Jean-Michel Basquiat (1960-1988) - Untitled (Red Warrior)...

Photolithography of Jean-Michel Basquiat (*) High-quality reproduction of the work “Untitled (Red Warrior)” created by Basquiat in 1982. Luxury edition on Monte Carlo high-weight watercolor paper (300 g/m2). Printing authorized by Artestar New York. Copyright of the Estate of Jean-Michel Basquiat. Includes Certificate of Authenticity (COA). Specifications: - Support dimensions: 40 x 40 cm - Stain dimensions: 30 x 30 cm - Condition: Excellent (this work has never been framed or exhibited, and has always been kept in a professional art folder, therefore offered in perfect condition). The work will be carefully handled and packed in a reinforced flat cardboard package. The shipment will be tracked with a certificate, operated by the best shipping companies. The shipment will also include full insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer. (*) Jean-Michel Basquiat was the eldest of the three children of Matilde Andrades and Gerard Basquiat. His father was a reputable financially stable Haitian accountant and his mother a Puerto Rican graphic designer of great prestige in her profession. Jean-Michel grew up in a torn family environment; his parents divorced and, due to this, he had to change schools many times. He studied at a private Catholic school, then a public school and finally, at 16, he enrolled in City-As-School, a school for gifted teenagers, from which he was expelled for rebelliousness a year before graduating. Already in his youth he came into contact with the city’s subculture, linked to drug use and street gangs. In 1977, together with Al Díaz, he entered the world of graffiti, painting on subway cars and throughout SoHo, the New York neighborhood where galleries proliferate. The following year he left school one course short of graduating from high school and left home to live on the streets for two years, in abandoned buildings or with his friends in Lower Manhattan, surviving by selling postcards and T-shirts that he decorated himself. He continued to dedicate himself to graffiti; his paintings and writings carried a lot of poetic and philosophical weight, but above all satirical. The alias of his shared alter ego with Al Díaz was SAMO (short for “Same Old Shit,” i.e., “the same old crap,” with which they signed their tags and graffiti with cryptic messages. The use of this name was decisive in his life. These murals bore inscriptions like “SAMO saves fools” or “SAMO ends religious brainwashing, the politics of nothingness, and false philosophy.” An article about SAMO’s street writing published in The Village Voice was the first hint that the art world was taking an interest in him. The artist had several relationships that influenced his work; one of the most significant was with artist Andy Warhol. Also, on the romantic front, he dated several women; one of the best known today was Madonna. Lower Manhattan was the area where they lived at the time; in 1982 they began spending more time together and going to parties in galleries. A topic that united them, she mentions in an interview: “I was a big fan of Miles Davis and Charlie Parker.” In 1988 Paris and New York exhibitions were installed, and in April of that year he attempted to overcome his addictions and retired to his home in Hawaii. He returned to New York in June, announcing that he had freed himself from the addictions, but on August 12, 1988, at the age of 27, he died of a heroin overdose, becoming the most successful visual artist in the history of Afro-descendant art. He is buried in Green-Wood Cemetery, in Brooklyn. Throughout his brief but intense artistic career he would hold more than 40 solo exhibitions and participate in around 100 group shows. Self-promotion and advertising appeal were priority factors for Basquiat, as they had been for Andy Warhol or Julian Schnabel. Neo-expressionism came to dominate over appropriationism, partly thanks to the economic vigor that raised art prices, especially painting, to high levels, and partly thanks to the support of gallerists and collectors. However, the critics were not unanimous in their assessment, and it was common to denounce the lack of theoretical basis of neo-expressionist discourse. It was argued that the art practiced by neo-expressionists lacked any political or social meaning; it was merely merchandise and, therefore, subject to market fluctuations. Neo-expressionist painting was reduced to a consumer product and, as such, a creatively disqualified and vulgar act.

Estimation:€150

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