BOOK FORMAT Hardcover, 10.5 x 12.25 in. / 208 pgs / 103 color.
PUBLISHING STATUS Pub Date 11/22/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2016 p. 16
PRODUCT DETAILS ISBN 9783775741842TRADE List Price: $60.00 CDN $79.00
AVAILABILITY Out of stock
TERRITORY NA LA
He was a writer of codes and ciphers and cryptograms and x-ray reports engaged in ceremonial
rite-ing and the righting of various racially determined wrongs through his low-down-and-dirty
blues undertones, chromatic breaks, and mock-classical choruses. A radical actor upon the
murder scene of a thrown-away kulcha resurrecting itself with moxie and funny money, an artful
dodger of a post-disaster suddenly awash in junk-bond nouveau riche traders and seductively predatory
gallerists.
Language in the art of Jean-Michel Basquiat, from graffiti to word as motif
In the wild New York of the 1980s, Jean-Michel Basquiat was the first African-American artist to receive art-world attention. The complexity and trailblazing innovative power of his paintings has been widely discussed, but this book focuses on the treatment of language in Basquiat’s ouevre. With its complex structures, spontaneous rhythms and sampled, collage-like manifestations, his work was drawn into the orbit of the Beat Generation poets and the protagonists of the musical avant-garde. The multitalented Basquiat created a shimmering, syncopated fabric of images and text, which the American curator and critic Robert Storr aptly called “eye rap.” It was with this unpretentious and spontaneous way of working that Basquiat rewrote art history.
Jean-Michel Basquiat (1960-1988) grew up in Brooklyn. His first notoriety came when he was making street paintings under the tag SAMO. Later he stormed the gallery world, and became an icon of New York's vibrant early-80s downtown scene, a friend to and collaborator with Andy Warhol and Francesco Clemente, and the cover boy for a 1985 New York Times Magazine story on the new art market. His death following a heroin overdose at 27 did not by any means decrease interest in his work, which was recently the subject of a retrospective at the Brooklyn Museum, New York.
Featured image is reproduced from Jean-Michel Basquiat: Words Are All We Have.
PRAISE AND REVIEWS
do not post, mistake
Do not post
Observer
Ryan Steadman
A dazzling collection of major works.... his work never lost its reckless disregard for the border that seems to separate art and writing.
Crave
Miss Rosen
A profound and prophetic study of the artist as philosopher, painter, and poet.
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
"A poet, a scribbler, a scrawler was he. A salvager of verbal resources and an intertextual sorcerer. A bruja, a badass witchy-man wiith crayon-stick and xerox machines with had his tricks and poultices, his incantations and his shrines, his potions, haints and elixirs, his free-verse block printing and his mojo handwriting on the walls." Moses and the Egyptians (1982) and this excerpt from Greg Tate's essay are reproduced from Jean-Michel Basquiat: Words Are All We Have, a Black History Month staff favorite featuring numerous papers of different sizes, rich texts, a gorgeous plate section, a wealth of documentary photographs and portraits, details of the paintings themselves, and more. continue to blog
FORMAT: Hbk, 10.5 x 12.25 in. / 208 pgs / 103 color. LIST PRICE: U.S. $60.00 LIST PRICE: CANADA $79 ISBN: 9783775741842 PUBLISHER: Hatje Cantz AVAILABLE: 11/22/2016 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: NA LA
Published by Hatje Cantz. Edited with text by Dieter Buchhart.
Language in the art of Jean-Michel Basquiat, from graffiti to word as motif
In the wild New York of the 1980s, Jean-Michel Basquiat was the first African-American artist to receive art-world attention. The complexity and trailblazing innovative power of his paintings has been widely discussed, but this book focuses on the treatment of language in Basquiat’s ouevre. With its complex structures, spontaneous rhythms and sampled, collage-like manifestations, his work was drawn into the orbit of the Beat Generation poets and the protagonists of the musical avant-garde. The multitalented Basquiat created a shimmering, syncopated fabric of images and text, which the American curator and critic Robert Storr aptly called “eye rap.” It was with this unpretentious and spontaneous way of working that Basquiat rewrote art history.
Jean-Michel Basquiat (1960-1988) grew up in Brooklyn. His first notoriety came when he was making street paintings under the tag SAMO. Later he stormed the gallery world, and became an icon of New York's vibrant early-80s downtown scene, a friend to and collaborator with Andy Warhol and Francesco Clemente, and the cover boy for a 1985 New York Times Magazine story on the new art market. His death following a heroin overdose at 27 did not by any means decrease interest in his work, which was recently the subject of a retrospective at the Brooklyn Museum, New York.
