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 heavyweight 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: 40 x 40 cm - Stain (image) 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 it is offered in perfect condition). The work will be carefully handled and packaged in a reinforced flat cardboard package. The shipment will be traceable with a tracking number, operated by top transportation 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 financially respectable Haitian accountant and his mother a Puerto Rican graphic designer of great renown in her profession. Jean-Michel grew up in a fractured family environment; his parents divorced and, due to this, he had to change schools many times. He studied at a private Catholic school, then at a public school and finally, at 16, he enrolled in City-As-School, a school for gifted teenagers, from which he was expelled a year before graduating for rebellious behavior. As a youth, he came into contact with the downtown 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 in the SoHo area, a New York neighborhood where art galleries proliferate. A year later he left school one term before graduating from high school and left his home to live for two years on the streets, in abandoned buildings or with his friends in Lower Manhattan, surviving by selling postcards and T-shirts that he decorated himself. He continued to practice graffiti; his tags and writings carried a lot of poetic and philosophical weight, but above all satirical. The pseudonym of his alter ego shared 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 carried inscriptions such as “SAMO saves idiots” or “SAMO ends religious brainwashing, the politics of nothing, and fake 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, romantically, he was involved with several women, one of the most well-known today was Madonna. Lower Manhattan was the area where they lived at that time; in 1982 they began to spend more time together and go to gallery parties. A thing that united them, she mentions in an interview: “I was a big fan of Miles Davis and Charlie Parker.” In 1988, exhibitions opened 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 hold more than 40 solo exhibitions and participate in about 100 group shows. Self-promotion and promotional publicity were priority factors for Basquiat, as they had been for Andy Warhol or Julian Schnabel before him. Neo-expressionism gradually supplanted appropriationism, partly thanks to the economic expansion that pushed art and especially painting to high prices, and partly due to the support of gallerists and collectors. However, critics did not unanimously value him, and it was common to accuse neo-expressionist discourse of lacking theoretical grounding. It was claimed that the art practiced by neo-expressionists carried no 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.

Utropspris:SEK 1,668.89

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