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Jean-Michel Basquiat\nacrylic and oilstick on wood\nExecuted in 1984.\n\nJean-Michel Basquiat and Flexible Fred Hoffman Fred Hoffman, PhD, worked closely with Jean-Michel Basquiat during the artist's residency in Venice, California in the early 1980s. He has written extensively on Basquiat’s practice, most recently authoring The Art of Jean-Michel Basquiat, published in 2017.Special Catalogue: Jean-Michel Basquiat, FlexibleWhen Jean-Michel Basquiat was asked to define his art, he answered withou
One can consider it his personal Rosetta Stone.(Dolores Ormandy Neumann)\nRobert Farris Thompson I thought wrote the best thingthe guy that wrote Flash of the Spirit, which is probably the best book I ever read on African art. It's one of the best.\n (Interview with Tamra Davis and Becky Johnston, 1985)\nThe skeleton is alive, insightful, and militant.\n(Dolores Ormandy Neumann)\n\nJean-Michel was turning into art notes taken during a massive and ongoing self-education, not unlike the famous hom
If you were turning eighteen in New York City in 1978, The New Frontier had gone down in flames, but the city was still frontier. New York City was the Wild, Wild East. Shootouts. Bandits. Savages. Badlands, The greatest city in the world was broke and all broke down and it was exciting.(Glenn OBrien, Basquiat and the New York Scene, 1978-82, in Exh. Cat., Basel, Fondation Beyeler, Basquiat, 2010, p. 38)\n\n His paintings are a canvas jungle that harnesses the traditions of modern art to portray
Executed in the pivotal years of 1981-82, Cabra is a singularly compelling masterpiece from the early output of Jean-Michel Basquiat, emphatically declaring the arrival of the brilliant, then virtually unknown prodigy into a world that would be forever transformed by his paintings. Amongst the earliest depiction of the combative boxer-warrior that is so synonymous with the artists most famous works, the present work explores a moment of particular triumph within the larger cultural narrative of
Jean-Michel Basquiat\nHumidity\n1982\nacrylic, oilstick, and Xerox collage on canvas\n96 x 72 in. (243.8 x 182.9 cm)\nSigned, titled, inscribed, and dated “’HUMIDITY’ Jean-Michel Basquiat ‘Do Not Revenge’ 1982” on the reverse.
oil, acrylic, oilstick, graphite and pen on paper collage on wood with metal attachments, in 2 parts\nExecuted in 1983, this work is accompanied by a certificate of authenticity from the Authentication Committee of the Estate of Jean-Michel Basquiat.\n\n“TO REPEL GHOSTS”Jean-Michel Basquiat’s Self Portrait, 1983By Fred Hoffman, PhD Fred Hoffman, PhD, worked closely with Jean-Michel Basquiat during the artist's residency in Venice, California in the early 1980s. He has written extensively on Basq
A collaboration between the founding father of Pop art, Andy Warhol, and his much younger Neo-Expressionist protegé, Jean-Michel Basquiat, Taxi, 45th/Broadway, executed in 1984-1985, emerges from a period of intense creativity and inspiration in the mid-1980s in which the two artists together created what would become amongst their most powerful and dynamic works. Emerging from different generations and backgrounds, and indeed at different stages in their lives and artistic careers by this point
Jean-Michel Basquiat\nacrylic, oil, oilstick and spray paint on canvas\nExecuted in 1982.\n\nPainted at the height of Jean-Michel Basquiat’s creative powers, Untitled epitomizes the artist’s distinctly expressive, raw and uncensored painterly idiom. Executed in 1982, it was created during a watershed moment in Basquiat’s notoriously short but groundbreaking career that resulted in some of the artist’s most self-assured masterpieces. Basquiat’s talent as a colorist comes to the fore in this paint
In its immense scale, compositional fervor and witty engagement with popular culture, Flash in Naples is an iconic example from Jean-Michel Basquiats brief but highly-celebrated oeuvre. Prickling with electricity, Flash in Naples springs forth in shocks of chartreuse, magenta and vermillion, his archetypal figures nearly leaping off the canvas. Taking inspiration from cartoons and comics, Basquiat here depicts the Flash, a popular superhero in the 1960s and 1970s, in two larger-than-life figures
Painted in 1983 when Basquiat was at the height of his art at the age of only 23, Head and Scapula is doubtless one of the most emblematic and captivating paintings the artist ever made. Marked by the spontaneity which characterized already his graffiti at the end of the 1970s, the pictorial composition vibrates with the intensity and energy so often associated with the work of one of the greatest geniuses in the history of painting.\n\nFrom the beginning of the 1980s, when minimal and conceptua
Jean-Michel Basquiat (1960-1988)\nUntitled\n\nsigned and dated 'Jean-Michel Basquiat Oct. 82' (on the reverse)\n\nacrylic and enamel on blanket mounted on tied wood supports with twine\n\n67 1/4 x 60 1/4 in. (170.8 x 153 cm.)\n\nExecuted in 1982.
Evoking bursts of raw, unbridled energy and poised between a sublime state of horror and beauty, Masque reflects a young artists imminent rise to unprecedented fame. Showcasing Jean-Michel Basquiats signature employment of gestural vigor and scratched-in text, the present work identifies the artists undeniable talent and innate radical sensibility from the start of his career. The striking early work also showcases the genesis of several themes that the then 22-year old Basquiat would explore an
Jean-Michel Basquiat\noilstick and graphite on paper\nExecuted in 1981, this work is accompanied by a certificate of authenticity from the Authentication Committee of the Estate of Jean-Michel Basquiat.\n\nJean-Michel Basquiat’s Untitled, 1981, seethes with the emotional expressivity and palpable energy that distinguishes it as an exceptional masterwork on paper. Executed in the seminal year of 1981 as one of the earliest examples of portraiture in Basquiat’s oeuvre, this drawing anticipates the
Jean-Michel Basquiat\nSelf-Portrait \nExecuted in 1982\nAcrylic, oil stick and paper collage on canvas mounted on tied wood supports.\n48 x 81 in. (121.9 x 205.7 cm).\nSigned, titled and dated ‘ “SELF PORTRAIT” 1982 Jean Michel Basquiat’ (on the reverse).
Start with the head. (He painted them obsessively). The Hair was a focal point the dreadlocks, Basquiats own version of a crown Next the eyes. There was that look People said his eyes could eat through your face, see right through you, zap you like the x-ray vision of his comic book heroes. Phoebe Hoban, Basquiat: A Quick Killing in Art, London 1998, p. IX\nBursting forth from the page in a scarlet blaze, Untitled from 1982 is a captivating testament to Jean-Michel Basquiats instinctive and unri
COMP (with masks)\nJean-Michel Basquiat, New York studio, 1987, photo Tseng Kwong Chi © Muna Tseng Dance Projects, Inc.\n\nFig. 1\nJean-Michel Basquiat, Grillo, 1984 © The Estate of Jean-Michel Basquiat, ADAGP, Paris, 2017\nFig. 2 (on top of box)\nJean-Michel Basquiat, Great Jones Street studio ©Lizzie Himmel 1985\nFig. 3 (mask)\nStatue, Songye, République Démocratique du Congo\nhaut. 103 cm 180,000-250,000 \nArts dAfrique et dOcéanie, Paris, 12 décembre 2017\nFig. 4 (African drawing)\nBurchard
Jean-Michel Basquiat\nacrylic and oilstick on canvas\nExecuted circa 1982.\n\n"I don’t know how to describe my work. It’s like asking Miles [Davis], ‘How does your horn sound?’” – Jean-Michel Basquiat“Since I was seventeen I thought I might be a star. I’d think about all my heroes, Charlie Parker, Jimi Hendrix… I had a romantic feeling about how these people became famous.” – Jean-Michel BasquiatVirtually unseen to the public since its creation, Jean-Michel Basquiat’s Untitled (Halloween) presen
Jean-Michel Basquiat\nSelf-Portrait\n1982\ncolored crayon, black felt tip pen, and acrylic on Arches wove paper\nsheet: 29 7/8 x 22 1/4 in. (75.9 x 56.5 cm)\nInitialed “JMB” on the reverse.This work is accompanied by a certificate of authenticity issued by the Authentication Committee for the Estate of Jean-Michel Basquiat.
oilstick on paper\nExecuted in 1983, this work is registered under inventory number 1989 (Peorsveokpho) in the Annina Nosei Gallery Archive, Fales Library and Special Collections, New York University, New York.\n\nA tour-de-force of form, symbolism and energy, Jean-Michel Basquiat’s Robot Man, 1983, embodies the artist’s ability to abstract the human figure and to imbue it with multifaceted meanings. This arresting work features a single figure with limbs in red: one arm is down by his side whil
Jean-Michel Basquiat (1960-1988)\nSlide Germ \nsigned, titled and dated ‘1982 “SLIDE GERM” Jean Michel Basquiat’ (on the reverse)\noil and acrylic on paper collage laid down on canvas\n95.7/8 x 61.1/8in. (243.5 x 155.4cm.)\nExecuted in 1982
Signed and titled on the reverseExecuted in 1984\nHe could assimilate and digest an incredible amount of imagery, an incredible amount of information words and pictures. He was able to take those things and synthesize them on canvas, on paper, with his own personal twist and vision that related to an entire history of contemporary art, yet that spoke directly and immediately to the times we were living in.\n\nFred Braithwaite\n\nCharacterized by many of the artists most iconic symbols, and exec
Jean-Michel Basquiat\nRadium 23\n1982-1983\nacrylic and oilstick on canvas\n94 1/2 x 62 in. (240 x 157.5 cm)\nThis work is accompanied by a certificate of authenticity issued by the Authentication Committee for the Estate of Jean-Michel Basquiat.
Strikingly somber and evoking a haunting allure, Untitled represents a reflective and mature Basquiat confronting his own mortality. The painting, produced in 1988, the final year of Basquiat's life, symbolizes the culmination of the artists ephemeral but impactful career. In contrast to much of the artist's familiar and stylistically effusive painterly oeuvre, Untitled exhibits an elegance and reductive purity that articulate the vulnerability of an artist facing his own finite humanity. The wo
¤ Jean-Michel BASQUIAT (1960-1988)\nSANTO, 1985\nAcrylique, encre, crayons gras et collage sur panneau\ntitré en bas à gauche "Santo", signé et daté au dos "JM Basquiat, 85"\n\nAcrylic, ink, oilsticks and collage on board\nTitled lower left "Santo", signed and dated on the reverse "JM Basquiat, 85"\n72 x 72 cm / 28 1/3 x 28 1/3 in.\n\nh: 72 w: 72 cm\n\nProvenance : Collection Particulière\n\nBibliographie : "Jean-Michel Basquiat", Galerie Enrico Navarra, 2010, Appendix, reproduit au catalogue so
Jean-Michel Basquiat (1960-1988)\nUntitled\n\nsigned with the artist’s initials and dated ‘JMB 82’ (lower left)\n\noilstick and wax crayon on paper\n\n30 x 22 in. (76.2 x 55.9 cm.)\n\nExecuted in 1982. This work is accompanied by a certificate issued by the Authentication Committee for the Estate of Jean-Michel Basquiat.
Jean-Michel Basquiat\nUntitled\n1982\npastel, oilstick, coloured crayon and charcoal on paper\n76.2 x 109.2 cm (30 x 43 in)\nSigned and dated 'Jean Michel Basquiat/1982' lower right. This work is accompanied by a certificate of authenticity issued by the Authentication Committee of the Estate of Jean-Michel Basquiat.
Jean-Michel Basquiat\nUntitled\n1981\nacrylic, spray paint, oilstick and Xerox collage on canvas\n122.5 x 152.5 cm. (48 1/4 x 60 in.)\nSigned and dated '81' on the right overlap. This work is accompanied by a certificate of authenticity from the Estate of Jean-Michel Basquiat.