Basquiat
Basquiat
Dance performance "por las venas de Basquiat"
Dancer&Choreographer ------------------------------------- Bebeto Cidra
LiveMusic ------------------------------------------------------------ Martin Hug
Video-------------------------------------------------------------- David Labiano
Barcelona (Game B), Madrid (La casa encendida) 2002-2004
Basquiat from rotok on Vime6o.
Por las venas de Basquiat from rotok on Vimeo.
Cia. BEBETO CIDRA
"Por las Venas de Basquiat"
Basada en la corta vida del artista plástico Jean Michel Basquiat, la performance pretende explorar las fronteras entre el gesto y la pintura, entre la creación y la vida, entre lo visible e invisible.
Mediante un juego escénico que parte del lenguaje de la danza, la obra de Bebeto Cidra se inspira en la energía creadora del emblemático artista del la era de los mass media Jean Michel Basquiat. El discurso filosófico se basa en el pulsación interior del creador: la visibilidad e invisibilidad de energías. "Per les Venes de Basquiat" toma como punto de partida el impulso creativo del artista neoyorquino Jean -Michel Basquiat (1960-1988). Señalado por el New York Times como "el equivalente más cercano de James Dean en el mundo del arte" Basquiat pasa a ser a los 19, en pocos menos de un año, de un artista callejero a un creador de fama internacional. Pero esto no pudo cambiar su ansiedad de autodestrucción, la soledad y la creencia de que la gente, en el fondo, no lo acepta. La adicción a sustancias como la heroína, y la cocaína, reforzaron que viviera, todavía mas, a caballo ente la euforia y la paranoia.
Memoloops Basquiat powered by David Labiano 2010
Mediante un juego escénico que parte del lenguaje de la danza, la obra de Bebeto Cidra se inspira en la energía creadora del emblemático artista del la era de los mass media Jean Michel Basquiat. El discurso filosófico se basa en el pulsación interior del creador: la visibilidad e invisibilidad de energías. "Per les Venes de Basquiat" toma como punto de partida el impulso creativo del artista neoyorquino Jean -Michel Basquiat (1960-1988). Señalado por el New York Times como "el equivalente más cercano de James Dean en el mundo del arte" Basquiat pasa a ser a los 19, en pocos menos de un año, de un artista callejero a un creador de fama internacional. Pero esto no pudo cambiar su ansiedad de autodestrucción, la soledad y la creencia de que la gente, en el fondo, no lo acepta. La adicción a sustancias como la heroína, y la cocaína, reforzaron que viviera, todavía mas, a caballo ente la euforia y la paranoia.
Memoloops Basquiat powered by David Labiano 2010
About Jean-Michel Basquiat
Live
Artistic activities
Jean-Michel Basquiat (December 22, 1960 – August 12, 1988) was an American artist and the first painter of African descent to become an international art star.He gained popularity first as a graffiti artist in New York City, and then as a successful 1980s-era Neo-expressionist artist.
Basquiat's paintings continue to influence modern-day artists and sell for high prices. Basquiat was born in Brooklyn, New York. His mother, Matilde, was Puerto Rican and his father, Gerard Basquiat, is an accountant of Haitian origin. Because of his parents' nationalities, Basquiat was fluent in French, Spanish, and English from an early age. He read in these languages, including Symbolist poetry, mythology, and history. At an early age, Basquiat displayed an aptitude for art and was encouraged by his mother to draw, paint and to participate in other art-related activities. In 1977, when he was 17, Basquiat and his friend Al Diaz started spray-painting graffiti art on buildings in lower Manhattan, adding the infamous signature of "SAMO" (i.e., "same old shit") see: SAMO© Graffiti entry. The graphics were pithy messages such as "Plush safe he think.. SAMO" and "SAMO as an escape clause". In December 1978, the Village Voice published an article about the writings. The SAMO project ended with the epitaph "SAMO IS DEAD" written on the walls of SoHo buildings. Unlike the average graffiti artist, Jean-Michel Basquiat came to personify the art scene of the 80's, with its merging of youth culture, money, hype, excess, and self-destruction. And then there was the work, which the public image tended to overshadow: paintings and drawings that conjured up marginal urban black culture and black history, as well as the artist's own conflicted sense of identity. Basquiat's ploy was to write anti-materialism messages in plain view of some of the worst materialists around. This was not only a key to his rise to fame, but a stunning reflection of the tendency of the bourgeoisie to co-opt cultural opposition.
Basquiat attended Edward R. Murrow High School and City as a School in New York. In 1978, Basquiat dropped out of high school and left home, a year before graduating. He moved into the city and lived with friends, surviving by selling T-shirts and postcards on the street, and working in the Unique Clothing Warehouse on Broadway. By 1979, however, Basquiat had gained a certain celebrity status amidst the thriving art scene of Manhattan's East Village through his regular appearances on Glenn O'Brien's live public-access cable show, TV Party. In the late 1970s, Basquiat formed a band called Gray (the name being a reference to the book Gray's Anatomy), with Shannon Dawson, Michael Holman, Nick Taylor & Wayne Clifford. Gray played at clubs such as Max's Kansas City, CBGB, Hurrahs, and the Mudd Club. Basquiat worked in a film Downtown 81 (a.k.a New York Beat) which featured some of Gray's rare recordings on its soundtrack.He also appeared in Blondie's video "Rapture" as a replacement for DJ Grandmaster Flash when he was a no-show.
Basquiat first started to gain recognition as an artist in June 1980, when he participated in The Times Square Show, a multi-artist exhibition, sponsored by Collaborative Projects Incorporated (Colab) and Fashion Moda. In 1981, poet, art critic and cultural provocateur Rene Ricard published "The Radiant Child" in Artforum magazine, helping to launch Basquiat's career to an international stage. During the next few years, he continued exhibiting his works around New York as well as internationally (alongside other street artists) now in the galleries such as Now Gallery, later promoted by Bruno Bischofberger and other gallery owners and dealers. He later showed at the galleries of Larry Gagosian and Mary Boone. By 1982, Basquiat was showing regularly, and alongside Julian Schnabel, David Salle, Francesco Clemente and Enzo Cucchi, became part of what was called the Neo-expressionist movement. He started dating an aspiring and then-unknown performer named Madonna in the fall of 1982. That same year, Basquiat met Andy Warhol, with whom he collaborated extensively in 1984-1986, forging a close, if strained, friendship. He was also briefly involved with artist David Bowes. Since he had an enormous appetite for drugs, expensive clothing, fancy restaurants and first-class travel, this meant that he was tempted to work around the clock. Stoked by cocaine and marijuana, he'd often paint 18 hours in a row and then use heroin to get to sleep. When he awoke, he'd start off where he left off. As a modern-day equivalent of the Nibelungen, Basquiat labored away in the windowless basement of an upscale gallery run by an Italian woman named Annina Nosei who saw herself as an "ex-hippie". Basquiat worked on his paintings in Armani suits and often appeared in public in these same paint-splattered $1000 suits--a testament to his affinity for both mammon and bohemia.
By 1984, many of Basquiat's friends were concerned about his excessive drug use and
increasingly erratic behavior, including signs of paranoia. Basquiat had developed a very serious cocaine and heroin habit by this point, which started from his early years living among the junkies and street artists in New York's underground. Basquiat's paranoia was also fueled by the very real threat of people stealing work from his apartment and of art dealers taking unfinished work from his studio. Basquiat, as artist and icon, was eagerly embraced by the "postal" academic establishment who saw his graffiti as a form of Derridean 'ecriture'. His work was often grouped with Barbara Kruger, whose trademarked neon works including slogans like "I shop therefore I am" often appeared on the walls of the same upscale residences as
Basquiat's. On February 10, 1985, Basquiat appeared on the cover of The New York Times Magazine in a feature entitled "New Art, New Money: The Marketing of an American Artist". As Basquiat's international success heightened, his works were shown in solo exhibitions across Europe and the USA. Andy Warhol's death in 1987 was very distressing for Basquiat, and it is speculated by Phoebe Hoban, in her 1998 biography about the artist, that Warhol's death was a turning point for Basquiat, and that afterward his drug addiction and depression began to spiral.
Basquiat died accidentally of mixed-drug toxicity (he had been combining cocaine and heroin, often using cocaine to stay up all night painting and then using heroin in the morning to fall asleep) at his 57 Great Jones Street loft/studio in 1988, several days before what would have been Basquiat's second trip to the Côte d'Ivoire. He was just 27 years old.
Basquiat's paintings continue to influence modern-day artists and sell for high prices. Basquiat was born in Brooklyn, New York. His mother, Matilde, was Puerto Rican and his father, Gerard Basquiat, is an accountant of Haitian origin. Because of his parents' nationalities, Basquiat was fluent in French, Spanish, and English from an early age. He read in these languages, including Symbolist poetry, mythology, and history. At an early age, Basquiat displayed an aptitude for art and was encouraged by his mother to draw, paint and to participate in other art-related activities. In 1977, when he was 17, Basquiat and his friend Al Diaz started spray-painting graffiti art on buildings in lower Manhattan, adding the infamous signature of "SAMO" (i.e., "same old shit") see: SAMO© Graffiti entry. The graphics were pithy messages such as "Plush safe he think.. SAMO" and "SAMO as an escape clause". In December 1978, the Village Voice published an article about the writings. The SAMO project ended with the epitaph "SAMO IS DEAD" written on the walls of SoHo buildings. Unlike the average graffiti artist, Jean-Michel Basquiat came to personify the art scene of the 80's, with its merging of youth culture, money, hype, excess, and self-destruction. And then there was the work, which the public image tended to overshadow: paintings and drawings that conjured up marginal urban black culture and black history, as well as the artist's own conflicted sense of identity. Basquiat's ploy was to write anti-materialism messages in plain view of some of the worst materialists around. This was not only a key to his rise to fame, but a stunning reflection of the tendency of the bourgeoisie to co-opt cultural opposition.
Basquiat first started to gain recognition as an artist in June 1980, when he participated in The Times Square Show, a multi-artist exhibition, sponsored by Collaborative Projects Incorporated (Colab) and Fashion Moda. In 1981, poet, art critic and cultural provocateur Rene Ricard published "The Radiant Child" in Artforum magazine, helping to launch Basquiat's career to an international stage. During the next few years, he continued exhibiting his works around New York as well as internationally (alongside other street artists) now in the galleries such as Now Gallery, later promoted by Bruno Bischofberger and other gallery owners and dealers. He later showed at the galleries of Larry Gagosian and Mary Boone. By 1982, Basquiat was showing regularly, and alongside Julian Schnabel, David Salle, Francesco Clemente and Enzo Cucchi, became part of what was called the Neo-expressionist movement. He started dating an aspiring and then-unknown performer named Madonna in the fall of 1982. That same year, Basquiat met Andy Warhol, with whom he collaborated extensively in 1984-1986, forging a close, if strained, friendship. He was also briefly involved with artist David Bowes. Since he had an enormous appetite for drugs, expensive clothing, fancy restaurants and first-class travel, this meant that he was tempted to work around the clock. Stoked by cocaine and marijuana, he'd often paint 18 hours in a row and then use heroin to get to sleep. When he awoke, he'd start off where he left off. As a modern-day equivalent of the Nibelungen, Basquiat labored away in the windowless basement of an upscale gallery run by an Italian woman named Annina Nosei who saw herself as an "ex-hippie". Basquiat worked on his paintings in Armani suits and often appeared in public in these same paint-splattered $1000 suits--a testament to his affinity for both mammon and bohemia.
By 1984, many of Basquiat's friends were concerned about his excessive drug use and
increasingly erratic behavior, including signs of paranoia. Basquiat had developed a very serious cocaine and heroin habit by this point, which started from his early years living among the junkies and street artists in New York's underground. Basquiat's paranoia was also fueled by the very real threat of people stealing work from his apartment and of art dealers taking unfinished work from his studio. Basquiat, as artist and icon, was eagerly embraced by the "postal" academic establishment who saw his graffiti as a form of Derridean 'ecriture'. His work was often grouped with Barbara Kruger, whose trademarked neon works including slogans like "I shop therefore I am" often appeared on the walls of the same upscale residences as
Basquiat's. On February 10, 1985, Basquiat appeared on the cover of The New York Times Magazine in a feature entitled "New Art, New Money: The Marketing of an American Artist". As Basquiat's international success heightened, his works were shown in solo exhibitions across Europe and the USA. Andy Warhol's death in 1987 was very distressing for Basquiat, and it is speculated by Phoebe Hoban, in her 1998 biography about the artist, that Warhol's death was a turning point for Basquiat, and that afterward his drug addiction and depression began to spiral.
Basquiat died accidentally of mixed-drug toxicity (he had been combining cocaine and heroin, often using cocaine to stay up all night painting and then using heroin in the morning to fall asleep) at his 57 Great Jones Street loft/studio in 1988, several days before what would have been Basquiat's second trip to the Côte d'Ivoire. He was just 27 years old.
Basquiat's painting during the 1980s is properly seen in the context of the painterly neo-expressionist movement popular in New York and Europe at the time. But his earliest work (before he had the money for canvas and paint), his continued use of words in the paintings, and his common themes of racism and identity also align him with other trends of the period. Basquiat was always in possession of a great expressive line, but the quality and consistency of his individual paintings vary widely.
Before his career as a painter started, he produced punk-inspired postcards for sale on the street, and become known for the political–poetical graffiti under the name of SAMO. On oneoccasion Basquiat painted his girlfriend's dress, with the words, a "Little Shit Brown". Basquiat's career as an exhibiting artist is known for his three broad, though overlapping styles.
In the earliest period, from 1980 to late 1982, Basquiat used painterly gestures on canvas, often depicting skeletal figures and mask-like faces that expressed his obsession with mortality. Other frequently depicted imagery such as automobiles, buildings, police, children's sidewalk games, and graffiti came from his experience painting on the city streets. Many critics[who?] say Basquiat created most of his best work around 1982. The untitled head ("untitled (skull)," 1981) illustrated above is a typical example.
A middle period from late 1982 to 1985 featured multi-panel paintings and individual canvases with exposed stretcher bars, the surface dense with writing, collage and seemingly unrelated imagery. These works reveal a strong interest in Basquiat's black identity and his identification with historical and contemporary black figures and events. Some of these works achieve a great physicality, and his early interest in Rauschenberg again becomes apparent; "Grillo" (1984) is a good example. 1984-85 was also the main period of the flatter Basquiat–Warhol collaborations.
The collaborative paintings received a poor critical reception but are iconographically complexand the process of painting together influenced each other's later work.
The final period, from about 1986 to Basquiat's death in 1988, displays a new type of figurativen depiction, often on a plain painted background. It may be influenced both by Warhol and by Basquiat's increasing drug use; "Riding with Death" (1988) is a good example of this style.
Some symbols and content from new sources appear in this period, but he also re-used manyphrases and motifs from his earlier work, in a starker setting.
A major reference source used by Basquiat throughout his career was the book Gray's
Anatomy, Leonardo Da Vinci's notebooks, and Brentjes African Rock Art. Equally
important as input into his paintings was Jazz music of the 1940s, history and travel books, andTV cartoons and anything else that happened to be on TV while he was painting. The bestdiscussions of his multiple sources are Richard Marshall "Repelling Ghosts" in his larger work,and Marc Mayer "Basquiat in History" in his, but the definitive study remains to be done. which he was given in hospital as a child. It remained influential in his depictions of internal human anatomy, and in its mixture of image and text. Other major sources were Dreyfuss' Symbol Sourcebook. from http://en.wikipedia.org/wiki/Jean-Michel_Basquiat (2009)
Before his career as a painter started, he produced punk-inspired postcards for sale on the street, and become known for the political–poetical graffiti under the name of SAMO. On oneoccasion Basquiat painted his girlfriend's dress, with the words, a "Little Shit Brown". Basquiat's career as an exhibiting artist is known for his three broad, though overlapping styles.
In the earliest period, from 1980 to late 1982, Basquiat used painterly gestures on canvas, often depicting skeletal figures and mask-like faces that expressed his obsession with mortality. Other frequently depicted imagery such as automobiles, buildings, police, children's sidewalk games, and graffiti came from his experience painting on the city streets. Many critics[who?] say Basquiat created most of his best work around 1982. The untitled head ("untitled (skull)," 1981) illustrated above is a typical example.
A middle period from late 1982 to 1985 featured multi-panel paintings and individual canvases with exposed stretcher bars, the surface dense with writing, collage and seemingly unrelated imagery. These works reveal a strong interest in Basquiat's black identity and his identification with historical and contemporary black figures and events. Some of these works achieve a great physicality, and his early interest in Rauschenberg again becomes apparent; "Grillo" (1984) is a good example. 1984-85 was also the main period of the flatter Basquiat–Warhol collaborations.
The collaborative paintings received a poor critical reception but are iconographically complexand the process of painting together influenced each other's later work.
The final period, from about 1986 to Basquiat's death in 1988, displays a new type of figurativen depiction, often on a plain painted background. It may be influenced both by Warhol and by Basquiat's increasing drug use; "Riding with Death" (1988) is a good example of this style.
Some symbols and content from new sources appear in this period, but he also re-used manyphrases and motifs from his earlier work, in a starker setting.
A major reference source used by Basquiat throughout his career was the book Gray's
Anatomy, Leonardo Da Vinci's notebooks, and Brentjes African Rock Art. Equally
important as input into his paintings was Jazz music of the 1940s, history and travel books, andTV cartoons and anything else that happened to be on TV while he was painting. The bestdiscussions of his multiple sources are Richard Marshall "Repelling Ghosts" in his larger work,and Marc Mayer "Basquiat in History" in his, but the definitive study remains to be done. which he was given in hospital as a child. It remained influential in his depictions of internal human anatomy, and in its mixture of image and text. Other major sources were Dreyfuss' Symbol Sourcebook. from http://en.wikipedia.org/wiki/Jean-Michel_Basquiat (2009)
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