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Basquiat Jean-Michel Basquiat One Of Term Paper

In the second painting, it is the human figure that takes the foreground - or rather, a the human figure as death, staring out at us in a distraught manner, reeking of death yet simultaneously posing in a gesture that is full of life. It is Basquiat's unique, rhythmic style that makes this painting so special. I would even go so far as to argue that, rather than considering Basquiat's style from the vantage point of earlier movements (i.e. Abstract Expressionism and graffiti art), it is perhaps more appropriate to locate those qualities that make a Basquiat. His signature style seems to be based largely on the interplay of lines, with smudges and stains of paint occasionally smearing the background, as in this second painting. But Basquiat's painting refutes the "all over" gesturality of Pollock or the contrived messiness of de Kooning in his efforts at balancing received images (from culture) and his natural inclinations to doodle and evoke ambiguous messages aimed at ultimately disrupting our sense of security. The world that Basquiat's star rose in, 1980s America, was an increasingly uncertain place. What is more, much has been written about Basquiat's own uncertainties as an artist and a human being. He came of age during a time when America had still not come to terms with its racist past, and the star treatment that he was given in the market-driven art world of the '80s in New York was...

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It was most likely the uncertainties and insecurities that Basquiat faced head-on in both his life and his work that ultimately did him in. Dead at the age of 27, the real tragedy of Basquiat's existence is that we do now know what kind of artist he might have blossomed into. Looking at what is left, one feels very strongly that the thematic conflicts constantly evoked in his work might have been resolved had he lived - and continued painting - a little longer.
Bibliography

Armand, Louis. "Jean-Michel Basquiat: Identity and the Art of (Dis)Empowerment." 2001.

Retrieved November 12, 2007 at http://web.ff.cuni.cz/~lazarus/basquiat.html.

Basquiat, Jean-Michel. Untitled. 1981. Retrieved November 12, 2007 at http://eu.art.com/asp/sp-asp/_/Aff--CONF/CTID--682692304/RFID--978325/TKID--15041968/pd -- 10112338/posters.htm.

Basquiat, Jean-Michel. Untitled. 1981. Retrieved November 12, 2007 at http://www.ihmadrid.com/comunicativo/mini_galeria/images/basquiat-untitled_1981_jpg.jpg.

Seed, John. "Recollections of JMB." Retrieved November 12, 2007 at http://www.johnseed.com/basquiat.html.

See Louis Armand, "Jean-Michel Basquiat: Identity and the Art of (Dis)Empowerment."

See John Seed, "Recollections of JMB."

Sources used in this document:
Bibliography

Armand, Louis. "Jean-Michel Basquiat: Identity and the Art of (Dis)Empowerment." 2001.

Retrieved November 12, 2007 at http://web.ff.cuni.cz/~lazarus/basquiat.html.

Basquiat, Jean-Michel. Untitled. 1981. Retrieved November 12, 2007 at http://eu.art.com/asp/sp-asp/_/Aff--CONF/CTID--682692304/RFID--978325/TKID--15041968/pd -- 10112338/posters.htm.

Basquiat, Jean-Michel. Untitled. 1981. Retrieved November 12, 2007 at http://www.ihmadrid.com/comunicativo/mini_galeria/images/basquiat-untitled_1981_jpg.jpg.
Seed, John. "Recollections of JMB." Retrieved November 12, 2007 at http://www.johnseed.com/basquiat.html.
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