I adore Baquiat’s bold imagery. He paints with such honesty, his work is passionate and done in a way that is very expressive and displays a childlike fascination with the process of creating.
Untitled 1982 (one of my favourites!)
Association with African art – a skull, a bone, an arrow – Basquiat modernizes them with his Neo-Expressionist style of thickly applied paint, rapidly rendered subjects, and scrawled linear characters, all of which float loosely across the pictorial field, as though hallucinatory. A white skull juts from the center of the ebony composition, vividly recalling a revered painter’s tradition of the memento mori – a reminder of the ephemeral nature of all life and the body’s eventual, merciless degeneration. Basquiat demonstrates in one concise “study” how he is able to carry on an ancient practice of painting “still life”, all the while suggesting, as does a great jazz musician, that the artist’s work was relatively effortless, if not completely improvisatory.
” Like a DJ, Basquiat adeptly reworked Neo-expressionism’s clichéd language of gesture, freedom, and angst and redirected Pop art’s strategy of appropriation to produce a body of work that at times celebrated black culture and history but also revealed its complexity and contradictions. ”
— Lydia Lee