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...
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.
The portrayal of the central character, by showing non-verbal aspects of his life, like the intensity of his focus when engaged in creative works, or his silent, brooding intensity when confronting the naked racism that patronizing, rich connoisseurs often showed towards his works, helps the viewer better understand the torment that fueled the genius. To know, for example, the fact that Basquiat had a three-hundred dollar a week cocaine habit
Many have underlined the importance of the various techniques that he used, mixing painting with writing, collage and adding elements which apparently had nothing in common with the rest of the composition. I believe that the technique itself is extremely important for the construction of meaning. In Basquiat's works, the meaning is to be found hiding behind various layers. Although the scenes are often realistic (familiar street imagery), the message
First and foremost is the recurrence of addiction with which Ms. Stone has struggled her entire life. This reflects the powerful dependency which is a distinct feature of heroin as is this compares to other substances. Indeed, Ms. Stone makes explicit mention of the intense physical and emotional rigors of withdrawal that are associated with detoxification. The number of times that Ms. Stone has engaged in detox and relapsed
Graffiti�Art or Vandalism?The debate over whether graffiti should be considered art or vandalism has been ongoing for decades. Proponents of graffiti argue that it is a valid form of self expression and a legitimate art form, citing famous examples like Banksy and Jean-Michel Basquiat who have gone on to have successful careers as artists. However, others argue that graffiti often involves the unauthorized alteration of property, causing damage and inconvenience
Another political and public sidewalk mural done by Beever is his Politicians Meeting Their End, drawn on the night of the 1997 General Elections outside the Bank of England. In this work, Beever creates the illusion of a deep well in the middle of the sidewalk with unpopular politicians being pulled in. Again, like most of his works, this one demands the viewers attention and gives a clear message. Julian Beever's
" (LewAllen). The purpose was to get the viewer to see the Holocaust as a point of reference in evaluating our current society. The actual work is a collaboration between her and her husband, a world renowned photographer. It is composed of a collection of sculpture, photographs and paintings. Judy Chicago's works encompass several post-modern ideas. First, her works often focus on feminist themes and ideals, an idea that has grown
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