JeanMichelBasquiat:AnAnalysisofNinePaintings

ByMichaelDragovic
ThispaperwaswrittenforHistory397:History,Memory,Representation.The coursewastaughtbyProfessorAkikoTakenakainWinter2009. JeanMichelBasquiatsincendiarycareerandrisetofameduringthe1980s wasunprecedentedintheworldofart.Evenmoreexceptional,heistheonlyblack paintertohaveachievedsuchmysticcelebritystatus.Theformergraffitisprayer whoseartisinextricablefromthebackdropofNewYorkCitystreetspenetratedthe globalartscenewithunparalleledquickness.Hisworkarrestedtheattentionofbig shotartdealerssuchasBrunoBischofberger,MaryBoone,andAninaNosei,while captivatingavastaudiencerangingfromvagabondstohighsociety.Hispaintings areoftencomparedtoprimitivetribaldrawingsandtokindergartenscribbles,but thesecomparisonsaremeanttounderscoretheworksrawinnocenceandtoneof authenticityakintotheprimitivismofHenriMatisse,PabloPicasso,CyTwomblyor, perhaps,eventhatoftheinfantmind.Bethatasitmay,thereisnothingjuvenile aboutthecommunicativepowerofBasquiatswork.Hispaintingsdepictthe physicalandtheabstracttoexpressthemesasvariedasdrugabuse,bigotry,jazz, capitalism,andmortality.Whatseemtobethemostpervasivethroughouthis paintingsarethemesofracialandsocioeconomicinequalityandthedegradationof lifethataccompaniesthis.AfterexaminingseveralkeypaintingsfromBasquiats briefbutillustriouscareer,theemphasisonspecificvisualandtextualimagery withinandamongthesepaintingscoalescesasamarkedandoftenscathing socialcommentary.ThereisanimmediatemessageineachofBasquiatspaintings despite(orperhapsbecauseof)theirseeminglyspontaneous,aleatorycomposition. 1

PlacingJeanMichelBasquiatsworkwithinitssocialcontext,thepaintingsprovidea lensthroughwhichtoviewurbanbeautyanddecay,andthesocialinjusticesthat lurkwithin. ThefollowinganalysisseekstodiscussnineofBasquiatspaintingsingroups

ofthree,organizedbasedontheworksinterrelatednessandtheirconnectionsin themesandimagery.ThefirstgroupincludesthepaintingsUntitled,JimCrowand UndiscoveredGeniusoftheMississippiDelta.Thesepaintingsdepictraciallycharged themesandportrayparallelimagerytounderscorethesethemes.Thesecondgroup containsPerCapita,ZydecoandEyeAfrica.Theseworksexpressthemesof capitalism,economicinequality,andexploitation.Thethirdandfinalgroupcovers perhapsthemostchillingandabstractpaintingsofBasquiatsrepertoire:K,La ColombaI,andRidingWithDeath.Theseworksseemtograpplewithspiritualor existentialissuesinmodernurbansocietywithimagerythatsuggeststhatthese issuesarerootedinethnicorracialdistress.Theseparticularpaintingsmayoffer someinsightintoBasquiatstragicallybriefandtroubledlife.Allofthesepaintings depictawidevarietyoftextandimage,ofthemeandmeaning.Therearealso parallelismsintheircomposition,includingcolorscheme,technique,charactersand subjectsthatpresentcommonformsamongtheworks.Thiscompilationofartwork mayrevealaspiritualdespairthatrespondsto1980sAmericancultureand consumerisminmuchthesamewaythatthesilkscreensofAndyWarholdo. However,theracialundercurrentsandpointedsarcasminBasquiatsworkssetthis youngartistonadifferentparadigmthanhisneoexpressionistoravantgarde contemporaries.

WhatisimmediatelystrikingaboutUntitled(Fig.1)isitsstarkand

minimalistdesign.Paintedalmostentirelyinthreeblandcolors:black,white,and darkblue,themoodisoneofgloom.Thepaintingdepictsaprisonerflankedbytwo uniformedmen,presumablypoliceofficers,asthehatsandthestarbadgeassert. Thecontrastbetweentheprisonerandtheofficersisdirect:theprisonerisblack; theofficersarewhite,thustheracialovertonesareclear.Facelesswhitecopshave arrestedandimprisonedablackman.Also,onenoticeswhatappearstobeahalo abovetheprisonershead.Thehalo,areferencetoChristianiconographyandItalian Renaissanceart,isacommonsymbolinBasquiatsworks,onehegenerallyreserved fortheportrayalofblackcharacters,andthissymbolsignifiesthemartyredstatusof theprisoner.Additionally,thewordLOANSisvisibleinthebackground,scrawledon whatappearstobearectangularminimalistrepresentationofacitybuilding.This likelyreferstotheloanofficesthatarecommonlyfoundnearcitypolicestations, wherequickbailmoneycanbeborrowed.TheLOANSsignactsasanenvironmental marker,areferencepointmeanttoindicatethephysicalorgeographicalcontextof thescene,inthiscaseadistinctlyurbanenvironment.ItisnotunlikelythatBasquiat witnessedsuchasceneinNewYorkduringhislifetime,anditisknownthathewas nostrangertodiscriminationandracialprofilinghimself,havingfrequently complainedaboutbeingunabletohailataxicabinNewYorkonaccountofhisrace. ItisapparentthatUntitledisanexhibitionofpolicediscriminationandthe mistreatmentofblackindividualsinthecity,andthisexhibitionismiscommonin Basquiatsart.Alongtheselines,thelongtimedirectoroftheModernArtMuseumin Lugano,Switzerland,RudyChiappiniwritesinaforewordtoJeanMichelBasquiat,

[Basquiat]usesblackness[as]groundsfordiversityandforrebellionbyturning intospectaclethestimuliofferedbythemoderncity,usingitsspacestoshoutout theanguishandexistentialconfusionofanentiregeneration.1 JimCrow(Fig.2)offersanotherfairlyclearsocialstatement.AsinUntitled,

Basquiatincludestextualandpictorialmarkersasvisualtopographytoestablisha physical,andoftenfamiliarcontext.Itispaintedonwoodthathastheappearanceof awhitewashedwallofahouseorbarn,anaestheticcommonandfamiliarinthe AmericanDeepSouth.Listedarevariousrivers(HUDSONRIVER,OHIORIVER, THAMESRIVER,etc.)butscrawledrepeatedlyisMISSISSIPPI,andprominentlyin thecenterisablackskeletalfigurethatstandsbeneathanarchandsignlabeledJIM CROW.TheallusiontotheAmericanSouthissolidifiedbythesemultiplesymbols. Thewhitewashedwoodissignificantbecauseofitspointedeffectofregionalism, butfurthermore,itharksbacktoagraffitiartistsintent.Basquiatbeganhisart careerspraypaintinghistagSAMOonsubwaycarsandSoHobuildings2,along withbewilderinglypithysloganslikeSAMOASANANTIARTFORMandTHE WHOLELIVERYLINEBOWLIKETHISWITHTHEBIGMONEYALLCRUSHEDINTO THESEFEET3.ManyofthesetaglinesseemedtomocktheNewYorkavantgarde scene,especiallythenearlyincestuousNewYorkartworld,whichBasquiatwould ironicallyenterandconquershortlyafterhisgraffitiheyday.Moreover,muchofthis streetartlampoonedconsumercultureaswell,andthecopyrightsymbolso organicallyattachedtoSAMOislikelycommentingontheformsofownershipin
1 2

Chiappini,Rudy.Foreword.JeanMichelBasquiat.ed.RudyChiappini.Milan:Skira,2005,p.11. Kawachi,Taka.Chronology.KingforaDecade:JeanMichelBasquiat.ed.TakaKawachi.Kyoto: KorinshaPress,1997. 3 Downtown81.Dir.EdoBertoglio.1981.DVD.Maripol.WrittenbyGlennO'Brien.

publicspaces,pointingouttheridiculousnessofcorporatelogosandtheir omnipresenceinthecity. UndeniablyBasquiatsstreetartbackgroundplayedaroleinhisartistic developmentandstyle,thereforethereissomethingaboutdrawingonawallorthe sideofabuildingthatisessentialtomanyofBasquiatspaintings,includingJim Crow.InThePerennialShadowofArtinBasquiatsBriefLife,theItalianartcritic AchilleBonitoOlivawritesthat,thesegraffitiareananswer,theattempttotake backtheurbanspaceanditscodes,toselfmanagethem.Selfmanagementproceeds bycompletelyoverturningthestandardstoregainindividualcharacterand personalownership,inessence,freedom4.AccordingtoOliva,graffitimaybe viewedasrebellionagainstrulingclassownershipofthecity,itsspaces,and marketplaces.Healsoassertsthatthecontextsforgraffitiareurban;theyare theBronxes,theAmericanperiphery,phenomenacommunicatingtheAmerican urbanandmultiracialreality.Olivasclaimisvalid,especiallyinlightofthe inferredpurposeinBasquiatsgraffiti,butoneneednotlimitthisrebelliontothe urbancontext,howeverprevalentthisreferenceisinBasquiatsart.JimCrow createsaperceptibleruralimpressioninitsDeepSouthimagery,meanwhile insistingitsgraffitiaestheticbyappearingtobepaintedquicklyandaggressivelyon awallorthesideofahouse.Perhapsthegraffitiphilosophyoriginatesintheurban environment,buttheAmericanperipheryextendsbeyondthecitylimits,andthe DeepSouthcertainlyqualifiestocarrythisterm,ifonlyhistoricallyspeaking.Thisis anareapopulatedprimarilybymarginalizedcitizens,mostlyAfricanAmericans,
4

Oliva,AchilleBonito.ThePerrenialShadowofArtinBasquiatsBriefLife.JeanMichelBasquiat.ed. RudyChiappini.Milan:Skira,2005,p.1620.

whowereoppressed,bydefactodiscriminationandJimCrowlegislation,toan arguablyfarworsedegreethantheirurbancounterparts.Itisreasonabletoargue thatthispaintingseekstopointoutandoverturncertainstandards.Ifthis paintingistakentobeasubtlereferencetograffitiart,itispossibletouseOlivas precepttointerpretthisasablackreclamationoftheSouthanditsculture. UndiscoveredGeniusoftheMississippiDelta(Fig.3)sharesnumerous

characteristicswithJimCrow,mostnotablythealmostpalpablesouthernscenery. ThecontextandregionalismoftheDeepSouthpervadesinthispaintingsimilarlyto thatofJimCrow,inthattherearevarioustextualmarkersofthisregionalcontext thatarequicklynoticeable.Forinstance,weseeMARKTWAINscrawledthreetimes intheupperleftcorner,andCOTTONORIGINOFPAthescrapispurposelycutoff: whatwordisPAbeginningtospell?PAIN,perhaps?NEGROESisscrawledthree timesinanalmostidenticalmannertoMARKTWAIN,andMISSISSIPPIiswritten repeatedlyintherightlimitofthepaintingthisisindirectrelationtoJimCrow,or ratherJimCrow,havingbeenpaintedthreeyearsafterthispiece,maybedirectly referentialtothistextualmarker.Alloftheseimagesworktobuildarecognizable iconographiccontextoftheSouth. Thetitleofthepieceiswrittenbeneathwhatispresumablytheheadofan AfricanAmericanman,whichislabeledFIG23.Thistechniqueoflabelingand codifyingimagesisidiosyncraticinBasquiatswork;heoftencopiedlistsfrom scienceandanatomytextbooksandalmanacsontohispaintings,andheisknownto havebeeninspiredbyLeonardodaVincisanatomicalsketches.TheFIG23labelin thispaintingisaparodyofthisartistic,pseudoscientificidiom.ItseemsBasquiatis

ironicallyassertingascientifictruism,thatthisblackman,knownonlyasFIG23, thisundiscoveredgenius,canbefoundlistedinatextbooklikesomephenomenon ofscienceorsomemedicalcondition.Themetaphorisatoncesubtleandbold,for therepressionofgeniusinoppressedareassuchastheJimCrowSouthcanonlybe speculated,butitwouldcertainlybeasocialphenomenonandamalignantcultural condition. Anotherstrikingfeatureofthispieceisanimalandbestialimagery.Wesee theheadofacow,aratlabeledELRATON,acowsudderwithUDDERwritten underneath.ThiscouldbeviewedasyetanotherexampleofBasquiatsscientificor anatomicalsketches,butsomethingsharperandmoreironicisdevelopingwiththis imagery.Thecowisarecurringimageinthepainting,asistheUDDER,whichis crudeandalmostoffensivetooursenses.Inconjunctionwiththecowandudder, theseeminglyoutofplacePERLB.49propelstheanimalimageryintoa completelynewparadigm.ThroughthepaintingsallusionstotheSouthofMark TwainseraandtheCOTTONcontext,areferencetoslaverymaybeimplied.Before theCivilWar,slaveswereboughtandsoldlikepiecesofmeatorlivestockorany otherconsumerproductforthatmatter.ItisplausiblethatBasquiatisplayingwith thisthemeinthePERLB.49andtheanimalimagery.Thecoworlivestocktropeis reminiscentofanotherpaintingofBasquiatsentitledLoin(Fig.4),inwhichthe LOINhasbeencutfromthebacksideofablackcow,acutofmeatlikelytobesold atabutchersshopormarket.Thisisthetypeofmorosesarcasmthatvividly permeatesBasquiatspaintings,aqualitythatenricheshisartinanoften confoundingway.Basquiatsabilitytocaptureandconveyaparticularcontextual

environmentwiththecombinationoftext,imageandcolorisevidentinallthreeof thesepaintingsthatcomprisethefirstgroupofthisanalysis.Thescenerysetsthe stageforthetragedyoccurringintheforeground,whichare,inthecaseofthese threedramaticworks,theafflictionsofmarginalizedandoppressedpeoples.In JeanMichelBasquiat:TheWordandtheImage,LucianoCaprilewrites, [Basquiats]blackness,inadditiontoexplaininghisroleasanoutcastprovided himwithanextraordinarynarrativeelementtoextrapolatefromthemythsandthe ritesoforiginandput[it]ondisplay,asavisualprofanationandanexistential declaration.5Untitled,JimCrowandUndiscoveredGeniusoftheMississippiDeltaare thedisplays,fortheyillustratethemythicrealitiesofBasquiatsracialhistoryand condition. Thefollowingthreeworks,whichincludePerCapita,ZydecoandEyeAfrica containnotonlyracialimagerybutalsoreferencestocapitalismandtheAmerican marketeconomy.Dollarsigns,Latinphrases,suchasEPluribus,thatappearon Americancurrency,corporatelogosandallusionstomundaneitemsandconsumer productsworktogetherinjuxtapositiontoraciallychargedeffigies.Whatresultsis aniconographiccommentaryonwealthandthedistributionofwealth. PerCapita(Fig.5)isacollageoftextandimagewithascrawledlistofU.S. statesinalphabeticalorderwiththeirrespectivepercapitaincomes.Immediately, onenoticesthevastdisparityinincomesamongdifferentstates.Thisreference, whichonceagainexemplifiesBasquiatsalmanaclikelistingconvention,setsthe toneforthepaintingssubjectmatter,inthatsomeformofinequalityisbeing
5

Caprile,Luciano.JeanMichelBasquiat:TheWordandtheImage.JeanMichelBasquiat.ed.Rudy Chiappini.Milan:Skira,2005,p.118.

expressed,inthiscaseeconomicoropportunistic.Themaincharacterorfocalpoint istheprominentsanctifiedblackfigureintheleftcenterofthecanvasthatwears EVERLASTboxingshorts.Imagesofblackathletesareomnipresenticonsin Basquiatsworks.TheyrefertoindividualswhomBasquiatadoredandrespected, individualswhomadeuphispantheonofblackheroes.Includedinthisfrequently referencedgroupofblackathletesareMohammedAli,SugarRayRobinson,andJoe Louis,amongmanyothers.Itislikelythatthishaloedfigureisreferentialinthis commonvein.Also,itisobviousthatthesefigureswereheroestoBasquiatbecause oftheirpervasivenessinhisworksandtheiroftenmythicalorcomicbookhero portrayals,butitseemsasifthisfigureisshedinanegativelight,orbetteryet,a tragiclight,particularlyinjuxtapositionwiththeeconomicsymbols.Itmayreferto theexploitationofAfricanAmericansviathesportsandentertainmentindustry. ThisassumptionisbolsteredbyanotherpaintingbyBasquiatwithsimilarimagery andcharacterportrayaltitledSt.JoeLouisSurroundedbySnakes(Fig.6).Inthis 1982painting,ahaloedboxernotunliketheonedepictedinPerCapitais surroundedbygreedytrainersandmanagers,representedbyominousfloating faceshoveringbehindJoeLouis,whoeventuallyleftLouisfinanciallyruinedby misleadingandtakingadvantageofhisfameandfortune. ThehalothatsitsatoptheheadoftheanonymousboxerinPerCapitaalso restsonJoeLouisinSt.JoeLouisandsimilarlyontheanonymousprisonerinthe aforementionedUntitled.InChristianiconographythehalosymbolizespietyand moreimportantlyasanctifiedormartyredstatus.Onecaninferthattheseblack figuresthataresocommoninBasquiatspaintings,besidesbeingsaintsinhismind,

havemartyredthemselvesorhavebeendestroyedbecauseofthesinsofothers.In thecaseofSt.JoeLouisSurroundedbySnakesandPerCapita,thesinisgreed.In additiontodiscussingtheinherentstreetartqualityofBasquiatsart,AchilleOliva states,BasquiatintroducedintohisvisualepicsuchblackheroesasMalcolmXand CharlieParker,JesseOwensandBillieHoliday;blackheroeswhosepresenceevoked themournfulhistoryofminoritiessegregatedinghettoesandperhapsexploitedby afalsesenseofYankeepride.6Themournfulhistoryandexploitationofblack athletesismostcertainlyapronouncedimplicationinPerCapita.Someanecdotal evidencefromJustinThyme,afriendandformerbandmateofBasquiats,mayalso strengthenthisinterpretation.ThymestatesinaninterviewbyTakaKawachithat, [Basquiat]paintedmanyblacksportsheroes,butthatwasoneofhisjokes.Infact, hewasputtingdownsports.7However,thetorchthattheblackboxerwieldsinPer Capitaaddsaconfoundingfactortothisconclusion.Typically,onewouldinterpreta torchasasymbolofdefiance,victory,leadership,andlight,soBasquiatremains pointedlyambivalentastowhethertheblackathleteisaheroandguidinglight,ora mascotandtoolforothersmanipulation. Zydeco(Fig.7)isanotherimageladen,visuallystimulatingpaintingthatmay offeracommentaryonmanipulationandexploitation.Thetitlereferstothegenreof AmericanfolkmusicoriginatingfromLouisianaCreoleculture.Inthecenterpanel ofthisthreepaneledpiece,Basquiathaspaintedablackaccordionplayerthe accordionisanessentialinstrumentinmostZydecomusic.

6 7

Oliva,AchilleBonito.p.20. Kawachi,Taka.Gray+Interview.KingforaDecade:JeanMichelBasquiat.ed.TakaKawachi.Kyoto: KorinshaPress,1997,p.12.

10

Thepaintingisfullofseeminglytrivialobjects,liketheICEBOXand FREEZER,theBOXCAMERA,theMICROPHONE,andthehomageto WESTINGHOUSE.Thepickaxandwoodtropes,reinforcedbycrossedouttextPICK AXandWOOD,constructanallusiontomanuallabor,whichpervadesinasimilar mannerinEyeAfrica(Fig.8)aswell.Crossingouttextwasyetanother characteristictechniqueofBasquiats,whoasserted,Icrossoutwordssoyouwill seethemmore:thefactthattheyareobscuredmakesyouwanttoreadthem.8 Besidesdrawingtheviewersattentiontothesewordsandtheirimages,thefact thatthesewordsarecrossedoutmaysuggestthatthesetoolsformanuallaborare nolongernecessaryandnolongertherequiredemploymentforablackindividual. ThismotifworkstocommentontheblightedhistoryofAfricanAmericansinthe Southandperhapscommentonatriumphoverthatcondition,atriumphthathas materializedintheformofmusicortheprofessionalmusician.Basquiathadgreat respectforblackmusicians,especiallyjazzmusicianslikeCharlieParkerandBillie Holiday,infactJustinThymedeclares,HelovedCharlieParkerverymuch.The Zydecomusiciancouldbehomagetohisartisticheroes,butitisnotwithoutasense oftragicirony.ThecorporatelogoslikeWESTINGHOUSEandVITAPHONEintimate thatthisaccordioniststillworksforsomeoneelsesbenefit,inasimilarwaytothe JoeLouisortheblackathletepredicament.LikePerCapitaandthecrypticmessages ofSAMO,ZydecomocksanAmericansystem,thatofcorporateomnipotence,while deridingtheentertainmentandartworldaswell.Therighthandpanel,whichis seeminglyirrelevanttotheothertwopanels,beginstotakeonadeepersignificance
8

Kawachi,Taka,p.97.

11

inlightofthisinterpretation.ThereferencetotheEARLYSOUNDFILM,producedby Vitaphonespioneeringsoundondiscsystem9,alludestothesynchronizedsoundor talkingpicturefilmsoftheearly20thcentury.Thisreferencemayassumearacial andexploitativeconnotationaswell.EarlyAmericanfilmsdealtheavilywithplots inspiredbyminstrelsyandblackfaceacting,atraditionthatwasterriblyracially exaggeratedanddegrading.Infact,thefirstevertalkiewasTheJazzSinger, producedin1927,whichwasbasedonaminstrelplaytitledRobinsonCrusoe,Jr., andstarredAlJolson,thefamousblackfaceactorofthe1920sand30s10.Inthis context,oneseestheZydecoaccordionistasanexploitedblackmusician,whose musicreachesanaudienceonlyonthewingsofcorporationsandwhitefaces. EyeAfricaisafarmoredirectcommentaryonexploitation,inthisinstancein ahistoricalcontext,althoughthehistoricalcontextitselfcanbeviewedas metaphoric.Thepaintingisfairlysimpleandstraightforwardinaminimalistway,in thattherearefewcharactersorsubjectsatplay.Butthatisnottosaythepiecelacks gravityorsignificanceasaresult;itsimplicationismadeallthemoreremarkableby itssimplicity.Thereisaconspicuousinteractionoflightanddarkimagery:the backgroundisasolidblack,andtheimagesarewhite,brownorgreen.TheEYEin thelefthandlimitofthecanvasiswhite,theimageofthediamondiswhite,andon thedrawingoftheAfricancontinent,SouthAfricalabeledwithanSorperhaps allofsouthernAfrica,isoutlinedinwhite.ThisispossiblyareferencetoSouth Africasapartheidsystem,inthatlikethewhiteEYEanddiamond,theSisunder whitecontrol.Itisplausibletointerpretthispaintingasacommentonthe
9 10

http://www.uflib.ufl.edu/spec/belknap/exhibit2002/vitaphone.htm http://www.jolson.org/

12

exploitationofAfricasresourcesbyEuropeancolonialpowers,fortheEYEisinthe leftorwesternlimitofthepainting,asifitwererepresentingtheEuropean continent.RichardD.Marshall,theformercuratoroftheWhitneyMuseumof AmericanArtinNewYork,writesinJeanMichelBasquiat:SpeakinginTongues that,Basquiatiskeenlyawareofthehistoricalandcontemporarymanipulationand misuseofnaturalandhumanresourcesthatbenefitfew,andcontinuouslyleadto thesubjugationandexploitationofmany,invariablyminoritygroups.11Itis apparentthatBasquiatisdemonstratingthisawarenessinEyeAfrica.Thepainting bringstomindtheBelgianCongoofKingLeopoldandtheDutchdiamond monopoly,justacoupleofthemanyEuropeancolonialventuresthathave penetratedAfricasincethelate19thcentury. Thefocalpointofthepaintingisthebrownpickaxeinthecenterthat separatestheEYEandthediamondfromtheAfricancontinent.Thisimageis immediatelyreminiscentofthepickaxeinZydeco,andlikelysimilarlysymbolizes manuallabor.Thepickaxeispaintedbrown,incontrasttothewhiteEYEand diamond,whichdistinguishesitfromthewhitecharactersofthepiece.Historically, theAfricanpeoplewerethelaborersinEuropeanendeavors,whetheritbethe CongoleseforcedtostriprubbertreesortheSouthAfricandiamondandgold miners,thepickaxerepresentsthehardlaborofblacks.Thepickaxeisnotonly historicallysymbolicbutalsoformallysymbolic;inotherwords,itstandstalland ominousinthemiddleofthepaintinglikesomephallicstructure,constructinga plausiblerapeofAfricamotif.Thisisnotfarfetchedbecauseonenoticesthaton
11

Marshall,RichardD.JeanMichelBasquiat:SpeakinginTongues.JeanMichelBasquiat.ed.Rudy Chiappini.Milan:Skira,2005,p.58.

13

theAfricancontinentthemajorityofitispaintedgreenandbrownina topographicalorgeographicalfashion,butthesouthernregion(S)appearsvacated orchippedawayfromtherestofthecontinent,asifitwereoncefilledbutthe pickaxestrippeditofitscontentsandleftitemptyanddesolateasifthelandwere raped.Yetanotherformalorstructuralinterpretationofthepickaxeisthatitactsas abalanceorscaleforthetwohalvesofthepainting.Beneaththepointsofeither bladeoftheaxehangthewhitediamondandtheAfricancontinent.Thisestablishes asomewhatdifferentnarrativethantherape;itappearsthattheextracteddiamond hasbalancedthescaleintheperspectiveoftheEYE.PerhapstheEYEisweighing options,costsversusbenefits,whichwouldfitnicelyintotheattitudesofPerCapita, Zydeco,andofcourseSAMO.Ormaybethediamond,asamicrocosmofnatural resources,istheonethingthatputsAfricaonthemap,sotospeak,orintheeyesof theEYE,Africassignificancerestssolelyonthediamond. Thefinalthreepaintingsarefarmoredifficulttoanalyzethanthefirsttwo groups.Theydonotcontainveryapparentracialorethnicthemes,rather,theyare moreemotionallyorpsychologicallyevocative.Theyseemtocontainagreatdealof darknessandsufferingonafarmorepersonalorspirituallevel.Insomeinstances thissufferingmaybelinkedtoanethnicorracialdispositionofinadequacyor inferiority,butitalsoreflectsalifestyleunrelatedtotermsofblackandwhite,a lifestyleofselffulfilledpropheciesfulfilledalmostspitefully.Thesenextthree worksillustrateaconditionoflivingfastanddyingfaster. Basquiatisknowntohavebeenafrequentdruguser;hehabituallydid cocaineandheroin,oftenincombinationwithoneanotherintheformofspeed

14

balls.Hishabitswereapparentandwellknown.InTheAndyWarholDiaries, AndyWarhol,whowasaclosefriendandartisticcollaboratorofBasquiats,writes, JeanMichelcameinandpaintedrightontopofthebeautifulpaintingthat [Francesco]Clementedid.Therewaslotsofblankspaceonitthathecouldve paintedon,hewasjustbeingmean.AndhewasinslowmotionsoIguesshewason heroin.Hedbendovertofixhisshoelaceandhedbeinthatpositionforfive minutes.12Basquiat,despiteassurancestofriendsandfamilythathewasquitting drugsindefinitely,diedofanoverdoseofcocaineandheroinin1988attheageof 2713.Hispainting,K,(Fig.9)islikelyareferencetotheurbandrugproblem.K,or SEPARATIONOFTHEK,mayrefertoketamine(SpecialK),ormorelikelytoa kilogramasaunitofweightsandmeasuresofdrugs.Thebalanceorscaleinthe lowerleftcornerreinforcesthisinterpretation.Themostprominentimageinthe paintingisthewhite,greenandredfacialimageonthelefthandside.Wecannotbe sureofwhatitisrepresentativeof,butitlooksmorebeastlythanhuman,ormaybe itisacombinationofbothfeatures.Thisisplausibleconsideringtherepetitionof AOPKHESthroughoutthepainting,whichislikelyreferringtoancientEgyptian culture,amotifthatBasquiatfrequentlyconstructedthroughtheuseofhieroglyphic andpetroglyphicimagesinhisworks.Thered,whiteandgreenfigureinKhas petroglyphicfeaturesinitshalfmanhalfbeastassembly,likeasphinxora Minotaur.Theremayormaynotbeanysignificanceorrelationshipbetweenthis imageryandthedrugcontext,otherthanperhapsthedrugsturnmanintobeast. ThedrugcontextisreinforcedbyDISEASECULTUREandthelighteningrod
12 13

Kawachi,Taka.p.109. Kawachi,Taka.Chronology.p.168.

15

thatappearstostabtheheartofthepetroglyph.Thisjolttotheheartiseither keepingthepetroglyphaliveordestroyingit,anuncleardichotomyinthepainting; however,theimageisfrighteningandalmostmenacing,conveyingagreatamount ofpainanddistress.Thegold(ORO)anddollarsignsmayalsorelatetothedrugor DISEASECULTUREcontext.AsinPerCapita,ZydecoandEyeAfrica,monetary symbolsperpetuateaharmfulsystem;inthecontextofK,moneyperpetuatesthe DISEASECULTUREofdrugabuse.Evenso,theORO,thecrownandthedollarsigns arecommonthroughoutmanyofBasquiatspaintings,andinsomeworksthegold paintandtheOROtextdonotappeartobethematicallysignificantbutrather simplydecorativeforms.Inhisfamousmatteroffacttone,Basquiatoncesaid,I waswritinggoldonallthisstuffandImadeallthismoneyrightafterwards.14This statementmaypointtothepurposelessnessorthemisleadingnatureofthese symbols;thenagain,hewasneveronetorevealmuchabouthispaintings,sohis statementshouldalsoberegardedwithafewgrainsofsalt. LaColomba(Fig.10),likeK,conveysastrikingmoodofdespairandsuffering. Thecontrastoflightanddark,orblackandwhite,playsamajorroleinthispiece. Thismayimplyadualityofsomekindespeciallyincombinationwiththetwo headedfigurethattakesupmostofthecanvas;wewillcallthisfigurethe protagonist.Theprotagonistclearlyhastwoopposinghalves.Theleftsidedisplays theface,theexternalfeaturesofthehead,whiletherightsideappearstodepictthe insideofthehead,inotherwordstheinnerworkingsoftheprotagonistsmind.Like manyofBasquiatspaintingsofheads,thisdichotomyorcontrastbetweenthe
14

Kawachi,Taka.p.137.

16

externalortheappearanceandtheinternalisevident.Theentireleftpanelevokes pain:thefaceisstretchedandfrozeninanexpressionofterrorwithitswideeyes andgapingmouth.Also,theleftarm(fromtheviewersperspective)isincomplete andlooksasthoughithasbeenamputatedsothatonlyasmallstubremains.There areaggressivebrushstrokesandsplotchesofredpaintthathavebeenlefttodrip downthecanvas,andthisredpaintstandsoutontheamputatedarm,evocativeof blood.Allofthesecharacteristicsthatappearintheleftpanelpointtotormentand distress. Therightpanel,inadditiontoshowingtheinsideoftheprotagonistshead visibleareundulatinglinesreminiscentofveinsorneuronsandsmallclipsof montageimagesthatmayrepresentmemoriesorvisualbraindataexpressesthe othersideofthecoin.Whiletheleftpanelisdominatedbypainandtorture,the rightpanelofferssomehopetotheprotagonistssituation.Thefactthatthisside containstheworkingsofthemind,sotospeak,suggeststhattheprotagonistis calculatingandunravelinghiscondition,tryingtoarriveatsomesolution.More importantly,therightarm,thisonebeingintact,wieldsalarge,prominentwhite flag.Thisimagelikelybearsthetitleofthepainting,LaColomba,whichinItalian meansthedove.Themeaningoftheflagorthedoveisratherambiguous.Ifwe interprettheimageasawhitedove,thesymbolofpeace,therightpanelassumesa positivetone,perhapsoneofvictoryandwellbeing.Thegreenvinelikeillustration thatjuxtaposeslacolombawouldcertainlyreinforcethepositivedove interpretation,beingarguablyrepresentativeofanolivebranch,anothersymbolof peacethatistypicallyusedinconjunctionwiththedove.ThedoveorflaginLa

17

ColombabringstomindthetorchfromPerCapita.Itiswieldedinthesamefashion bytheanonymousboxerasbytheprotagonistofLaColomba.Becauseofthis similarity,theambivalenceofthesymbolismorestriking;thetorchwasthesingle positivefactorinPerCapita,representingsomekindofsavinggraceorguidinglight, butitwasovershadowedbynegativeimagery.Ifweunderstandthewhitela colombaimageasrepresentingawhiteflag,ontheotherhand,thesymbolofdefeat andcollapse,thepaintingtakesonafarmorenegative,evenfatalisticattitude.Itis difficulttoknowforcertain,becauseBasquiatoftencalculatedthisconfounding ambiguity;eventhetitlemaybemisleadingusfromthepaintingstrueidentity. DoesLaColombasymbolizeacomingtotermswiththeunknowntraumaordespair oftheprotagonist?Ordoesitdemonstrateaquitesurrendertothehopelessnessof thesituation? Althoughthemeaningremainsunclear,thedichotomyisalltooevident.The twoopposinghalvesandtheirtwoconflictingcharactersrevealtheanguishofthe protagonist.InTheDefiningYears:NotesonFiveKeyWorks,galleryownerFred Hoffmanwrites, Manyofthedualitiessuggestedinhisworkevolveoutofthe recognitionofhispredicamentasayoungblackmaninawhiteart worldIbecameacutelyawareoftheextentofBasquiatsconcernfor incorporatingthedichotomyofblackandwhiteintoboththecontent andthestrategiesofhisartisticproduction.Aprimaryexampleisthe artistsfraughtselftransformationfromblacktowhiteintheuntitled silkscreenoncanvasof1983:intheoriginalartwork,theartist depictedablackheadsetontopofagroundoftextsandimages;but thesilkscreenreversesthepositiveimageryandtexts,turning everythingoriginallyinblackintowhite,andeverythingwhiteinto black.15
15

Hoffman,Fred.TheDefiningYears:NotesonFiveKeyWorks.Basquiat.ed.MarcMayer.NewYork: MerrilPublishersLimited,2005,p.130.

18

 HoffmanisnotreferringdirectlytoLaColombainthisexcerpt,butheincludesthis referenceinhisanalysisofLaColombaassertingthatthisevaluationisreadily applicabletoitbecauseofthesuggesteddualitiesinthepainting.Onecanonlyinfer somuchabouttheartistandhispersonalmotivationforaworkscomposition,but HoffmansviewofBasquiatspredicamentisconvincing.Hoffmanalsocompares LaColombatoPabloPicassosGirlBeforeaMirror,whichdepictsasimilarmirror imagedichotomy,inPicassoscase,ofyouthandaging.ButHoffmanfailsto recognizeanotherinterestingcommonthreadbetweenLaColombaandPicasso, arguablyamoreobviousconnection;thatLaColombamayrefertoPicassosfamous DoveofPeace.Whetherintentionalorarbitrary,theallusionsareselfevident. ItseemsappropriatetoendthisanalysiswithRidingWithDeath(Fig.11), becauseitsumsupBasquiatslifestyleandphilosophyquitewell.Hediedyoungand tragicallybecauseofhisselfdestructivehabits,andwhatismostchillingaboutthis isthatitalmostseemslikeheknewhewouldmeetthisfateallalong.RidingWith DeathisoneofBasquiatslastpaintingsbeforehisdeathinAugust1988.The differencebetweenthislatepieceandthosediscussedearlierisremarkable.Itis ratheratypicalincomparisontotherestofBasquiatsrepertoire,becauseits simplicity,perhapsonlyapproachedbyEyeAfrica,isadefinitivefeature.Therather solidbackgroundandstraightforwardseparationofsubjectsorcharactersis immediatelynoticeable,butunlikeEyeAfrica,thepaintingisextremelyrefined. WhatdoesremaininatypicalBasquiatfashionisthetribalorprimitiveaesthetic. TheblackfigureridingtheskeletalDeathlooksverymuchlikeapetroglyphortribal etching,andthebrownishbackgroundcouldpassasthestonewallofacave,once 19

againharkingbacktothewhitewashedwallofJimCrowandBasquiatsgraffiti history.Thispaintingisdeeplypersonal,andIbelieveittobeaconfessionor realizationofBasquiatshabits,becauseofitsrefinedandcalculatednature,and becausehisdeathfollowedsoquicklyafteritscompletion.TheDeathskeletonhas brownandblackoilmarksinitsmouth,asifithastakenabiteoutofthemanwho rideshimandcontinuestochewonapartofhim.Thepaintingiseerilyprophetic,as ifitpredictedBasquiatsunfortunatedeath.Thesimplicityandgravityofthepiece assertstheartistsdevelopmentandmasteryofhisform,anditsuncommonly refinedformsupposessomekindofsuddenmomentofclarity.MichaelHolman, anotherfriendandformerbandmateofBasquiatssaid,Hekeptsayinghewould dieattheageoftwentyseven.Youknow,itsthesameagethatJimiHendrix,Jim MorrisonandJanisJoplindied.HealsosaidIjustwanttolivelifelikeJamesDean. Livefastanddieyoung,Isuppose.16Thisanecdoteandthispaintingsuggestaself fulfilledprophecy,andRidingWithDeathtakesonthatmuchmoregravityand artisticpower. Afteranalyzingthesenineincrediblepaintings,similaritiesrevealthemselves andbuildupononeanothercreatinganarrativeandameaningthatpervades throughout.TheseworksspanBasquiatsentirepaintingcareer,demonstratingthe lastingqualityandsignificanceofthesethemesintheeyesoftheartist,asserting thatdiscrimination,exploitationandinequitywerenotfleetingwhimsbuttimeless issuesthatplaguedtheconscienceofthismostmysteriouspainter.Oneseesthat blacknessplaysacentralroleinthecontentofhiswork,despiteBasquiats
16

Kawachi,Taka.p.11.

20

assuranceslike,IdontevenknowifIwanttobecalledablackpainter,Ijustwant tobeme,andIdontknowifthefactthatImblackhassomethingtodowithmy success.IdontbelievethatIshouldbecomparedtoblackartistsbutratherall artists.17Thatsaid,hisworkisfilledwiththeabsurdityofsocialinjustices,andhe wasneverafraidofpointingitoutandhidingitatthesametime.Thesenine paintings,onlyasmallportionofBasquiatsprolificrepertoire,serveasan indicativesampleoftheartistsskill,hiswit,hisrage,andhisabilitytolaughatthe uglinessandthefollyofhisworldinadistinctivegallowshumorofcolor,textand image.Thetraumaofhisurbanexistence,hisdrugabuse,hisupbringingina multiracialfamily,hiswitnessingofinjusticebothinhistoryandtheeveryday,and hisconditionasaloneblackpainterinawhiteartworldspeaksinthesepaintings withunquestionableintensity.Nonetheless,itisessentialtoremainskepticaland hesitantindeepanalysisofBasquiatsart,iffornootherreasonthanhewasa skilledtricksterwhoenjoyedmisleadingandpuzzlinghisaudience.MarcMayer,the directoroftheNationalGalleryofCanada,putsitbestinhisessayBasquiatin History, IcanthelpfeelingthatapainstakinganalysisofBasquiatssymbols andsignsisatrapthatluresusawayfromtheabstractandoneiric purposeofthesepictures.Theyarenotsendinguscodedmessagesto deciphericonologically,somuchasconfusinganddisarmingusat oncewiththeirdiscursivesleightofhand.And,asweseeinhis practiceofsilkscreeningandphotocopyinghiscopyworkdrawings, Basquiatusedtheminterchangeablylikerecycleddecorativeunitsin hiscompositions,followingalogicmoreformalthaniconographiche paintedacalculatedincoherence,calibratingthemysteryofwhatsuch apparentlymeaningladenpicturesmightultimatelymean[He] speaksarticulatelywhiledodgingthefullimpactofclaritylikea
17

Kawachi,Taka.p.43.

21

matador.18 Theseanalysesstandonlyassuggestionsandimplications,whilethetrue

meaningofthesepaintings,iftherebesuchathing,remainonthecanvasinevery brushstroke,everyphotomontageandeveryscribble,snickeringandsobbingat once,cryingouttheoppressionofapeople,thepainofapersonandthelegacyofan artist.

18

MarcMayer,BasquiatinHistory.Basquiat.ed.MarcMayer,NewYork:MerrilPublishersLimited, 2005,p.50.

22

APPENDIX

Figure1

Figure2

23


Figure3

Figure4

24

 Figure5 Figure6

Figure7

25


Figure8

Figure9

26

 Figure10

Figure11

27

BIBLIOGRAPHY Caprile,Luciano.JeanMichelBasquiat:TheWordandtheImage.JeanMichel Basquiat.ed.RudyChiappini.Milan:Skira,2005,p.117122. Chiappini,Rudy.Foreword.JeanMichelBasquiat.ed.RudyChiappini.Milan:Skira, 2005,p.11. Downtown81.Dir.EdoBertoglio.1981.DVD.Maripol.WrittenbyGlennO'Brien. Geldzahler,Henry.ArtFromSubwaystoSoHo:JeanMichelBasquiat.JeanMichel Basquiat.ed.RudyChiappini.Milan:Skira,2005,p.3348. Hoffman,Fred.TheDefiningYears:NotesonFiveKeyWorks.Basquiat.ed.Marc Mayer.NewYork:MerrilPublishersLimited,2005,p.129137. JeanMichelBasquiat:anInterview.Dir.PaulTschinkel.1989.DVD.InnerTube Video. Kawachi,Taka.KingforaDecade:JeanMichelBasquiat.Kyoto:KorinshaPress, 1997. Marshall,RichardD.JeanMichelBasquiat:SpeakinginTongues.JeanMichel Basquiat.ed.RudyChiappini.Milan:Skira,2005,p.5384. Mayer,Marc.BasquiatinHistory.Basquiat.ed.MarcMayer.NewYork:Merril PublishersLimited,2005,p.4952. Oliva,AchilleBonito.ThePerennialShadowofArtinBasquiatsBriefLife.Jean MichelBasquiat.ed.RudyChiappini.Milan:Skira,2005,p.1530. AllpaintingspropertyoftheestateofJeanMichelBasquiat.

28