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| | PUBLISHER
ChartaBOOK FORMAT
Hardcover, 9.5 x 12 in. / 248 pgs / 146 color / 14 bw. PUBLISHING STATUS
Pub Date 2/1/2007
Out of print DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2007 p. 117 PRODUCT DETAILS
ISBN 9788881586257 TRADE
List Price: $70.00 CDN $85.00 AVAILABILITY
Not available | TERRITORY
NA LA ASIA AU/NZ AFR ME | | THE FALL 2023 ARTBOOK | D.A.P. CATALOG  | | Preview our Fall 2023 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture. |
| | | CHARTAJean-Michel Basquiat: 1981, the Studio of the StreetIntroduction by Jeffrey Deitch. Interviews with Fred "Fab 5 Freddy" Brathwaite, Arto Lindsay, Annina Nosei, Diego Cortez, Glenn O'Brien, Text by Suzanne Mallouk, Gerard Basquiat, Michael Holman. Chronology by Franklin Sirmans.
In 1981 Jean-Michel Basquiat made the momentous transition from the street to the studio. He had attracted considerable attention with his Times Square Show the summer before, and reinforced that nascent notoriety with a wall of phenomenal works in Diego Cortez's New York/New Wave at P.S. 1, which opened the following winter. A few months later, the dealer Annina Nosei offered Basquiat an independent space in which to prepare work for her September group show, Public Address. He was only 20. Between the world of spray-painted poetry and what critic Peter Schjeldahl called "New York big-painting aesthetics" lies a fantastic coming-of-age: Jean-Michel Basquiat: 1981: The Studio of the Street includes paintings and drawings on everything from note cards to sheet metal to a leather jacket and conventional canvas. In them, as throughout his career, Basquiat married an exuberant spontaneity and art-brut sensibility with a firm command of not only art materials but art history. He would go on to define the 80s Neo-Expressionist idiom, and to remain its most compelling representative. The Studio of the Street examines this charged point of contact in works that show the artist's progression from text to text-and-image, from found materials to traditional canvasses, and from pure drawing to his uniquely evocative hybrid of drawing and painting.
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FORMAT: Hardcover, 9.5 x 12 in. / 248 pgs / 146 color / 14 b&w.
LIST PRICE: U.S. $70.00
LIST PRICE: CANADA $85
ISBN: 9788881586257
PUBLISHER: Charta
AVAILABLE: 2/1/2007
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
TERRITORY: NA LA ASIA AU/NZ AFR ME | D.A.P. CATALOG: SPRING 2007 Page 117 | PRESS INQUIRIES
Tel: (212) 627-1999 ext 217
Fax: (212) 627-9484
Email Press Inquiries: publicity@dapinc.com | TRADE RESALE ORDERS
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Tel: (212) 627-1999
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| Jean-Michel Basquiat: 1981, the Studio of the Street Published by Charta.
Introduction by Jeffrey Deitch. Interviews with Fred "Fab 5 Freddy" Brathwaite, Arto Lindsay, Annina Nosei, Diego Cortez, Glenn O'Brien, Text by Suzanne Mallouk, Gerard Basquiat, Michael Holman. Chronology by Franklin Sirmans. In 1981 Jean-Michel Basquiat made the momentous transition from the street to the studio. He had attracted considerable attention with his Times Square Show the summer before, and reinforced that nascent notoriety with a wall of phenomenal works in Diego Cortez's New York/New Wave at P.S. 1, which opened the following winter. A few months later, the dealer Annina Nosei offered Basquiat an independent space in which to prepare work for her September group show, Public Address. He was only 20. Between the world of spray-painted poetry and what critic Peter Schjeldahl called "New York big-painting aesthetics" lies a fantastic coming-of-age: Jean-Michel Basquiat: 1981: The Studio of the Street includes paintings and drawings on everything from note cards to sheet metal to a leather jacket and conventional canvas. In them, as throughout his career, Basquiat married an exuberant spontaneity and art-brut sensibility with a firm command of not only art materials but art history. He would go on to define the 80s Neo-Expressionist idiom, and to remain its most compelling representative. The Studio of the Street examines this charged point of contact in works that show the artist's progression from text to text-and-image, from found materials to traditional canvasses, and from pure drawing to his uniquely evocative hybrid of drawing and painting.
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