Excerpt by Term Newspaper:
In the second painting, it is the human number that takes the foreground – to be more exact, a a persons figure while death, staring out your way in a distraught manner, reeking of loss of life yet simultaneously posing within a gesture that is certainly full of life. It really is Basquiat’s unique, rhythmic design that makes this kind of painting so special. We would even go so far as to argue that, instead of considering Basquiat’s style from your vantage level of earlier movements (i. e. Summary Expressionism and graffiti art), it is probably more appropriate to get those characteristics that make a Basquiat. His signature style seems to be structured largely around the interplay of lines, with smudges and stains of paint occasionally smearing the backdrop, as in this kind of second piece of art. But Basquiat’s painting refutes the “all over” gesturality of Pollock or the contrived messiness of de Kooning in his attempts at controlling received pictures (from culture) and his organic inclinations to doodle and evoke eclectic messages geared towards ultimately disrupting our feeling of secureness. The world that Basquiat’s superstar rose in, 1980s America, was an increasingly uncertain place. What is more, much has been discussed Basquiat’s own uncertainties as an artist and a person. He emerged of age during a time when ever America acquired still certainly not come to terms with the racist earlier, and the legend treatment that he was given in the market-driven art world of the ’80s in New york city was quite definitely as a great exoticized incomer – even though he originate from a relatively fortunate background. It was most likely the uncertainties and insecurities that Basquiat experienced head-on in both his life fantastic work that ultimately performed him in. Dead at the age of 27, the real tragedy of Basquiat’s lifestyle is that we all do now know what kind of artist he may have increased dramatically into. Looking at what is left, one seems very strongly that the thematic conflicts continuously evoked in the work has been resolved got he existed – and continued painting – just a little longer.
Bibliography
Armand, Louis. “Jean-Michel Basquiat: Identity plus the Art of (Dis)Empowerment. inch 2001.
Recovered November doze, 2007 at http://web.ff.cuni.cz/~lazarus/basquiat.html.
Basquiat, Jean-Michel. Untitled. 1981. Gathered November doze, 2007 in http://eu.art.com/asp/sp-asp/_/Aff-CONF/CTID-682692304/RFID-978325/TKID-15041968/pd – 10112338/posters. htm.
Basquiat, Jean-Michel. Untitled. 81. Retrieved The fall of 12, 3 years ago at http://www.ihmadrid.com/comunicativo/mini_galeria/images/basquiat-untitled_1981_jpg.jpg.
Seed, Steve. “Recollections of JMB. ” Retrieved November 12, 3 years ago at http://www.johnseed.com/basquiat.html.
See John Armand, “Jean-Michel Basquiat: Personality and the Artwork of (Dis)Empowerment. “
Observe John Seeds, “Recollections of JMB. “
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