Jean-Michel Basquiat (1960-1988) - Molasses

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Jean-Michel Basquiat (1960-1988) - Molasses - Giclée...

Giclée printing (*) of Jean-Michel Basquiat (**) High-quality reproduction of the work “Molasses,” created by Basquiat in 1983. Luxury edition on Monte Carlo high‑grade 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 39 cm - Stain dimensions: 40 x 29 cm - Condition: Excellent (this work has never been framed or exhibited, and has always been kept in a professional art portfolio, thus offered in perfect condition). The work will be carefully handled and packed in reinforced cardboard packaging. Insurance will be included with a tracked shipment, operated by the best transport companies. The shipment will also include full insurance for the final value of the artwork with full reimbursement in case of loss or damage, at no cost to the buyer. (*) Giclée is a term referring to a type of high-quality fine art print, digitally created with inkjet printers. This process uses pigment-based inks and specialized papers to achieve sharpness, color accuracy, and durability, ideal for art reproductions and photographs. (**) Jean-Michel Basquiat was the eldest of 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 because of this he had to change schools many times. He studied at a private Catholic school, later at a public school, and finally, at 16, he entered City-As-School, a school for gifted adolescents, from which he was expelled, out of rebellion, a year before graduating. Already in his youth he came into contact with the subculture of the big city, related 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. 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 his friends in Lower Manhattan, surviving by selling postcards and T-shirts that he himself decorated. He continued to devote himself to graffiti; his murals 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 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 taking notice of him. The artist had several relationships that influenced his work; one of the most significant was with artist Andy Warhol. Likewise, personally, he was involved 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 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, he mounted exhibitions in Paris and New York, and in April of that year he tried to leave his addictions and retreated 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, for Basquiat, priority factors, as they had been for Andy Warhol or Julian Schnabel before him. Neo-expressionism came to dominate over appropriationism, partly due to the economic rise that pushed art prices—especially painting—into high levels, and partly thanks to the support of gallerists and collectors. However, criticism was not unanimous in its assessment, and there was a frequent critique of the neo-expressionist discourse lacking a theoretical basis. It was claimed that the art practiced by neo-expressionists lacked any political or social meaning, was merely merchandise, and thus subject to the market’s fluctuations. Neo-expressionist painting was reduced to a consumer product and, as such, a creatively devalued and vulgar fact. (**) No theme is more powerful or more sought after in Jean-Michel Basquiat’s work (1960–1988) than the singular skull. For this enigmatic artist, the human head was more than an obsession. As suggested by the title “In This Case” (1983), the head is a box or cage housing a cog-driven machine full of impulses and ideas. This work stands among Basquiat’s greatest achievements: a cranial abyss into which the artist has poured the contents of his visual imagination, merging centuries of stylistic influence. “In This Case” is one of the three monumental-size skulls Basquiat painted. The painting’s intensity and immediacy are unparalleled in Basquiat’s oeuvre.

Estimación:€150

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