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Tuesday, May 5, 2015

Michaelangelo's Sistine Chapel and the work of Genius street artist Jean-Michel Basquiat under the mentoring of Andy Warhol

Although there was a time when MOMA rejected Basquiat's work deciding not to collect his work ( and to this day do not own any ) - Jean Michel Bastiat will one day be rembered to be a more pivotal and creative artist then his mentor Andy Warhol or other contemporary pop artists such as Keith Haring or Takashi Murakami. The reality of the problem of Basquiat is that he remains the single artist of African descent that anyone knows - an irony by the pure fact that he is indeed the most creative and enigmatic of all the artists of his period. Basquiat truly captured the  Warholian era of the lower Eastside, Soho, Tribeca cub scene of Madonna and other maverick artists like Mapplethorpe and not unlike Michelangelo became the hottest thing in town - both for the aesthetics he portrayed and created as well as the aesthetics of the raw intensity of an artist who had actually lived on the streets for a time. Basquiat's rise to fame  (with the help of Peggy Guggenheim and Warhol ) and fall into the abyss - was more intense than the tragedy of Icarus himself. In time Basquiats pure originality, ability to critique the same people and society who cultivated and promoted his career, will show that he was indeed more of an independent thinker than the great Michelangelo himself. As one of the highest selling artists at Sothebys and Christies

Andy Warhol mentored Jean-Michel Basquiat - until the student surpassed the master. 

Inson Dubois Wood is promoting and collecting  a series of luxury / Street art inspired artists that are now selling at prices in the 5 digit level and above. 

auction in any category, Jean-Michel Basquiat has defined himself as the reigning king less than 20 years since he has left this earth and ascended into immortalality in the heavens - long live the king, of pop.

Basquiat is the leading pop artist from the Street Hip Hop generation that came out of the 1980's 

Andy Warhol - seeking to keep his brand fresh collaborated on pieces with Basquiat - entering into a world he experimented little with on his own - that of the creative composition of freehand painting and freedom of thought using controversial and quasi political texts dealing with race, oppression and social status of minorities. 

Unlike his predecessors - Basquiats style was not built on the works of previous artists - his originality of color, from and style set him apart from almost all other artists. Basquiat truly reinvented the wheel - with his ability to paint and draw - and write through paint - all a powerful message about the state of mankind both internally and externally - a true shaman, Basquiat could see the future and the past simultaneously. 

One of the first pop artists to grapple with the question of race inequality. 

Like Michelangelo - Basquiat was a master of color and composition - although in a very different exploration of spatial relationships. 

Color combinations of Basquiat took painting to an entirely different level and like Michelangelo - told a story of human suffering and oppression, of mental anguish and the true state of humanities follies and tragedies. 

Michelangelo explores depth of space, color, proportion and the topic human tragedy. 

Michelangelo - master of the Papel court and master of color. 

Originally labeled as being "Naive Art" - Basquiat was more masterful both intellectually and artistically than many masters. 

Temptation, greed and inequality are often topics in both Basquiat and Michelangelos work, although expressed in very different ways. Both explore human tragedy and tell the story of the fragility of man. 

Jean-Michel Basquiat emerged from the "Punk" scene in New York as a gritty, street-smart graffiti artist who successfully crossed over from his "downtown" origins to the international art gallery circuit. In a few fast-paced years, Basquiat swiftly rose to become one of the most celebrated, and possibly most commercially exploited American "naif" painters of the widely celebrated Neo-Expressionism art movement.
Basquiat's work is one of the few examples of how an early 1980s American Punk, or graffiti-based and counter-cultural practice could become a fully recognized, critically embraced and popularly celebrated artistic phenomenon, indeed not unlike the rise of American Hip Hop during the same era.
Despite his work's "unstudied" appearance, Basquiat very skillfully and purposefully brought together in his art a host of disparate traditions, practices, and styles to create a unique kind of visual collage, one deriving, in part, from his urban origins, and in another a more distant, African-Caribbean heritage.
For some critics, Basquiat's swift rise to fame and equally swift and tragic death by drug overdose epitomizes and personifies the overly commercial, hyped up international art scene of the mid 1980s, a cultural phenomenon that for many observers was symptomatic of the largely artificial bubble economy of the era.
Basquiat's work is an example of how American artists of the 1980s could reintroduce the human figure in their work after the wide success of Minimalism and Conceptualism, thus establishing a dialogue with the more distant tradition of 1950s Abstract Expressionism.


Jean-Michel Basquiat was born in Brooklyn, New York, in 1960. His mother was of Puerto Rican heritage, and his father a Haitian immigrant, the combination of which eventually led to the young Jean-Michel's fluency in French, Spanish, and English (indeed, early readings of French symbolist poetry would come to influence Basquiat's later work). Basquiat displayed a talent for art in early childhood, learning to draw and paint with his mother's encouragement. Together they attended New York City museum exhibitions, and by the age of six, Jean-Michel found himself already enrolled as a Junior Member of the Brooklyn Museum.
After being hit by a car as a young child, Basquiat underwent surgery for the removal of his spleen, an event that led to his reading the famous medical and artistic treatise, Gray's Anatomy. The sinewy bio-mechanical images of this text, along with those equally linear personages that Basquiat enjoyed in popular graphic novels, would one day come to inform his mature, graffiti-inscribed canvases.
After his parents' divorce, Basquiat lived alone with his father, his mother having been determined unfit to care for him owing to mental instability. Claiming physical and emotional abuse, Basquiat eventually ran away from home and was adopted by a friend's family. Although he attended school sporadically in New York and Puerto Rico, he finally dropped out of Edward R. Murrow High School, in Brooklyn, in September 1978, at the age of 18.
A product of the hyped-up 1980s, Basquiat and his work continue to serve for many observers as a metaphor for the dangers of artistic and social excess. Like a superhero of a graphic novel, Basquiat seemed to rocket to fame and riches, and then, just as speedily, fall back to Earth, the victim of drug abuse and eventual overdose.
Manhattan based tastemaker architect interior designer advises clients on high end bluechip and secondary art purchases as well as investing in emerging artists who he sees have huge growth potential.
The recipient of posthumous retrospectives at the Brooklyn Museum (2005) and the Whitney Museum of American Art (1992), as well as the subject of numerous biographies and documentaries, including Jean-Michel Basquiat: The Radiant Child (2010; Tamra Davis, Dir.), and Julian Schnabel's feature film, Basquiat (1996; starring former friend David Bowie as Andy Warhol), Basquiat and his counter-cultural example persist. His art remains a constant source of inspiration for contemporary artists, his short, but seemingly epic life a constant source of intrigue for a global art-loving public.