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Jean-Michel Basquiat Gagosian gallery Los Angeles 1986 (exhibition poster)1986
1986
$1,600
£1,221.73
€1,390.98
CA$2,246.65
A$2,456.03
CHF 1,299.35
MX$29,390.36
NOK 16,532.38
SEK 15,133.72
DKK 10,389.78
About the Item
Jean-Michel Basquiat Gagosian Gallery 1986:
Original 1980’s Basquiat exhibition poster, published on the occasion of: Jean-Michel Basquiat at Larry Gagosian Gallery, 510 North Robertson Boulevard, Los Angeles, Califorinia.
This well-sized (39.5 in in height), standout vintage Basquiat designed poster is defined by (printed) found objects around a central figure depicted in “X-ray” style, with organ references throughout. Imagery of a gasoline pump and jagged metal gates further surround this central figure, as does anatomical references; and lists of grains, elements, and American companies. The exhibition info is reproduced in Basquiat’s handwriting along the poster’s lower edge.
Offset lithograph. 1986.
Dimensions: 39 1/2 × 26 1/2 inches (100.3 × 67.3 cm).
Minor signs of handling; very good overall vintage condition.
Unsigned from an edition of unknown. Rare. Published by Gagosian Gallery Los Angeles, 1986.
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Jean-Michel Basquiat was an influential African-American artist who rose to success during the 1980s. Basquiat’s paintings are largely responsible for elevating graffiti artists into the realm of the New York gallery scene. His spray-painted crowns and scribbled words referenced everything from his Haitian and Puerto Rican heritage, to political issues, pop-culture icons, and Biblical verse. The gestural marks and expressive nature of his work not only aligned him with the street art of Keith Haring and Kenny Scharf, but also the Neo-Expressionists Julian Schnabel and David Salle. “If you wanna talk about influence, man, then you've got to realize that influence is not influence,” he said of his process. “It's simply someone's idea going through my new mind.” Born on December 22, 1960 in Brooklyn, NY, Basquiat never finished high school but developed an appreciation for art as a youth, from his many visits to the Brooklyn Museum of Art with his mother. His early work consisted of spray painting buildings and trains in downtown New York alongside his friend Al Diaz. The artist’s tag was the now infamous pseudonym SAMO. After quickly rising to fame in the early 1980s, Basquiat was befriended by many celebrities and artists, including Andy Warhol, with whom he made several collaborative works. At only 27, his troubles with fame and drug addiction led to his tragic death from a heroin overdose on August 12, 1988 in New York, NY. The Whitney Museum of American Art held the artist’s first retrospective from October 1992 to February 1993. In 2017, after having set Basquiat’s auction record the previous year with a $57.3 million purchase, the Japanese billionaire Yusaku Maezawa surpassed it, buying the artist’s Untitled (1982) at Sotheby's for $110.5 million. This set a new record for the highest price ever paid at auction for an American artist's work. Today, Basquiat's works are held in the collections of The Museum of Modern Art in New York, the Rubell Family Collection in Miami, and the Museum of Contemporary Art in Los Angeles, among others.
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Basquiat Gagosian 1986. Vintage Basquiat. Basquiat Los Angeles. Basquiat 1986
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Title: "FAE Musée d'Art Contemporain (Sans titre)"
Year: 1993
Medium: Original Offset-Lithograph, Exhibition Poster on light wove paper
Limited edition: Unknown
Printer: likely Multigraphic Lauber & Romagnoli, Renens, Switzerland
Publisher: FAE Musée d'Art Contemporain, Pully-Lausanne, Switzerland
Reference: "Jean-Michel Basquiat" - FAE Musée d'Art Contemporain, page 39 (illustrated)
Sheet size: 50.13" x 35.63"
Condition: Scattered mild handling creases to sheet. In otherwise excellent condition with full margins and clean edges
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Provenance: private collection - Hamburg, Germany. Poster produced for a special posthumous solo exhibition of Basquiat's work "Jean-Michel Basquiat" at FAE Musée d'Art Contemporain, Pully-Lausanne, Switzerland from July 10 to November 7, 1993. The image featured on this poster is Basquiat's 1982, 72" x 84.25", acrylic and oil stick on canvas painting which is untitled. Poster designed by Pierre Neumann (Swiss, 1951-).
GIA Gallery Poster Disclaimer:
Not to be confused with thousands of contemporary inkjet/giclée/digital reproductions ignorantly or deliberately passed off as originals on the market today. The examples we offer here are the original period vintage (exhibition) posters, created and designed by, or under the supervision and authorization of the artist or their respective estate (posthumously), for various exhibitions and events in which they participated. If applicable, this poster is also fully documented within its respective artists' official catalogue raisonné of authentic graphic works, prints, and or posters.
Biography:
Jean-Michel Basquiat (December 22, 1960 - August 12, 1988) was an American artist who rose to success during the 1980's as part of the Neo-expressionism movement.
Basquiat first achieved notoriety in the late 1970s as part of the graffiti duo SAMO, alongside Al Diaz, writing enigmatic epigrams all over Manhattan, particularly in the cultural hotbed of the Lower East Side where rap, punk, and street art coalesced into early hip-hop music culture. By the early 1980s, his paintings were being exhibited in galleries and museums internationally. At 21, Basquiat became the youngest artist to ever take part in Documenta in Kassel, Germany. At 22, he was one of the youngest to exhibit at the Whitney Biennial in New York. The Whitney Museum of American Art held a retrospective of his artwork in 1992.
Basquiat's art focused on dichotomies such as wealth versus poverty, integration versus segregation, and inner versus outer experience. He appropriated poetry, drawing, and painting, and married text and image, abstraction, figuration, and historical information mixed with contemporary critique. He used social commentary in his paintings as a tool for introspection and for identifying with his experiences in the black community, as well as attacks on power structures and systems of racism. His visual poetics were acutely political and direct in their criticism of colonialism and support for class struggle.
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