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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. -
Schirn Presse Basquiat Boom for Real En
BOOM FOR REAL: THE SCHIRN KUNSTHALLE FRANKFURT PRESENTS THE ART OF JEAN-MICHEL BASQUIAT IN GERMANY BASQUIAT BOOM FOR REAL FEBRUARY 16 – MAY 27, 2018 Jean-Michel Basquiat (1960–1988) is acknowledged today as one of the most significant artists of the 20th century. More than 30 years after his last solo exhibition in a public collection in Germany, the Schirn Kunsthalle Frankfurt is presenting a major survey devoted to this American artist. Featuring more than 100 works, the exhibition is the first to focus on Basquiat’s relationship to music, text, film and television, placing his work within a broader cultural context. In the 1970s and 1980s, Basquiat teamed up with Al Diaz in New York to write graffiti statements across the city under the pseudonym SAMO©. Soon he was collaging baseball cards and postcards and painting on clothing, doors, furniture and on improvised canvases. Basquiat collaborated with many artists of his time, most famously Andy Warhol and Keith Haring. He starred in the film New York Beat with Blondie’s singer Debbie Harry and performed with his experimental band Gray. Basquiat created murals and installations for New York nightclubs like Area and Palladium and in 1983 he produced the hip-hop record Beat Bop with K-Rob and Rammellzee. Having come of age in the Post-Punk underground scene in Lower Manhattan, Basquiat conquered the art world and gained widespread international recognition, becoming the youngest participant in the history of the documenta in 1982. His paintings were hung beside works by Joseph Beuys, Anselm Kiefer, Gerhard Richter and Cy Twombly. -
Vienna-Bratislava Relationships. Living Apart Together. from the Long 19Th Century up to Now.“
MASTERARBEIT Titel der Masterarbeit „Vienna-Bratislava relationships. Living apart together. From the long 19th Century up to now.“ Verfasserin Mirjam de Klepper angestrebter akademischer Grad Master (MA) Wien, 2015 Studienkennzahl lt. Studienblatt: A 067 805 Studienrichtung lt. Studienblatt: Individuelles Masterstudium: Global Studies – a European Perspective Betreuerin / Betreuer: Ass.-Prof. Mag. Dr. Walter Matznetter, MSc MASTERARBEIT / MASTER THESIS Titel der Masterarbeit /Title of the master thesis Vienna-Bratislava relationships. Living apart together. From the long 19th Century up to now. Verfasser /Author Mirjam de Klepper angestrebter akademischer Grad / acadamic degree aspired Master (MA) Wien, 2015 Studienkennzahl : A 067 805 Studienrichtung: Individuelles Masterstudium: Global Studies – a European Perspective Betreuer/Supervisor: Ass.-Prof. Mag. Dr. Walter Matznetter, MSc TABLE OF CONTENT Preface 1 Chapter 1 About territoriality, borders and cities 4 1.1 The extraordinary case of Vienna and Bratislava 6 1.2 Territoriality, the example of Burgenland in the late 1940s 9 1.3 The production of space and others in the borderlands 13 1.4 Set up of this thesis 15 Chapter 2 From Pressburg to Bratislava: The development of a city's identity in the late 19th 17 and early 20th century 2.1 The basis of the Slovak nation 18 2.1.1 Ethnic awareness 18 2.1.2 Language development 19 2.2 From Pressburg to Bratislava 21 2.2.1 The people 21 2.2.2 The city's self perception 24 2.3 The Slovak road to the first Czechoslovak Republic 28 2.3.1 Conditions -
HISTORY of SLOVAKIA Small State with Rich History Samova Ríša- Samo‘S Empire
HISTORY OF SLOVAKIA Small state with rich history Samova ríša- Samo‘s empire • Ancestors of Slovaks were Slavs. Their homeland was between the rivers Visla and Dneper, north of the mountains Karpaty. In 5th and 6th century they moved to another place. Some of them stayed on our territory.They nurtured the peasantry, beekeeping, handicrafts. • In 6th century Avars (nomadic tribes from Asia) came and they settled on the territory of today's Hungary. From there, they were attacking the neighbouring Slavonic nations. Slavs united in the 7th century to defend themselves against aggressive Avars. - in the fight Frankish merchant Samo helped them and with his help they won - Slavonic tribes created a tribal union- Samo‘s empire - it existed in years 623-658 Veľká Morava-Great Moravia • NITRA PRINCIPALITY - Slavs slowly started to build strong forts (Bojná, Pobedim) - the most important fort was in Nitra, it was the seat of the prince - first known prince was Pribina - in the west, there was Moravian principality, with the seat in Mikulčice, prince Mojmír ruled there - year 833- Mojmír I. expelled Pribina and occupied Nitra principality - by the combination of the two principalities Great Moravia originated • GREAT MORAVIA - GM resulted in conflicts with the Frankish Empire, Franks wanted to control GM - Mojmír I. didn‘t want to subordinate to Franks, so they deprived him of power and he was replaced by Rastislav. He invited Thessalonian brothers- Konštantín and Metod - Svätopluk betrayed Rastislav and issued him to Franks - when Svätopluk died, -
Pay for Soup/Build a Fort/ Set That on Fire
Pay for Soup/Build a Fort/ Set that on Fire Jean-Michel Basquiat is the only black American painter to have made a substantial mark on the history of art. He is amongst the most influential artists of an international movement started around 1980 which was marked by the post-modern return to figurative painting. He died at age 27. Basquiat is art's answer to Jimi Hendrix and Charlie Parker. Although his work might look unsophisticated at first, it is evidence of a powerful poetical and visual gift. Basquiat was getting an international echo with his work before most of the artists his age had time to finish art school. Luckily, Basquiat has left us a trenchant summary of his early life in Untitled (Biography), 1983. JEAN MICHEL BASQUIAT BORN DEC. 22/1960/BROOKLYN/NY MOTHER: PUERTO RICAN (FIRST GENERATION) FATHER: PORT AU PRINCE, HAITI (DIVORCED) - [NAME OF TOWNI ST. ANNS ? P.S. 1O198 P.S.45 (SOME CATHOLIC SCHOOL DURING TEAR + 1/2 IN PUERTO RICO -) I.S.293 CITY AS SCHOOL 11th GRADE DROPOUT PUT A BOX OF SHAVING CREAM IN PRINCIPAL'S FACE AT GRADUATION NO POINT IN GOING BACK FIRST AMBITION: FIREMAN FIRST ARTISTIC AMBITION: CARTOONIST EARLY THEMES WERE: 1. THE SEAVIEW FROM VOYAGE TO THE BOTTOM OF THE SEA 2. ALFRED E. NEUMAN 3. ALFRED HICTHCOCK (HIS FACE OVER + OVER) 4. NIXON 5. CARS (MOSTLY DRAGSTERS) 1 Extract from Basquiat – Museo Revoltella Downloaded from www.marenzi.com All text © Luca Marenzi 2003 Pay for Soup/Build a Fort/ Set that on Fire 6. WARS 7. -
RESEARCH DEGREES with PLYMOUTH UNIVERSITY Gold Griot
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2018 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Ross, Lucinda http://hdl.handle.net/10026.1/11135 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. RESEARCH DEGREES WITH PLYMOUTH UNIVERSITY Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art by Lucinda Ross A thesis submitted to Plymouth University In partial fulfilment for the degree of Doctor of Philosophy Humanities and Performing Arts Doctoral Training Centre May 2017 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Basquiat, Gold Griot, 1984 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Abstract Emerging from an early association with street art during the 1980s, the artist Jean-Michel Basquiat was largely regarded within the New York avant-garde, as ‘an exotic other,’ a token Black artist in the world of American modern art; a perception which forced him to examine and seek to define his sense of identity within art and within society. -
2018 Innovation Et Créativité Autour De L'œuvre Du Peintre Jean-Michel Basquiat
2017- 2018 Séminaire Innover en management Innovation et créativité autour de l’œuvre du peintre Jean-Michel Basquiat Compte-rendu séance du 7 février 2018, par Albert David Intervention de Dominique LAFON Fondateur de CayaK Innov Dominique Lafon raconte sa rencontre avec Basquiat, via un tableau vu par hasard dans une galerie new-yor- kaise. Basquiat est obsédant. « Il vaut mieux se consu- mer que de s’éteindre à petit feu » (Kurt Kobain). Quelques citations en guise d’introduction. • Jacques Hadamard : « l’inventeur ne connaît pas la prudence ». Hadamard écrit des choses sur l’inventivité et la créativité en mathématiques. Impru- reprend des éléments de l’œuvre de Vinci. Ce tableau dence transgressive. montre une sorte de filiation. • Henri Poincaré : « Illuminations subites ». Vie de Basquiat : né en 1960 à Brooklyn. Père Haï- Poincaré a parlé le premier du rôle de l’inconscient en tien mère portoricaine. Forte souffrance dans l’enfance mathématiques. morale mais aussi physique (battu par son père). Evé- • Paul Valéry : « Dieu sait quelles géométries l’in- nement majeur chez Basquiat : il est renversé par vention des miroirs a pu engendrer chez les mouches». une voiture, on lui enlève la rate. S’ennuie à l’hôpi- Donc influence du contexte. tal. Demande un livre. Sa mère lui rapporte un livre… d’anatomie (il n’y avait que des librairies de médecine • Albert Einstein : « des idées j’en ai si peu ». dans le quartier). Basquiat dessine tout le temps. Ren- contre un grapheur (Al Diaz) en 1977. « On est un Un premier dessin de Basquiat : Tesla vs Edison (guerre beau duo, on va secouer cette ville ». -
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. -
Rarely Viewed Basquiat Exposes Timely Exploration of Racial Identity, Activism, and Police Brutality Natasha Gural Dec 13, 2018
Rarely Viewed Basquiat Exposes Timely Exploration Of Racial Identity, Activism, And Police Brutality Natasha Gural Dec 13, 2018 Jean-Michel Basquiat Defacement (The Death of Michael Stewart) 1983 Project code: BAS07299 25 x 30 1/2 inches (63.5 x 77.5 cm) Acrylic and marker on wood, framed Collection of Nina Clemente, New York Basquiat’s “Defacement”: The Untold Story on view June 21-November 6, 2019 ALLISON CHIPAK © SOLOMON R. GUGGENHEIM FOUNDATION, 2018 Trendy teens and twenty-somethings scoop up T-shirts featuring iconic images by Jean-Michel Basquiat at the Uniqlo store in Manhattan’s SoHo, a short walk from the artist’s NoHo studio where he was found dead three decades ago of a heroin overdose at age 27. Last year, Basquiat’s 1982 “Untitled,” a colorful and jarring painting of a skull, sold for a staggering $110.5 million at Sotheby’s. There’s no doubt the prolific neo-expressionist remains popular and relevant in today’s art and pop culture worlds, but digging deeper into his career and personal struggles reveals timely themes that continue to torment America. An American artist of Haitian and Puerto Rican descent, Basquiat exploded onto the art world as part of graffiti duo SAMO, tagging Manhattan’s Lower East Side with powerful epigrams (pithy, surprising, and sometimes satirical statements) in the late 1970s, empowering the intersection of hip hop, punk, and street art. By the 1980s, his paintings were on view at museums and galleries worldwide. The Solomon R. Guggenheim Museum in New York City will present Basquiat’s “Defacement”: The Untold Story, a thematic exhibition examining the work of Basquiat and his contemporaries from the lens of his cultural and racial identity and social activism. -
Population of Slovakia 1918 - 1938
INFOSTAT – INSTITUTE OF INFORMATICS AND STATISTICS Demographic Research Centre POPULATION OF SLOVAKIA 1918 - 1938 Published by: Akty Bratislava, May 2002 This analytical publication evaluates the population development in Slovakia from 1918 until 1938. Authors: Vladimír Srb Layout and design: Ján Mészáros Translation František Bernadič This document has been made in INFOSTAT, Bratislava. The wording can be used only in reference to this document. No language redaction has been made. Contents INTRODUCTION ........................................................................................................................................... 5 1. TERRITORY AND POPULATION .......................................................................................................... 5 2. CONCENTRATION AND URBANISATION .......................................................................................... 6 3. AGE STRUCTURE OF POPULATION ................................................................................................... 7 4. ECONOMIC STRUCTURE OF POPULATION ..................................................................................... 8 5. NATIONALITY......................................................................................................................................... 10 6. RELIGION................................................................................................................................................. 11 7. NATURAL CHANGE OF POPULATION ............................................................................................ -
Introduction
Introduction Early prerequisites for the national identity of the Slovaks Tracing the historical development of a national identity1 has in many cases proved to be a difficult task. The so-called dominant nations2 in their respective nation-states almost without exception have their own national historio- graphies, which regularly tend to see their ethnic ancestors more aware of their ethnicity than they actually were. Yet in principle a history of a nation must have a starting point just like any other historical phenomenon. The problem with the organic histories of nations, however, is that an ethnic group or a proto- nation did not know where they were going. They were ignorant of the mission assigned to them by their descendants, and since conscious attempts to strengthen or weaken a nation and its national identity are only later, rather modern, enterprises, greater importance must be given to the widely differing historical conditions of nations. Famines, epidemics, wars etc. have wiped out numerous nations, while others have survived them. But the core of the problem remains clear; a coincidence plays a vital part in the history of nations. Generally, it should be remembered that a national identity, like a personal identity, is at the same time both open to changes and resistant to them. Personal identities have a dynamic character3 i.e. they are never fixed and as such, they must also be time-related. Basically, this means that nations and ethnic groups are all the time in the middle of continuous and active historical processes, which are capable of affecting the development of the national identity of the members of the nations and ethnic groups. -
A Beginner's Guide to Slovak Reseach
A Beginner’s Guide to Slovak Reseach by Lisa A. Alzo, M.F.A. Introduction Perhaps you are among those nearly 2 million Slovaks Nearly 620,000 Slovaks immigrated to the United States interested in finding out more about your ancestors through during the period of mass migration (about 1880 to 1914).1 genealogical research. This article provides an overview of Some Slovaks left their homeland for economic reasons, traditional and online resources essential to doing Slovak others to escape political repression. The majority of the research, and describes the challenges and pitfalls that are immigrants to the United States arrived before World War I. unique to researching this area of Eastern Europe. Many returned home after earning enough money to buy While searching for Slovak roots, there is often a land back home, but eventually some 500,000 Slovaks tendency to want to search for records in the place of origin. settled permanently in the New World. This article, however, will emphasize how to first search In 1990, the U.S. Census Bureau issued a Supplemen- home and family sources here in the United States for tary report to the Census of Population that included people’s determining the ancestral village, and how to utilize church self-reported ancestry.2 Over 1.8 million people indicated and civil records available on microfilm through the Family that they are of Slovak descent. The numbers represent History Library (FHL). In addition, resources for writing to people who do not necessarily know the Slovak language, Slovak archives and finding professional researchers will be but are conscious of their ethnic background.