Jean-Michel Basquiat (1960-1988) - Pakiderm

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lote/jean michel basquiat 1960 1988 pakiderm giclee xpEtQjt 633184207

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lote/jean michel basquiat 1960 1988 pakiderm giclee xpEtQjt 633184207

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

Giclée (*) by Jean-Michel Basquiat (**) High-quality reproduction of the work “Pakiderm,” created by Basquiat in 1982. Luxury edition on Monte Carlo high-weight watercolor paper (300 g/m2). Authorized print by Artestar New York. Copyright of the Estate of Jean-Michel Basquiat. Includes Certificate of Authenticity (COA). Specifications: - Support dimensions: 50 x 42 cm - Ink blot dimensions: 40 x 32 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 packed in a reinforced flat cardboard package. The shipment will be insured with a tracking number, operated by top transportation companies (UPS DPD DHL FedEx). 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. (*) 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 exceptional sharpness, color accuracy, and durability, ideal for art and photograph reproductions. (**) Jean-Michel Basquiat was the first of the three children of Matilde Andrades and Gerard Basquiat. His father was a Haitian accountant of respectable financial means and his mother a Puerto Rican graphic designer of great prestige in her profession. Jean-Michel grew up in a fraught 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 enrolled in City-As-School, a school for gifted adolescents, from which he was expelled, out of defiance, a year before graduating. Already in his youth he came into contact with the downtown subculture, associated with 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 Manhattan neighborhood where art galleries proliferate. The following year he left school one term 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 decorated himself. He continued to devote himself to graffiti; his murals and writings carried a strong poetic and philosophical charge, but above all satirical. The alias 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 taking an interest in him. The artist had several relationships that influenced his work; one of the most significant was with artist Andy Warhol. Similarly, romantically, 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 to spend more time together and attend gallery parties. A theme that united them, she mentions in an interview: “He was a big fan of Miles Davis and Charlie Parker.” In 1988, exhibitions were installed in Paris and New York, and in April of the same year he tried 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 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 African-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 previously been for Andy Warhol or Julian Schnabel. Neo-expressionism came to dominate over appropriationism, partly due to the economic strength that elevated the price of art and, especially, painting, and partly due to the support of gallerists and collectors. However, criticism was not unanimous in its assessment, and it was common to denounce the lack of theoretical basis in neo-expressionist discourse. It was claimed that the art practised by neo-expressionists lacked any political or social meaning; it was just merchandise and, therefore, subject to the swings and fluctuations of the market. Neo-expressionist painting was reduced to a consumer product and, as such, a creatively discredited and vulgar act.

Estimación:€150

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