Jean-Michel Basquiat (1960-1988) - In Italian - Giclée...

Giclée print (*) by Jean-Michel Basquiat (**) High-quality reproduction of the work “In Italian,” created by Basquiat in 1983. Luxury edition on heavyweight Monte Carlo watercolor paper (300 g/m2). Print authorized by Artestar New York. Copyright of the Estate of Jean-Michel Basquiat. Includes Certificate of Authenticity (COA). Specifications: - Support dimensions: 50 x 45 cm - Stain/mark dimensions: 40 x 35 cm - Condition: Excellent (this work has never been framed or exhibited, and has always been kept in a professional art portfolio, therefore offered in perfect condition). The artwork will be carefully handled and packaged in a reinforced flat cardboard parcel. Shipment will be tracked, certified, and operated by top transport companies (UPS DPD DHL FedEx). The shipment will also include full insurance for the final value of the artwork with full reimbursement if lost or damaged, at no additional cost to the buyer. (*) Giclée is a term referring to a high-quality fine art print produced digitally with inkjet printers. This process uses pigment-based inks and specialized papers to achieve great sharpness, color accuracy, and durability, ideal for art reproductions and photographs. (**) Jean-Michel Basquiat was the eldest of the three children of Matilde Andrades and Gerard Basquiat. His father was a Haitian accountant of respectable financial solvency, 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, later at a public school, and finally, at 16, enrolled in City-As-School, a school for gifted adolescents, from which he was expelled a year before graduating for rebellious conduct. Already in his youth, he came into contact with the urban subculture, related to drug use and street gangs. In 1977, together with Al Diaz, he immersed himself in the world of graffiti, painting on subway cars and in the SoHo area, a New York district where art galleries proliferate. The following year he left school a year before graduating from high school and left home to live for two years on the streets, in abandoned buildings or with friends in Lower Manhattan, surviving by selling postcards and T-shirts that he himself decorated. He continued to devote himself to graffiti; his writings and inscriptions carried a lot of poetic and philosophical weight, but above all satirical. The pseudonym of his shared alter ego with Al Diaz 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 carried inscriptions such as “SAMO saves idiots” 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 starting to take an interest in him. The artist had several relationships that influenced his work; one of the most significant was with artist Andy Warhol. Similarly, on a personal level, he had relationships with several women, one of the most well-known today being Madonna. Lower Manhattan was the area where they lived at that time; in 1982 they began spending more time together and going to gallery parties. A theme that united them, she mentions in an interview, “I was a big fan of Miles Davis and Charlie Parker.” In 1988, exhibitions were installed in Paris and New York, and in April of that year he tried to overcome his addictions and retreated to his home in Hawaii. He returned to New York in June, announcing that he had freed himself from 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 undertake more than 40 solo exhibitions and participate in around 100 group shows. Self-promotion and advertising were priority factors for Basquiat, as they had previously been for Andy Warhol or Julian Schnabel. Neo-expressionism came to dominate over appropriationism, partly thanks to the economic strength that raised art prices, especially painting, to high levels, and partly due to the support of galleries and collectors. However, critics were not unanimous in their assessment, and it was common to denounce the lack of theoretical basis in neo-expressionist discourse. It was argued that the Neo-Expressionist art they practiced lacked any political or social meaning, was just merchandise, and therefore subject to the fluctuations of the market. Neo-expressionist painting was reduced to a consumer product and, as such, to a creatively discredited and vulgar act.

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