Jean-Michel Basquiat (1960-1988) - Untitled (Tyrany)...

Giclée (*) Impression of Jean-Michel Basquiat (**) High-quality reproduction of the work “Untitled (Tyrany)” created by Basquiat in 1982. Luxury edition on Monte Carlo high-grade watercolor paper (300 g/m2) Print authorized by Artestar New York. Copyright of the Estate of Jean-Michel Basquiat. Includes Certificate of Authenticity (COA). Specifications: - Support dimensions: 40 x 33 cm - Ink blot dimensions: 30 x 23 cm - Condition: Excellent (this work has never been framed or exhibited, and has always been kept in a professional art folder, therefore offered in perfect condition). The artwork will be carefully handled and packed in a reinforced flat cardboard box. Shipping will be tracked with a certified tracking number, carried out by the leading transport companies (UPS / DPD / DHL / FedEx). The shipment will also include full insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer. (*) Giclée is a term that refers to a type of high-quality fine art printing, digitally created with inkjet printers. This process uses pigment-based inks and specialized papers to achieve great sharpness, color accuracy, and durability, ideal for art reproductions and photographs. (**) Jean-Michel Basquiat was the first of the three children of Matilde Andrades and Gerard Basquiat. His father was a Haitian accountant of respectable financial solvency and his mother a Puerto Rican graphic designer of great renown in her profession. Jean-Michel grew up in a fractured family environment, his parents divorced, and because of this he had to change schools many times. He studied at a private Catholic school, then at a public school and finally, at 16, he enrolled in City-As-School, a school for gifted teenagers, from which he was expelled, for rebelliousness, a year before graduating. As a youth he came into contact with the urban subculture of the big city, linked to drug use and street gangs. In 1977, together with Al Díaz, he entered the graffiti world, painting on subway cars and in the SoHo streets, the New York neighborhood where art galleries proliferate. The following year he left school a year before graduating high school and left home to live for two years on the streets, in abandoned buildings or with his friends in Lower Manhattan, surviving by selling postcards and T-shirts that he himself decorated. He continued with graffiti; his writings and tags carried poetic and philosophical weight, but above all satirical. The pseudonym of his alter ego shared with Al Díaz was SAMO (short for “Same Old Shit,” i.e., “the same old crap”), with which they signed their tags and graffiti with cryptic messages. The use of this name was decisive in his life. These murals carried inscriptions like “SAMO saves idiots” or “SAMO puts an end to religious brainwashing, the politics of nothing, and false philosophy.” An article about SAMO’s street-writing published in The Village Voice was the first hint that the art world was taking an interest in him. The artist had several relationships that influenced his work; one of the most significant was with artist Andy Warhol. Similarly, romantically, he was involved with several women; one of the best known today was Madonna. Lower Manhattan was the area where they lived at that time; in 1982 they began spending more time together and going to parties in galleries. A subject that united them: she says in an interview, “I was a big fan of Miles Davis and Charlie Parker.” In 1988, exhibitions were installed in Paris and New York, and in April of that same year he attempted to leave his addictions and retreated to his home in Hawaii. He returned to New York in June, announcing that he had freed himself from his addictions, but on August 12, 1988, at 27 years old, he died of a heroin overdose, becoming the most successful visual artist in the history of Afro-descendant art. He is buried in Green-Wood Cemetery in Brooklyn. Throughout his short but intense artistic career he would hold more than 40 solo exhibitions and participate in around 100 group exhibitions. Self-promotion and advertising appeal were priorities for Basquiat, as they had previously been for Andy Warhol or Julian Schnabel. Neo-expressionism came to prevail over appropriation, partly thanks to the strong economic climate that raised art prices, especially painting, to high levels, and partly due to the support of gallery owners and collectors. However, critical reception was not unanimous in its valuation, and it was common to denounce the lack of theoretical grounding in neo-expressionist discourse. It was claimed that the art practiced by neo-expressionists lacked any political or social meaning, it was just merchandise and, therefore, subject to the fluctuations of the market. Neo-expressionist painting was reduced to a consumer product and, as such, a creatively disqualified and vulgar act.

Estimate:£125.92

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