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Basquiat Soundtracks.
BESSIERES Vincent, BUCHHART Dieter, DESMARAIS Mary-Dailey.

Basquiat Soundtracks.

Gallimard/Philharmonie de Paris.
€39,00 €0,00
N° d'inventaire 28090
Format 24 x 30
Détails 288 p., illustrated, publisher's cloth binding.
Publication Paris, 2023
Etat Nine
ISBN 9782073000507
Jean-Michel Basquiat appeared at the very end of the 1970s in the trendy clubs of Manhattan's Lower East Side, where the first truly urban music styles were being invented: no-wave and, above all, hip-hop. These deconstructed music styles, using collage, sampling, and syncopation, are clearly similar to those of his paintings. All kinds of music inhabit the studio and works of this compulsive and eclectic music lover, whose collection of more than 3,000 records mixes styles—from classical to rock, Louisiana zydeco, soul, new wave, and, above all, jazz—and who listens to music constantly while working. His paintings are full of references to the history of music, particularly classical music (Bach, Beethoven, Mozart, etc.) and jazz. These references are not only quotes, but often also part of a strategy of asserting his African-American roots, as evidenced in particular by the cult he devotes to the blues and bebop, and notably to the figure of Charlie Parker.
Jean-Michel Basquiat appeared at the very end of the 1970s in the trendy clubs of Manhattan's Lower East Side, where the first truly urban music styles were being invented: no-wave and, above all, hip-hop. These deconstructed music styles, using collage, sampling, and syncopation, are clearly similar to those of his paintings. All kinds of music inhabit the studio and works of this compulsive and eclectic music lover, whose collection of more than 3,000 records mixes styles—from classical to rock, Louisiana zydeco, soul, new wave, and, above all, jazz—and who listens to music constantly while working. His paintings are full of references to the history of music, particularly classical music (Bach, Beethoven, Mozart, etc.) and jazz. These references are not only quotes, but often also part of a strategy of asserting his African-American roots, as evidenced in particular by the cult he devotes to the blues and bebop, and notably to the figure of Charlie Parker.