Jean-Michel Basquiat.
Louis Vuitton| N° d'inventaire | 22811 |
| Format | 32 x 24 |
| Détails | 320 p., hardcover. |
| Publication | Paris, 2018 |
| Etat | Nine |
| ISBN | 9782072801525 |
The exhibition spans the painter's entire career from 1980 to 1988, focusing on more than 120 decisive works. Like the Heads of 1981-1982, brought together here for the first time, or the presentation of several collaborations between Basquiat and Warhol, the exhibition includes groups never before seen in Europe, essential works such as Obnoxious Liberals (1982), In Italian (1983) and Riding with Death (1988), and paintings rarely seen since their first presentations during the artist's lifetime, such as Offensive Orange (1982), Untitled (Boxer) (1982), and Untitled (Yellow Tar and Feathers) (1982). As soon as he was a child, Jean-Michel Basquiat left school and made the streets of New York his first studio. His painting quickly achieved both desired and forced success. The exhibition affirms his stature as a major artist who radically renewed the practice of drawing and the concept of art. His practice of copying and pasting paved the way for the fusion of the most diverse disciplines and ideas. He created new spaces for reflection and, in doing so, anticipated our Internet and post-Internet society and our current forms of communication and thought. The acuity of his vision, his frequentation of museums, and the reading of numerous books have given him a real culture. But his gaze is biased: the absence of Black artists appears painfully obvious; the artist then imposes on himself the need to bring African and African-American cultures and revolts into existence, on an equal footing, in his work.
The exhibition spans the painter's entire career from 1980 to 1988, focusing on more than 120 decisive works. Like the Heads of 1981-1982, brought together here for the first time, or the presentation of several collaborations between Basquiat and Warhol, the exhibition includes groups never before seen in Europe, essential works such as Obnoxious Liberals (1982), In Italian (1983) and Riding with Death (1988), and paintings rarely seen since their first presentations during the artist's lifetime, such as Offensive Orange (1982), Untitled (Boxer) (1982), and Untitled (Yellow Tar and Feathers) (1982). As soon as he was a child, Jean-Michel Basquiat left school and made the streets of New York his first studio. His painting quickly achieved both desired and forced success. The exhibition affirms his stature as a major artist who radically renewed the practice of drawing and the concept of art. His practice of copying and pasting paved the way for the fusion of the most diverse disciplines and ideas. He created new spaces for reflection and, in doing so, anticipated our Internet and post-Internet society and our current forms of communication and thought. The acuity of his vision, his frequentation of museums, and the reading of numerous books have given him a real culture. But his gaze is biased: the absence of Black artists appears painfully obvious; the artist then imposes on himself the need to bring African and African-American cultures and revolts into existence, on an equal footing, in his work.