohne1999"/>{{rp\|439–449}} This concept has been reiterated in additional Basquiat works, including his titled [https://www.wikiart.org/en/jean-michel-basquiat/created-equal-1984 Created Equal]. However Basquiat found the idea of the “negro policeman” specifically ironic. The hat that frames the head of the Negro policeman resembles a cage, and represents what Basquiat believes are the constrained independent perceptions of African Americans at the time, and how constrained the policeman's own perceptions were within white society. Basquiat drew upon his Haitian heritage by painting a hat that resembles the top hat associated with the ''~~{{lang\|ht\|~~[[Guédé\|gede]]}}'' family of ''~~{{lang\|ht\|~~[[loa]]}}'', who embody the powers of death in [[Haitian Vodou\|Vodou]].<ref name="Braziel2008">{{citation\|last=Braziel\|first=Jana Evans\|title=Artists, Performers, and Black Masculinity in the Haitian Diaspora\|date=2008\|url=https://books.google.com/books?id=z-14TikSYwgC\|pages=183–198\|series=Blacks in the Diaspora\|chapter=Trans-American Art on the Streets: Jean-Michel Basquiat's Black Canvas Bodies and Urban Vodou-Art in Manhattan\|chapter-url=https://books.google.com/books?id=z-14TikSYwgC&pg=PA196 \|location=Bloomington, Indiana\|publisher=Indiana University Press\|isbn=978-0-253-21978-7\|lccn=2007051595\|oclc=177008074\|ol=9357461W\|author-link=\|mode=cs1}}</ref>{{rp\|183}} However, Kellie Jones, in her essay ''Lost in Translation: Jean-Michel in the (Re)Mix'', posits that Basquiat's "mischievous, complex, and [[Neologism\|neologistic]] side, with regard to the fashioning of modernity and the influence and effluence of black culture" are often elided by critics and viewers, and thus "lost in translation."<ref name="Jones">''Lost in Translation: Jean-Michel in the (Re)Mix'', by Kellie Jones, from the book ''Basquiat'', edited by Marc Mayer, 2005, Merrell Publishers in association with the Brooklyn Museum, {{ISBN\|978-1-85894-287-2}}, pp. 163–179.</ref> The art historian [[Olivier Berggruen]] situates in Basquiat's anatomical screen prints, titled ''Anatomy,'' an assertion of vulnerability, one which "creates an aesthetic of the body as damaged, scarred, fragmented, incomplete, or torn apart, once the organic whole has disappeared. Paradoxically, it is the very act of creating these representations that conjures a positive corporeal valence between the artist and his sense of self or identity."<ref>{{cite book\|last=Berggruen\|first=Olivier\|authorlink=Olivier Berggruen\|chapter=Some Notes on Jean-Michel Basquiat's Silk-Screen Prints\|page=127\|title=The Writing of Art\|publisher=Pushkin Press\|year=2011\|isbn=978-1-906548-62-9}}</ref>		Another of Basquiat's pieces, ''Irony of Negro Policeman'' (1981), is intended to illustrate how he believes African-Americans have been controlled by a predominantly [[Caucasian race\|Caucasian]] society. Basquiat sought to portray that African-Americans have become complicit with the "institutionalized forms of whiteness and corrupt white regimes of power" years after the [[Jim Crow laws\|Jim Crow era]] had ended.<ref name="Frohne1999"/>{{rp\|439–449}} This concept has been reiterated in additional Basquiat works, including his titled [https://www.wikiart.org/en/jean-michel-basquiat/created-equal-1984 Created Equal]. However Basquiat found the idea of the “negro policeman” specifically ironic. The hat that frames the head of the Negro policeman resembles a cage, and represents what Basquiat believes are the constrained independent perceptions of African Americans at the time, and how constrained the policeman's own perceptions were within white society. Basquiat drew upon his Haitian heritage by painting a hat that resembles the top hat associated with the ''[[Guédé\|gede]]'' family of ''[[loa]]'', who embody the powers of death in [[Haitian Vodou\|Vodou]].<ref name="Braziel2008">{{citation\|last=Braziel\|first=Jana Evans\|title=Artists, Performers, and Black Masculinity in the Haitian Diaspora\|date=2008\|url=https://books.google.com/books?id=z-14TikSYwgC\|pages=183–198\|series=Blacks in the Diaspora\|chapter=Trans-American Art on the Streets: Jean-Michel Basquiat's Black Canvas Bodies and Urban Vodou-Art in Manhattan\|chapter-url=https://books.google.com/books?id=z-14TikSYwgC&pg=PA196 \|location=Bloomington, Indiana\|publisher=Indiana University Press\|isbn=978-0-253-21978-7\|lccn=2007051595\|oclc=177008074\|ol=9357461W\|author-link=\|mode=cs1}}</ref>{{rp\|183}} However, Kellie Jones, in her essay ''Lost in Translation: Jean-Michel in the (Re)Mix'', posits that Basquiat's "mischievous, complex, and [[Neologism\|neologistic]] side, with regard to the fashioning of modernity and the influence and effluence of black culture" are often elided by critics and viewers, and thus "lost in translation."<ref name="Jones">''Lost in Translation: Jean-Michel in the (Re)Mix'', by Kellie Jones, from the book ''Basquiat'', edited by Marc Mayer, 2005, Merrell Publishers in association with the Brooklyn Museum, {{ISBN\|978-1-85894-287-2}}, pp. 163–179.</ref> The art historian [[Olivier Berggruen]] situates in Basquiat's anatomical screen prints, titled ''Anatomy,'' an assertion of vulnerability, one which "creates an aesthetic of the body as damaged, scarred, fragmented, incomplete, or torn apart, once the organic whole has disappeared. Paradoxically, it is the very act of creating these representations that conjures a positive corporeal valence between the artist and his sense of self or identity."<ref>{{cite book\|last=Berggruen\|first=Olivier\|authorlink=Olivier Berggruen\|chapter=Some Notes on Jean-Michel Basquiat's Silk-Screen Prints\|page=127\|title=The Writing of Art\|publisher=Pushkin Press\|year=2011\|isbn=978-1-906548-62-9}}</ref>

	==Reception, exhibitions, and art market==		==Reception, exhibitions, and art market==

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