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Jean-Michel Basquiat

United States (Brooklyn (new York) 1960 -  New York 1988 ) Wikipedia® : Jean-Michel Basquiat
BASQUIAT Jean-Michel  Self-portrait With Paige Powell

Phillips, De Pury & Luxembourg
May 16, 2019
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Artworks in Arcadja
1731

Some works of Jean-Michel Basquiat

Extracted between 1,731 works in the catalog of Arcadja
Jean-Michel Basquiat - Untitled

Jean-Michel Basquiat - Untitled

Original 1983
Estimate:

Price:

Lot number: 515
Other WORKS AT AUCTION
Description:
Jean-Michel Basquiat UNTITLED signed on the reverse acrylic, oilstick and marker on fibreboard 30 by 40 in. 76.2 by 101.6 cm. Executed in1983. Read Condition Report Register or Log-in to view condition report Or This work is accompanied by a certificate of authenticity issued by the Authentication Committee of The Estate of Jean-Michel Basquiat. Literature Richard D. Marshall, Enrico Navarra and Jean-Louis Prat,Jean-Michel Basquiat, 1st Ed., Vol. II, Paris 1996, cat. no. 3, pp. 78-79, illustrated in color Richard D. Marshall,Enrico Navarra and Jean-Louis Prat,Jean-Michel Basquiat, 2ndEd., Vol. II, Paris 1996, cat.no. 3,pp. 98-99, illustrated in color Richard D. Marshall,Enrico Navarra and Jean-Louis Prat,Jean-Michel Basquiat, 3rd Ed., Vol. II, Paris 2000, cat.no. 3,pp. 152-153, illustrated in color Catalogue Note \“In Basquiat\’s paintings, boys never become men, they become skeletons and skulls. Presence is expressed as absence—whether it\’s in the spectral bodies and disembodied skulls he paints or the words he crosses out. Basquiat is obsessed with deconstructing the images and language of his fragmented world. His work is the ultimate expression of a profound sense of 'not there,' a deep hole in the soul.\” Phoebe Hoban, Basquiat: A Quick Killing in Art, New York 2016, n.p. Jean-Michel Basquiat\’s arresting work, Untitled, represents the artist at the height of his career. Coming off a series of solo shows in Los Angeles and Zürich and after the completion of a series of large-scale works that are today considered to be some of the artist\’s best, Untitledcaptures so much of what made Basquiat such a talent. Painted in 1983, when the artist was just 23 years old, Untitledis notable not only for its now iconic imagery but also for its text and the fervor in which the artist created the work, which transcends time and space. In Untitled, the head is paramount. Central to so many of Basquiat\’s works, the head was one of the artist\’s most visited subjects, here being reduced to its most basic elements, with the duality of the internal versus the external adding an additional layer of meaning. Basquiat constantly searched for meaning of the intention of man with this subject often front of mind. With hollowed out eyes and exposed teeth, Untitled calls to mind African masks which were of significant interest to Basquiat, who explored black subjects throughout his too-short career. The mask motif, which was of vital importance to Basquiat during this period, invokes the work of Pablo Picasso, who viewed Primitivism as an antidote to the conservatism of his time. Although inspired deeply by Picasso in his natural innovation, Basquiat illustrated his subjects through self-identity. The present work is a testament to Basquiat\’s overwhelming skill as a draughtsman. Using quick gestural movements, the figure and text are created as one. Shifting between English and Spanish, Basquiat demarcates the different areas of the head and chest. This interchangeable shift between English and Spanish is an ode to Basquiat\’s mother, Matilde, who not only taught Basquiat Spanish and first introduced him to art, but also gave him a copy of Gray\’s Anatomy as a child when he was recovering from an accident—all of which would prove to be incredibly important in Basquiat\’s personal development and in the formation of his own identity. When Basquiat was just eight years old, he was hit by a car on the street near his home in Brooklyn. The accident, which led to the removal of his spleen, resulted in Basquiat spending over a month in the hospital and this experience fueled his fascination of the human body, inspiring another reoccurring motif in Basquiat\’s work. Years later, Basquiat recalled the incident, \“It seemed very dreamlike…it was just like the movies, where they slow it down…I had an operation in my stomach, the whole business. I remember it just being very dreamlike, and seeing the car sort of coming at me and then just seeing everything through sort of a red filter…I think I remember pretty much all of it. That\’s not the earliest memory I have but it\’s probably the most vivid, the thing with the car, I remember all of it pretty much\” (Jean Michel Basquiat in Exh. Cat., Basel, Foundation Beyeler, Jean-Michel Basquiat, 2010, p. XXII). Outside of the purely visual, the significant integration of words in Untitled plays a vital role. Scribbled, unfathomable text and symbols at once invoke the works of Cy Twombly. Speaking with Henry Geldzahler in 1983, Basquiat specifically cited Twombly as one of his "favorites" (Henry Gelzahler, "Art from Subways to Soho" in Exh. Cat., New York, Tony Shafrazi Gallery,Jean-Michel Basquiat, 1999, p. 48). From the late 1950s and onwards, Twombly\’s abstract expressionist gestures were ingrained in an act of dislodging meaning from an ancient and well-trodden art historical dialogue with ancient mythology. Furthering this idea, Basquiat\’s treatment of word, line and symbol operates in an analogous way—where we are invited to understand channels of representation, perhaps biographical or historical, and lucid understanding is utterly thwarted in an overload of symbolic juxtapositions. In Basquiat's works, art historical and semantic visual idioms are recast, cut-up and remixed to give form to an entirely new language, anchored by the artist's own tripartite ethnicity but also grounded in his understanding of a contemporary moment for which all cultures and all eras of art history are up for grabs as valid avenues of expression. In many ways then, Untitled can most aptly be viewed as a self-portrait of the artist. From the references to the artist\’s mother and childhood to the intimations of the titans of art history, to the anatomical x-ray vision of the internal and external of the head representing Basquiat\’s fascination with the human condition. Furthermore, the repeating "S" inside the square house with a triangle roof in the lower right section of the board is self-referential in more than one way. The symbol, with the upward pointing arrow, can be seen as a nod to Basquiat\’s long-time girlfriend, Suzanne Mallouk, and the closeness to which he held her to his heart. He paints a simple square house with a triangle roof that has an \“S\” inside, \“Because, Suzanne, you are my home" (Jennifer Clement, Widow Basquiat: A Love Story, New York 2014, p. 33). Alternatively, the "S" inside the house can be read as a signature, an abbreviated version of Basquiat\’s trademarked tag SAMO, inevitably tied up in the biography of a young man who had spent his adolescence running away from home and who potentially craved some harmonious, imagined domesticity. Untitledis remarkable for the unrivaled insight it gives one into the artist\’s process. The intimacy with which Basquiat imparted into the work elevates it to a new standard. Basquiat craved materials andmedium that allowed him to rapidly and spontaneously express his creative impulses with immediate gratification. The board support of the present work evinces a symbiotic combination of medium and method, enabling Basquiat's vivacious diffusion of artistic vigor. Both Picasso and Basquiat made little distinction between the media—holding drawing to the same standard as painting. Untitledis a prime example of Basquiat at his best. Fig. 1 Jean-Michel Basquiat in his studio, New York, 1983 © Photo by Roland Hagenberg Fig. 2 Illustration for Gray\’s Anatomy featuring an engraving of the arteries of the face and scalp Private Collection / © Look and Learn / Bridgeman Images
Jean-Michel Basquiat - Untitled

Jean-Michel Basquiat - Untitled

Original 1981
Estimate:

Price:

Gross Price
Lot number: 827
Other WORKS AT AUCTION
Description:
Jean-Michel Basquiat (1960-1988) Untitled acrylic, spray acrylic and wax crayon on two joined pieces of wood 23 ½ x 24 ¼ in. (59.7 x 61.6 cm.) Executed in 1981. This work is recorded in the Estate of Jean-Michel Basquiat archives under number 60245. Provenance Galerie Bruno Bischofberger, Zurich Private collection Anon. sale; Phillips de Pury & Company, New York, 12 May 2005, lot 43 Galerie Michael Schultz, Berlin Acquired from the above by the present owner
Jean-Michel Basquiat - Leg Of A Dog, From Da Vinci

Jean-Michel Basquiat - Leg Of A Dog, From Da Vinci

Original 1983
Estimate:

Price:

Lot number: 295
Other WORKS AT AUCTION
Description:
Sale 2509 Lot 295 JEAN-MICHEL BASQUIAT Leg of a Dog, from Da Vinci. Screenprint on warm cream Japan paper, 1983. 1016x794 mm; 40x31 1/4 inches (sheet), full margins. Printer's proof, aside from the edition of 11. Published by New City Editions, Venice, California, with the blind stamp. A very good impression of this scarce print.
Jean-Michel Basquiat - Robot Man

Jean-Michel Basquiat - Robot Man

Original 1983
Estimate:

Price:

Lot number: 21
Other WORKS AT AUCTION
Description:
Robot Man signed "Jean-Michel Basquiat" on the reverse oilstick on paper 22 1/4 x 30 1/8 in. (56.5 x 76.5 cm.) Executed 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.
Jean-Michel Basquiat -  Self-portrait With Paige Powell

Jean-Michel Basquiat - Self-portrait With Paige Powell

Original
Estimate:

Price:

Lot number: 92
Other WORKS AT AUCTION
Description:
PhotographsLondon Auction 16 May 2019Favorite lotEmailFacebookTwitterPinterestCreate your first list. A way to share and manage lots. Cancel Condition Report Sign uporLog in Provenance From the collection of Henry Jernigan 'Jay' Tobler, New York Private Collection, Europe Catalogue Essay Here, we see a spray-painted photo-booth strip showing Jean-Michel Basquiat with his then girlfriend Paige Powell, which provides a rare glimpse into his dynamic multimedia practice. Likely taken in the early 1980s, this strip found its way into his studio as the second and fourth frames appear to have been intentionally blacked out with spray paint; the paint dripping down along the right edge suggests that the strip was hanging upright when it was sprayed. A double-sided narrative, featuring this seemingly happy couple, unfolds. In the first frame, they pose in an intimate embrace. The second frame is entirely obscured, the paint partially impinging on the third frame, which depicts a grinning Basquiat with his eyes closed as Powell kisses his cheek from behind. More than half of the fourth and final frame has been sprayed, leaving visible only her hat and sleeve. The photo booth, which was used by Warhol for his earliest experiments with photography, is the only known photographic tool that Basquiat incorporated into his creative practice. Early in his career in 1979, when he was just 18 years old, Basquiat, in collaboration with artist Jennifer Stein, produced a series of small collages with paint, ink, found materials and photo-booth portraits, which they photocopied then mounted on card to resemble postcards. Examples of these early mixed-media collages, as well as previously unseen film strips and photo-booth portraits were included in the 2017 exhibition Basquiat: Boom for Real at the Barbican Art Gallery in London. This photo-booth strip was originally in the collection of Henry \‘Jay\’ Tobler (1966-2000), an art writer and gallery director who worked at Barbara Gladstone Gallery in the 1990s. Artist Bio Jean-Michel Basquiat American • 1960 - 1988 Follow One of the most famous American artists of all time, Jean-Michel Basquiat first gained notoriety as a subversive graffiti-artist and street poet in the late 1970s. Operating under the pseudonym SAMO, he emblazoned the abandoned walls of the city with his unique blend of enigmatic symbols, icons and aphorisms. A voracious autodidact, by 1980, at 22-years of age, Basquiat began to direct his extraordinary talent towards painting and drawing. His powerful works brilliantly captured the zeitgeist of the 1980s New York underground scene and catapulted Basquiat on a dizzying meteoric ascent to international stardom that would only be put to a halt by his untimely death in 1988. Basquiat's iconoclastic oeuvre revolves around the human figure. Exploiting the creative potential of free association and past experience, he created deeply personal, often autobiographical, images by drawing liberally from such disparate fields as urban street culture, music, poetry, Christian iconography, African-American and Aztec cultural histories and a broad range of art historical sources. View More Worksof 163 lots92Jean-Michel BasquiatFollow Self-Portrait with Paige Powell likely 1982-1984 Unique gelatin silver photo-booth strip with black spray paint. 20 x 3.8 cm (7 7/8 x 1 1/2 in.)
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