Jean-Michel Basquiat: Dustheads

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

“Basquiat, The Radiant Child” is a documentary about a young artist of the early 2000’s. This young artist left home to begin his journey; he started out as a bum with nothing and became a street artist. Obviously, Basquiat was very driven by his work otherwise he wouldn’t have taken such a big risk. For this reason, many people were inspired by him and loved what he was doing. I however wasn’t a big fan of his. Throughout the documentary his friends and other artist talk about how he would pretty much mooch off of other people; although his friends said it in a nicer way. He even told his girlfriend that he couldn’t work because he didn’t like how people treated him, so she had to pay for their rent on her own. I personally felt like this

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

So within the context of the movie Basquait the story emerges of a Haitian-American kid, who has 'seen the streets' and lived on the hard side of the tracks. Carrying his copy of 'Greys Anatomy' he dissects the streets, dissects and illustrates what he finds beneath and this dissects society and his own fractured place in it. His art even looks a bit like the anatomical drawings of Greys Anatomy and it is this ferocious dissection that formed the basis of a lot of his work. Although Mayer said “Basquiat speaks articulately while dodging the full impact of clarity like a matador. We can read his pictures without strenuous effort—the words, the images, the colors and the construction—but we cannot quite fathom the point they belabor” it is maybe through the lens of thinking about his background as a child who had a challenging childhood that we can figure out what was going on (2205 50). His painting of an African-American policeman with its huge size and broken body may give a further clue with the cultural / race identity confusion of his childhood in the 1960's and 1970's very evident. It is these pressures combined with the pressures of the corporate money-focused art-as-currency/investment discourse that must surely impact on an artist such as Basquiat: painting from within the establishment and making money from it a mechanism that can only

These art pieces exemplify this Zeitgeist because they each show how the artist sees themselves. In the painting by Chuck Close, he creates a very realistic painting which is created by, “small dashes, dots of pigment, thumbprints, or applied pieces of colored paper.” Jean-Michel Basquiat’s painting is also representing how he envisions himself. This painting looks kind of demon or monster-like. When one compares these two paintings they can see how differently these artists portrayed

When Jean-Michel Basquiat was invigorating the oppressed art movement of street art, Madonna was an upcoming singer. After a couple of years, and while he was creating amongst, with and for the LA and New York’s art elite, Madonna was still an unknown but aspiring entertainer and they were together.

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

This piece was created during a time of political and social change. Increased political awareness and a focus on celebrity demanded art that was more

His mother, who was something of an amateur artist herself, frequently took him to visit New York’s many art museums, and even enrolled him in a children’s program at the Brooklyn Museum of Art. Basquiat would later credit his mother with getting him started as an artist. Basquiat’s first artistic works were cartoon drawings, often of characters from Alfred Hitchcock films. Basquiat would sit beside his mother at night, drawing his cartoon sketches while she worked on her own designs.” From what I have researched I have learned that Basquiat and his father did not have a good relationship.

Jean-Michel Basquiat emerged from the punk scene in New York as a street-smart graffiti artist. He successfully crossed over his downtown origins to the international art gallery circuit. Basquiat’s work is one of the few examples of how an early 1980’s American graffiti-based could become a fully recognized artist. 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. His work is an example of how American artists of the 1980’s could reintroduce the human figure in their work after the wide success of minimalism and conceptualism.

Jean Michael Basquiat was an African American Painter part of the Neo- Expressionism movement and was born in Brooklyn, New York in 1960. Coming from the “punk” and “graffiti” scene in New York, Basquiat has now become one of the most celebrated African American Painters in the Neo- Expressionism movement. Basquiat’s work is considered “unstudied” because he didn’t go to school for art. Even though the appearance of his work seems to be unstudied he skillfully created collages using a lot of urban influences and African-Caribbean tradition. One of my favorite Basquiat paintings is untitled and was painted (1982). In this untitled painting Basquiat uses images that are often associated with African art, a skull, a bone, and an arrow but Basquiat modernizes the images in his Neo- Expressionist style using thickly applied paint and rapidly rendered subjects.

Affected by broad social and cultural change, the way art was sold and displayed. In this case, the work Portrait of Dr. Gachet gained fame under the interaction of a series of collectors, critics and curators. But what I hadn’t expected before reading Saltzman’s book was the truth that initially van Gogh was famous by his mysterious life and

Post-impressionist paintings under the “IT’ theory alone were not considered art. To be able to accept post-impressionist paintings as art then required, “a revolution in taste.” The artworld, as Danto would agree needed to bring a new theory in order to

When the two men meet, Matisse’s career was beginning to take off. On March 19th, 1906, his second one-man show opened at a Private Gallery where he exhibited fifty-five paintings, along with a number of sculptures, watercolors, drawings, and lithographs. The paintings ranged in date from 1897 to the current year, so the exhibition served as a retrospective that gave a clear idea of his art development. For the 1906 Salon exhibition, Matisse only showed a single painting, Le Bonheur de vivre (Fig. 5), which was the largest- and most daring- canvas he had ever done. Matisse’s creation of The women with the hat (Fig. 3) had unexpectedly shocked people, but with le Bonheur de vivre. Matisse appear to have purposely set out this painting to create a shocking effect. That Matisse wanted his painting to be a kind of manifesto. Leo Stein bought the painting and declared it to be “the most important painting done in our time.” And was hung up high in Gertrude and Leo’s studio. Leo’s high opinion of Le Bonheur de vivre must have vexed Picasso.

This paper is an explanatory paper by a cultured gentleman on Avant-Garde art and the challenges facing Avant-Garde. More specifically, it comes off as a rant against the bourgeois and proletariat for failing to appreciate Avant-Garde art and instead preferring to art he calls the rear-guard art or Kitsch. This work was printed by the Parisian review during fall, 1939.