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Nahmad Contemporary is pleased to present Jean-Michel Basquiat: Art and Objecthood, on view from April 11, through June 11, 2022. Curated by Basquiat scholar Dr. Dieter Buchhart, the exhibition is the first dedicated to the role of found objects and unconventional materials in the artist’s oeuvre. Basquiat, whose artistic practice has profoundly impacted audiences on an international scale, used objects and media from his environs to proliferate messages of social justice and change.

Bringing together a breadth of unconventional painted supports and found-object sculptures, Jean-Michel Basquiat: Art and Objecthood provides an innovative, in-depth look into the artist’s sculptural practice. In addition to painting and drawing on everything within his domestic spaces—refrigerators, chairs, cabinets—Basquiat harnessed and left his mark on items he encountered on the street—discarded windows and doors, mirrors, wood boards, subway tiles. Notably, such found objects were among the artist’s earliest creations. In a 1985 interview by Becky Johnston and Tamra Davis in California, Basquiat explained: “The first paintings I made were on windows I found on the street. And I used the window shape as a frame, and I just put the painting on the glass part and on doors I found on the street.” The found objects remained tied to their public origins, and the street, as a concept and space of association, became an important artistic subject.

Basquiat developed his artistic repertoire within the vibrant New York art scene of the early 1980s, during the emergence of hip-hop’s cut-and-paste aesthetic. Sampling from his surroundings with all five senses, he used this source material not only to create spaces of knowledge but also to occupy everyday places and integrate conventional artistic media with the rebellious gestures of marginalized society. This exhibition demonstrates the extent to which Basquiat’s sculptural practice and particular use of objects reveal his intense dedication to the struggle against social inequality, as well as his profound engagement with the politics of race in the United States. His universal system of communication—and the collective struggle against ignorance, fear, and silence portrayed by it—are more relevant today than ever.

Jean-Michel Basquiat: Art and Objecthood borrows its title from an influential essay written in 1967 by renowned modern art historian Michael Fried and ushers audiences back to the 20th century when artists forged new definitions of art by embracing nontraditional media on a wide scale. In “Art and Objecthood,” Fried decidedly critiqued the newfound minimalist sculptors for their dogmatic, literal separation between “art” and “object.” He argued that their presentation of isolated objects as works of art was mere theatrics rather than a true art, which for Fried, was mandated by the unification of art and object. Invoking Fried’s intrepid philosophical stance, the exhibition invites viewers to consider the enduring debate about art and objecthood as a lens through which to consider Basquiat’s use of objects in the present works on view.

The exhibition is developed with the support of the Estate of Jean-Michel Basquiat and made possible by generous loans from several American and European institutions and worldwide private collections. In conjunction with the show, a comprehensive catalogue will be published by Hatje Cantz to present new scholarship by leading Basquiat academics and art historians.

found objects --- Basquiat, Jean-Michel

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Jean-Michel Basquiat (1960–1988) burst onto the art scene in the summer of 1980 as one of approximately one hundred artists exhibiting at the 1980 Times Square Show in New York City. By 1982, at the age of twenty-one, Basquiat had solo exhibitions in galleries in Italy, New York, and Los Angeles. Basquiat's artistic career followed the rapid trajectory of Wall Street, which boomed from 1983 to 1987. In the span of just a few years, this Black boy from Brooklyn had become one of the most famous American artists of the 1980s. The Jean-Michel Basquiat Reader is the first comprehensive sourcebook on the artist, closing gaps that have until now limited the sustained study and definitive archiving of his work and its impact.

Eight years after his first exhibition, Basquiat was dead, but his popularity has only grown. Through a combination of interviews with the artist, criticism from the artist's lifetime and immediately after, previously unpublished research by the author, and a selection of the most important critical essays on the artist's work, this collection provides a full picture of the artist's views on art and culture, his working process, and the critical significance of his work both then and now.

Aesthetics of art --- art criticism --- Basquiat, Jean-Michel

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Basquiat first came to prominence when he collaborated with Al Diaz to spray-paint enigmatic statements under the pseudonym SAMO©. He went on to work on collages, Xerox art, postcards, performances, and music before establishing his reputation as one of the most important painters of his generation. Accompanying a major exhibition at the Barbican Art Gallery, this book opens with introductory essays from the curators, which place his practice in a wider art historical context and look at his career through the lens of performance.Six thematic chapters offer new research, with essays from poet Christian Campbell on SAMO©; curator Carlo McCormick on New York / New Wave; writer Glenn OBrien on the downtown scene; academic Jordana Moore Saggese on Basquiats relationship to film and television; and music scholar Francesco Martinelli on Basquiats obsession with jazz. This insightful new survey also features extended captions, rare archival material, and extensive photography, demonstrating how Basquiats legacy remains more powerful and relevant than ever today.

Art --- mezzotint [process] --- graffiti artists --- graffiti art --- Expressionist [style] --- painters [artists] --- #breakthecanon --- Basquiat, Jean-Michel --- 75.07 --- Basquiat, Jean-Michel 1960-1988 (°Brooklyn, New York, USA) --- Schilderkunst ; Performance ; Muziek ; Film --- Schilderkunst ; schilders --- Art, American --- Graffiti --- Art and music --- Popular culture in art --- Basquiat, Jean-Michel,

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public spaces --- Art --- art [fine art] --- art galleries [institutions] --- Hodgkin, Howard --- Mariani, Carlo Maria --- Rodney, Donald --- Leeson, Loraine --- Basquiat, Jean-Michel --- Burgin, Victor --- Kruger, Barbara --- Cahn, Miriam --- Miss, Mary --- Borofsky, Jonathan --- Sherman, Cindy --- Hiller, Susan --- Kiefer, Anselm --- Beuys, Joseph --- Immendorff, Jörg --- Tillers, Imants --- Hunter, Alexis --- Fischl, Eric --- Gormley, Antony --- Boyce, Sonia --- Himid, Lubaina --- Golub, Leon Albert --- Tjakamarra, Michael Nelson --- Atkinson, Terry --- Biswas, Sutapa --- Haacke, Hans --- Kelly, Mary --- Dunn, Peter --- anno 1980-1989 --- Art and society. --- Art, Modern --- Artists --- Lerarenopleiding --- Political aspects. --- Themes, motives. --- Interviews. --- (vak)didactiek talen --- (vak)didactiek talen. --- Themes, motives --- Jagamara, Michael Nelson --- art [discipline] --- culturele diversiteit (kunst)

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Er zijn maar weinig woorden die de afgelopen periode zo vaak en zo verkeerd zijn gebruikt als postmodernisme. In dit boek wordt aan de hand van een levendige, uitvoerige en heldere beschrijving uitgelegd wat het postmodernisme precies voor de hedendaagse kunst heeft betekend. De postmodernisten verruilden het modernistische geloof in universaliteit, oorspronkelijkheid en artistieke vooruitgang door een ander wereldbeeld : kunstwerken veranderden in teksten, geschiedenis werd een mythe, de kunstenaar een fictief personage, en werkelijkheid was een gedateerd concept. In dit boek worden de belangrijkste ontwikkelingen in de postmoderne kunst besproken, zoals het neo-expressionisme, de anti-esthetische beweging, commodity critics, postmodern feminisme en postmodern multiculturalisme. En passant komen boeiende vragen aan de orde als : wat is kunst zonder de kunstenaar? Waarom is de fotografie hét postmoderne medium bij uitstek? Hoe kon een beweging die niet wilde dat kunst een handelsartikel zou worden zelf zo'n invloed op de dolgedraaide kunstmarkt hebben?

Postmodern --- Art --- Architecture --- anno 1900-1999 --- anno 2000-2099 --- 7.038 --- kunst 20e eeuw --- postmodernisme --- 705.8 --- Anti-estheten --- Artschwager, Richard --- Baldessari, John --- Baselitz, Georg --- Basquiat, Jean-Michel --- Bickerton, Ashley --- Burgin, Victor --- Campbell, Steven --- Charlesworth, Sarah --- Chia, Sandro --- Clemente, Francesco --- Colescott, Robert --- De Chirico, Giorgio --- Feminimse --- Fischl, Eric --- Gilbert and George --- Girls, Guerrilla --- Guangyi, Wang --- Haacke, Hans --- Halley, Peter --- Heap of birds, Edgar --- Holzer, Jenny --- Immendorff, Jörg --- Jaar, Alfredo --- Johnson, Philip --- Kelly, Mary --- Kiefer, Anselm --- Koons, Jeff --- Kosuth, Joseph --- Kruger, Barbara --- Lawler, Louise --- Le Brun, Christopher --- Levine, Sherrie --- Longo, Robert --- Mapplethorpe, Robert --- Mariani, Carlo Maria --- McCollum, Allan --- Morimura, Yasumasa --- Multiculturalisme --- Neo-expressionisme --- Piper, Adrian --- Polke, Sigmar --- Pope, Carl --- Postmodernisme --- Prince, Richard --- Richter, Gerhard --- Rosenquist, James --- Salle, David --- Schilderkunst --- Schnabel, Julian --- Sherman, Cindy --- Simmons, Laurie --- Simpson, Loma --- Steinbach, Haim --- Tansey, Mark --- Weiner, Lawrence --- Wilson, Fred --- Wodiczko, Krzysztof --- 20e eeuw --- kunstgeschiedenis --- neo-expressionisme --- kunstgeschiedenis - kunst na 1945 --- kunstgeschiedenis, 20e eeuw --- hedendaagse kunst --- postmodernisme (kunst) --- Contemporary [style of art] --- ruimtelijke kunst --- Art styles