Complete survey of the work of JeanMichel Basquiat with more than 270 illustrations.

Before his death at the age of twenty-seven, Jean-Michel Basquiat completed nearly 2,000 works. These unique compositions—collages of text and gestural painting across a variety of media—quickly made Basquiat one of the most important and widely known artists of the 1980s. Reading Basquiat provides a new approach to understanding the range and impact of this artist’s practice, as well as its complex relationship to several key artistic and ideological debates of the late twentieth century, including the instability of identity, the role of appropriation, and the boundaries of expressionism. Jordana Moore Saggese argues that Basquiat, once known as “the black Picasso,” probes not only the boundaries of blackness but also the boundaries of American art. Weaving together the artist’s interests in painting, writing, and music, this groundbreaking book expands the parameters of aesthetic discourse to consider the parallels Basquiat found among these disciplines in his exploration of the production of meaning. Most important, Reading Basquiat traces the ways in which Basquiat constructed large parts of his identity—as a black man, as a musician, as a painter, and as a writer—via the manipulation of texts in his own library.

An exploration of the personal and artistic connections between two icons of twentieth-century art Keith Haring (1958–1990) and Jean-Michel Basquiat (1960–1988) changed the art world of the 1980s through their idiosyncratic imagery, radical ideas, and complex sociopolitical commentary. Each artist invented a distinct visual language, employing signs, symbols, and words to convey strong messages in unconventional ways, and each left an indelible legacy that remains a force in contemporary visual and popular culture. Offering fascinating new insights into the artists’ work, Keith Haring | Jean-Michel Basquiat reveals the many intersections among Haring and Basquiat’s lives, ideas, and practices. This lavishly illustrated volume brings together more than two hundred images—works created in public spaces, paintings, sculptures, objects, works on paper, photographs, and more. These rich visuals are accompanied by essays and interviews from renowned scholars, artists, and art critics, exploring the reach and range of Haring and Basquiat’s influence. Keith Haring | Jean-Michel Basquiat provides a valuable look at two artistic peers and boundary breakers whose tragically short but prolific careers left their marks on the art world and beyond. Distributed for the National Gallery of Victoria in association with No More Rulers

This book features Jean-Michel Basquiat's work from 1981 - the year of his first official participation in the group exhibition New York/New Wave at PS1 of New York - to his premature death in 1988.

Unzählige Publikationen und Ausstellungen beschäftigen sich mit Jean-Michel Basquiats Leben und Werk, doch eine Episode blieb bisher weitgehend unberücksichtigt: Im Sommer 1982 reiste der New Yorker Künstler auf Einladung des Galeristen Emilio Mazzoli für eine seiner frühen Einzelausstellungen in Europa ins italienische Modena. Innerhalb weniger Tage malte er dort eine Gruppe großformatiger Gemälde, die sein vorheriges Schaffen nicht nur hinsichtlich ihres Maßstabes übertrafen. Jeweils mindestens zwei mal vier Meter groß, markieren sie den Übergang vom Graffiti-Sprayen in den Straßen Manhattans zum Malen auf Leinwand. Zugleich sind sie Ausdruck des Findens einer Identität als Künstler. Die Gemälde – darunter Meisterwerke, die heute als die Herausragendsten seines Œuvre gelten – wurden nie zusammen gezeigt. Dieser Katalog beleuchtet mit Basquiats Italienaufenthalt einen entscheidenden Moment in seiner Karriere und führt die acht Gemälde erstmals wieder zusammen.

"The 76 columns, short reviews, and articles here (many of them abridged by me) are most of what I wrote for 7 Days.... a running chronicle of the art life of a specific period in New York."--Preface.

The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists. There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes V lz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom. With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.

By focusing on the various modes and media of the fetishised object, this anthology shifts the debates on thingness into a new global art historical perspective. The contributors explore the attention given to those material images, in both artistic and cultural practice from the heyday of colonial expansion until today. They show that in becoming vehicles and agents of transculturality, so called »fetishes« take shape in the 17th to 19th century aesthetics, psychology and ethnography - and furthermore inspire a recent discourse on magical practice and its secular meanings requiring altered art historical approaches and methods.

This volume is dedicated to the interrelation between temporality and representation. It presumes that time cannot be conceived of as an abstract chronometric order, but that it is referring to materiality, being measured, represented, expressed, recognized, experienced and evaluated, and therefore is always closely related to cultural contexts of perception and evaluation. The contributions from various disciplines are dedicated to the present and its plural conditions and meanings. They provide insights into the state of research with special emphasis on the global present as well as on art and aesthetics from the 18th century until today. The anthology includes contributions by Mieke Bal, Stefan Binder, Maximilian Bergengruen, Iris Därmann, Gabriele Genge, Boris Roman Gibhardt, Boris Groys, Maria Muhle, Johannes F. Lehmann, Nkiru Nzegwu, Francesca Raimondi, Christine Ross, Ludger Schwarte, Angela Stercken, Samuel Strehle, Timm Trausch, Patrick Stoffel, and Christina Wessely.

Re-envisioning the Contemporary Art Canon: Perspectives in a Global World seeks to dissect and interrogate the nature of the present-day art field, which has experienced dramatic shifts in the past 50 years. In discussions of the canon of art history, the notion of ‘inclusiveness’, both at the level of rhetoric and as a desired practice is on the rise and gradually replacing talk of ‘exclusion’, which dominated critiques of the canon up until two decades ago. The art field has dramatically, if insufficiently, changed in the half-century since the first protests and critiques of the exclusion of ‘others’ from the art canon. With increased globalization and shifting geopolitics, the art field is expanding beyond its Euro-American focus, as is particularly evident in the large-scale international biennales now held all over the globe. Are canons and counter-canons still relevant? Can they be re-envisioned rather than merely revised? Following an introduction that discusses these issues, thirteen newly commissioned essays present case studies of consecration in the contemporary art field, and three commissioned discussions present diverse positions on issues of the canon and consecration processes today. This volume will be of interest to instructors and students of contemporary art, art history, and museum and curatorial studies.