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Jeanmichel Basquiat: an Analysis of Nine Paintings
JeanMichel Basquiat: An Analysis of Nine Paintings By Michael Dragovic This paper was written for History 397: History, Memory, Representation. The course was taught by Professor Akiko Takenaka in Winter 2009. Jean‐Michel Basquiat’s incendiary career and rise to fame during the 1980s was unprecedented in the world of art. Even more exceptional, he is the only black painter to have achieved such mystic celebrity status. The former graffiti sprayer whose art is inextricable from the backdrop of New York City streets penetrated the global art scene with unparalleled quickness. His work arrested the attention of big‐ shot art dealers such as Bruno Bischofberger, Mary Boone, and Anina Nosei, while captivating a vast audience ranging from vagabonds to high society. His paintings are often compared to primitive tribal drawings and to kindergarten scribbles, but these comparisons are meant to underscore the works’ raw innocence and tone of authenticity akin to the primitivism of Henri Matisse, Pablo Picasso, Cy Twombly or, perhaps, even that of the infant mind. Be that as it may, there is nothing juvenile about the communicative power of Basquiat’s work. His paintings depict the physical and the abstract to express themes as varied as drug abuse, bigotry, jazz, capitalism, and mortality. What seem to be the most pervasive throughout his paintings are themes of racial and socioeconomic inequality and the degradation of life that accompanies this. After examining several key paintings from Basquiat’s brief but illustrious career, the emphasis on specific visual and textual imagery within and among these paintings coalesces as a marked—and often scathing— social commentary. -
Dark Side of the Boom
dark side of the boom The Excesses of the Art Market in the Twenty-first Century Georgina Adam dark side of the boom First published in 2017 by Lund Humphries Office 3, 261a City Road London ec1v 1jx UK www.lundhumphries.com Copyright © 2017 Georgina Adam isbn Paperback: 978-1-84822-220-5 isbn eBook (PDF): 978-1-84822-221-2 isbn eBook (ePUB): 978-1-84822-222-9 isbn eBook (ePUB Mobi): 978-1-84822-223-6 A Cataloguing-in-Publication record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and publishers. Every effort has been made to seek permission to reproduce the images in this book. Any omissions are entirely unintentional, and details should be addressed to the publishers. Georgina Adam has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the Author of this Work. Designed by Crow Books Printed and bound in Slovenia Cover: artwork entitled $ made from reflector caps, lamps and an electronic sequencer, by Tim Noble and Sue Webster and One Dollar Bills, 1962 and Two Dollar Bills by Andy Warhol, hang on a wall at Sotheby’s in London on June 8, 2015. Photo: Adrian Dennis/AFP/Getty Images. For Amelia, Audrey, Isabella, Matthew, Aaron and Lucy Contents Introduction 9 Prologue: Le Freeport, Luxembourg 17 PART I: Sustaining the Big Bucks market 25 1 Supply 27 2 Demand: China Wakes 51 Part II: A Fortune on your Wall? 69 3 What’s the Price? 71 4 The Problems with Authentication 89 5 A Tsunami of Forgery 107 Part IiI: Money, Money, Money 127 6 Investment 129 7 Speculation 149 8 The Dark Side 165 Postscript 193 Appendix 197 Notes 199 Bibliography 223 Index 225 introduction When my first book, Big Bucks, the Explosion of the Art Market in the 21st Century, was published in 2014 the art market was riding high. -
Recovering Stolen Art and Antiquities Under the Forfeiture Laws: Who Is Entitled to Property When There Are Conflicting Claims
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of North Carolina School of Law NORTH CAROLINA JOURNAL OF INTERNATIONAL LAW Volume 45 Number 2 Article 5 4-1-2020 Recovering Stolen Art and Antiquities Under the Forfeiture Laws: Who is Entitled to Property When there are Conflicting Claims Stefan D. Cassella Follow this and additional works at: https://scholarship.law.unc.edu/ncilj Part of the Law Commons Recommended Citation Stefan D. Cassella, Recovering Stolen Art and Antiquities Under the Forfeiture Laws: Who is Entitled to Property When there are Conflicting Claims, 45 N.C. J. INT'L L. & COM. REG. 393 (2020). Available at: https://scholarship.law.unc.edu/ncilj/vol45/iss2/5 This Article is brought to you for free and open access by Carolina Law Scholarship Repository. It has been accepted for inclusion in North Carolina Journal of International Law by an authorized editor of Carolina Law Scholarship Repository. For more information, please contact [email protected]. Recovering Stolen Art and Antiquities Under the Forfeiture Laws: Who is Entitled to the Property When There are Conflicting Claims By Stefan D. Cassella†1 I. Introduction ............................................................... 394 II. Overview of Forfeiture Law ...................................... 396 A. What is the Government’s Interest? .................... 396 B. Criminal and Civil Forfeiture ............................. 397 1. Criminal forfeiture ......................................... 398 2. Civil forfeiture ............................................... 399 3. The innocent owner defense .......................... 401 4. Parallel civil and criminal proceedings .......... 402 III. Theories of Forfeiture ................................................ 403 A. The Cultural Property Implementation Act (CPIA)… ............................................................. 403 1. Eighteenth Century Peruvian Oil on Canvas . 404 2. -
The Innovators Issue Table of Contents
In partnership with 51 Trailblazers, Dreamers, and Pioneers Transforming the Art Industry The Swift, Cruel, Incredible Rise of Amoako Boafo How COVID-19 Forced Auction Houses to Reinvent Themselves The Innovators Issue Table of Contents 4 57 81 Marketplace What Does a Post- Data Dive COVID Auction by Julia Halperin • What sold at the height of the House Look Like? COVID-19 shutdown? by Eileen Kinsella • Which country’s art • 3 top collectors on what they market was hardest hit? buy (and why) The global shutdown threw • What price points proved the live auction business into • The top 10 lots of 2020 (so far) most resilient? disarray, depleting traditional in every major category houses of expected revenue. • Who are today’s most Here’s how they’re evolving to bankable artists? 25 survive. The Innovators List 65 91 At a time of unprecedented How Amoako Art Is an Asset. change, we scoured the globe Boafo Became the Here’s How to to bring you 51 people who are Breakout Star of Make Sure It changing the way the art market Works for You functions—and will play a big a Pandemic Year role in shaping its future. In partnership with the by Nate Freeman ART Resources Team at Morgan Stanley The Ghanaian painter has become the art industry’s • A guide to how the art market newest obsession. Now, he’s relates to financial markets committed to seizing control of his own market. • Morgan Stanley’s ART Resources Team on how to integrate art into your portfolio 2 Editors’ Letter The COVID-19 pandemic has forced the art world to reckon with quite a few -
The Japanese Collector Recently Set the Auction Record for Jean-Michel Basquiat—Twice
AiA Art News-service MARKET THE 200 TOP COLLECTORS Maezawa’s World: The Japanese Collector Recently Set the Auction Record for Jean-Michel Basquiat—Twice BY Nate Freeman POSTED 09/11/17 11:50 PM 241 150 1 407 Yusaku Maezawa photographed in his home in Tokyo, 2017. ©KOHEY KANNO It was just after 8 p.m. on May 18, 2017, when a painting by Jean-Michel Basquiat sold for more than $110 million at Sotheby’s, blasting past the pre-sale estimate of $60 million. It set a new auction record for the artist and became the sixth most expensive artwork ever to sell at auction. The initial reaction in the salesroom was a collective gasp, followed by wild applause—and then, perhaps, some quick mental tabulations in the minds of collectors with Basquiats on their walls. Next, everyone started to wonder: who bought the damn thing? All was revealed within minutes, when Japanese collector Yusaku Maezawa posted an image to his lively Instagram account of himself standing in front of the untitled black-on-blue skull from 1982. “I am happy to announce that I just won this masterpiece,” he wrote in the caption. The purchase capped Maezawa’s lightning-fast shoot to the front of the global collecting rat race, and the folk story of the sky-high total soon became a crossover sensation. Once again, the world was talking about the American artist who died of a heroin overdose on Great Jones Street in 1988, when he was only 27 years old. An illustration of Yusaku Maezawa’s infamous Instagram post by Alexandra Compain-Tissier. -
Reading Jean-Michel Basquiat
Art & Art History Faculty Works Art & Art History Fall 2005 Reading Jean-Michel Basquiat Damon Willick Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/artarhs_fac Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Willick, Damon. "Reading Jean-Michel Basquiat," X-TRA Contemporary Art Quarterly 8.2 (Fall 2005): 48-51. This Article is brought to you for free and open access by the Art & Art History at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Art & Art History Faculty Works by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. REVIEW Damon Willick Reading Jean-Michael Basquiat Jean-Michel Basquiat Basquiat Museum of Contemporary Art, Los Angeles July 17–October 10, 2005 Organized by the Brooklyn Museum of Art March 11–June 5, 2005 Museum of Fine Arts, Houston November 18, 2005–February 12, 2006 Some of the largest crowds at the Jean- Michel Basquiat retrospective at Los Angeles’s Museum of Contemporary Art can be found in the museum’s basement reading room viewing Tamra Davis’s previously unreleased interview A Conversation with Jean- Michel Basquiat. The twenty- minute video is mesmerizing. Basquiat is charismatic, intelligent, and coy as he speaks on such issues as his childhood, feelings of alienation, and current art world success. Yet, when one listens closely to the interview, Basquiat deliberately obfuscates and exaggerates. As the artist admits at the outset of the interview, “I don’t think its good to be honest in interviews. -
Masterpiece: Untitled, 1981 by Jean-Michel Basquiat
Masterpiece: Untitled, 1981 by Jean-Michel Basquiat Keywords: Graffiti, Neo-Expressionism, Mural Grade: 5th Month: February Activity: Random Thoughts, Designs and Dreams Meet the Artist: • Jean-Michel Basquiat was born in 1960 in Brooklyn, New York. He was the second of four children. • His mother instilled a love for art in his young years by taking him to art museums in Manhattan and enrolling him as a junior member of the Brooklyn Museum of Art. • He was an avid reader and spoke multiple languages including English, French and Spanish by age 11. • Basquiat dropped out of High School in the tenth grade and his father banished him from the household. He stayed with friends and supported himself by selling T-shirts and homemade post cards. • When he was 16, Basquiat and a friend began spray-painting graffiti on buildings in Lower Manhattan. The graffiti marked the “witty sayings of a precocious and worldly teenage mind” and fearlessly spoke about the social, economic, and political world through the eyes of a young African American. • In 1980, at the age of 19 he had his first solo exhibition of his colorful acrylic and oil paintings. • In 1981, at the age of 23, his first “Graffiti” painting was auctioned at the famous auction house in New York known as Christie’s. This painting sold for $19,000. From the sale of this painting and became instantly famous and his work was in high demand. In 2012, his Untitled (1981) piece, depicting a haloed, black-headed man with bright red skeletal body, with the artist’s signature was sold at Christie’s ” London for $19.8 dollars thus setting a world auction record for Basquiat’s work. -
Reading Sample
BASQUIAT BOOM FOR REAL 191115_Basquiat_Book_Spreads.indd 1 20.11.19 14:31 EDITED BY DIETER BUCHHART AND ELEANOR NAIRNE WITH LOTTE JOHNSON 191115_Basquiat_Book_Spreads.indd 2 20.11.19 14:31 BASQUIAT BOOM FOR REAL PRESTEL MUNICH · LONDON · NEW YORK 191115_Basquiat_Book_Spreads.indd 3 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 4 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 5 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 6 20.11.19 14:31 8 FOREWORD JANE ALISON 4. JAZZ 12 BOOM, BOOM, BOOM FOR REAL 156 INTRODUCTION DIETER BUCHHART 158 BASQUIAT, BIRD, BEAT AND BOP 20 THE PERFORMANCE OF FRANCESCO MARTINELLI JEAN-MICHEL BASQUIAT ELEANOR NAIRNE 162 WORKS 178 ARCHIVE 1. SAMO© 5. ENCYCLOPAEDIA 28 INTRODUCTION 188 INTRODUCTION 30 THE SHADOWS 190 BASQUIAT’S BOOKS CHRISTIAN CAMPBELL ELEANOR NAIRNE 33 WORKS 194 WORKS 58 ARCHIVE 224 ARCHIVE 2. NEW YORK/ 6. THE SCREEN NEW WAVE 232 INTRODUCTION 66 INTRODUCTION 234 SCREENS, STEREOTYPES, SUBJECTS JORDANA MOORE SAGGESE 68 EXHIBITIONISM CARLO MCCORMICK 242 WORKS 72 WORKS 252 ARCHIVE 90 ARCHIVE 262 INTERVIEW BETWEEN 3. THE SCENE JEAN-MICHEL BASQUIAT, GEOFF DUNLOP AND SANDY NAIRNE 98 INTRODUCTION 268 CHRONOLOGY 100 SAMO©’S NEW YORK LOTTE JOHNSON GLENN O’BRIEN 280 ENDNOTES 104 WORKS 288 INDEX 146 ARCHIVE 294 AUTHOR BIOGRAPHIES 295 IMAGE CREDITS 191115_Basquiat_Book_Spreads.indd 7 20.11.19 14:31 Edo Bertoglio. Jean-Michel Basquiat wearing an American football helmet, 1981. 8 191115_Basquiat_Book_Spreads.indd 8 20.11.19 14:31 FOREWORD JANE ALISON Jean-Michel Basquiat is one of the most significant painters This is therefore a timely presentation of a formidable talent of the 20th century; his name has become synonymous with and builds on an important history of Basquiat exhibitions notions of cool. -
Marianna Schmidt: Untitled (Three Figures) by ROBIN LAURENCE
Marianna Schmidt UNTITLED (THREE FIGURES) Marianna Schmidt: Untitled (Three Figures) BY ROBIN LAURENCE Marianna Schmidt: Untitled (Three Figures) By Robin Laurence, 2008 The expressive figures in Marianna Schmidt’s art manifest the sense – or nonsense – she made out of her difficult existence. Evident throughout her many media, which include etching, lithography, photography, drawing, painting, sculpture, and collage, is a consuming interest in the human face and figure and an intuitive and often emotive approach to Marianna Schmidt image-making. Also revealed through the work of this Untitled (three figures), 1985 Hungarian-Canadian artist, who lived in Vancouver charcoal drawing on paper from 1956 until her death in 2005, are enduring (52.7 x 75.1 cm) SAG 2007.06.09 themes of dislocation, alienation and loneliness. The gift, from a private donor mood is often bleak, and yet a wry or surreal sense Photograph by Brian Foreman of humour may inflect her art. Schmidt had a strong 1 MARIANNA SCHMIDT Untitled (three figures) feeling for the uncertainties of existence, and an eye resettled in a rural area in southern Hungary. for the looks and gestures that separate people from Whatever tranquility Schmidt may have known there, each other. as a child and young woman, was shattered again by the outbreak of the Second World War. In 1944, Marianna Schmidt was born in 1918 into a she fled Hungary in a wave of refugees, and spent middle-class Hungarian family well-established in the next eight years in displaced persons camps southeastern Europe, an area she described as in Europe and Great Britain. -
Andy Warhol 'Jean-Michel Basquiat'
Basquiat Boom for Real 2 Introduction 4 New York /New Wave 9 SAMO© 12 Canal Zone 15 The Scene 20 Downtown 81 22 Beat Bop 25 Warhol 33 Self-Portrait 36 Bebop (Wall) 40 Bebop (Vitrine) 42 Art History (Wall) 45 Art History (Vitrine) 46 Encyclopaedia (Walls) 52 Encyclopaedia (Column) 55 Encyclopaedia (Vitrine) 57 Notebooks 59 The Screen 64 Interview Jean-Michel Basquiat was one of the most significant artists of the 20th century. Born in Brooklyn in 1960, to a Haitian father and a Puerto Rican mother, he grew up amid the post-punk scene in lower Manhattan. After leaving school at seventeen, he invented the character ‘SAMO©’, writing poetic graffiti that captured the attention of the city. He exhibited his first body of work in the influential group exhibition ‘New York/New Wave’ at P.S.1, Institute for Art and Urban Resources, Inc., in 1981. When starting out, Basquiat worked collaboratively and fluidly across media, making poetry, performance, music and Xerox art as well as paintings, drawings and objects. Upstairs, the exhibition celebrates this diversity, tracing his meteoric rise, from the postcard he plucked up the courage to sell to his hero Andy Warhol in SoHo in 1978 to one of the first collaborative paintings that they made together in 1984. By then, he was internationally acclaimed – an extraordinary feat for a young artist with no formal training, working against the racial prejudice of the time. In the studio, Basquiat surrounded himself with source material. He would sample from books spread open on the floor and the sounds of the television or boom box – anything worthy of his trademark catchphrase ‘boom for real’. -
How a One-Painting Show Lets You Get Inside the Brilliant Young Basquiat’S Head
How a One-Painting Show Lets You Get Inside the Brilliant Young Basquiat’s Head The Brooklyn Museum's show of the record-setting artwork, bought last year by a Japanese billionaire, has value far above the monetary. Ben Davis, February 8, 2018 A visitor contemplates Jean-Michel Basquiat's Untitled (1982) at the Brooklyn Museum. Money and art celebrity are what make Jean-Michel Basquiat’s Untitled (1982) worthy of a one-painting solo show at the Brooklyn Museum. The artwork was sold for $110.5 million to a Japanese billionaire last year, who has now lent it for the mini -exhibition as part of a world tour of his trophy. And of course, Basquiat’s shadow looms large within pop culture in general now. Leaving all that aside, though, it is still an engrossing painting to dive into. Untitled hails from the young Basquiat’s mercurial early years, even before his first gallery show at Annina Nosei, when he was still a Caribbean -American kid from Brooklyn energetically bootstrapping himself into the limelight of the downtown art scene. A year before, he had played a painter in the film Downtown 81 (excerpts of the film are showing at the Brooklyn Museum in an adjacent gallery), giving him the first chance to paint on actual canvas—a material upgrade from the walls of SoHo, which he notoriously stamped with his tag “SAMO” during his street art days. Jean Michel-Basquiat, Untitled (1982). Courtesy of Brooklyn Museum. Now Basquiat was already scaling up into the huge proportions of New York’s neo - Expressionist ‘80s. -
BASQUIAT Mississippi, 1982 21.8% B
THE PAINTING ANNUAL APPRECIATION OF SIMILAR WORKS¹ BASQUIAT Mississippi, 1982 21.8% b. 1960, New York–d. 1988, New York Acrylic and oilstick on two INITIAL OFFERING joined canvases $13,320,000 78 x 41 in. (198.1 x 104.1 cm.) APPRAISED VALUE Offering Circular: sec.gov/edgar $20,000,000 The Painting is a striking example of Wave. Shortly following the show at PS1, Jean-Michel Basquiat’s figurative work, Basquiat was offered a studio and stipend which derives its title from the repeated by the gallerist Annina Noisei, who orga- text: “mississippi”, written in white oilstick nized his first solo show at her eponymous on the green upper third of the right panel. gallery in 1982. That same year, Basquiat Jean-Michel Basquiat Two adjoined panels make up the full com- travelled to Los Angeles and began to work (b. 1960, New York - d. position, and on the left, an upright figure on his first show for the famed Gagosian is rendered predominantly in black, with Gallery. Throughout his brief and glamor- 1988, New York) is widely its right arm raised above its head. Written ous career, the artist explored the experi- five consecutive times on the right panel, ence of black identity in America, a topic considered to be one the text “mississippi” reminds the viewer still relevant today. By the time a profile of Basquiat’s interest in the Civil Rights of Basquiat, titled “New Art, New Money,” of the most interesting Movement and the ongoing engagement was published in The New York Times Mag- and controversial artists with the topic of race in his work.