Basquiat – warhol: collaboration and sharing images 1984/85
While andy warhol since the early ‘ 60s for his photo silk-screen prints was to become famous films, as well as the magazine interview magazine was published, and in the 80s a tv show moderated, was jean-michel basquiat was a child of the street. warhol transferred the images from the media, including car accidents, icons, politics, art and pop culture (by mao about joseph beuys, to elvis presley and marilyn monroe), and film stills in large-format, color-intensive photo silk-screen prints. this work, the bank austria art forum dedicated to the left-hand hall of the exhibition. the repetition of the motifs – such as the “four white on white mona lisas, four gold on white mona lisas” (1980) – are also on the constant media reproduction of images, as well as the flatness of your surface thinking. whether warhol repeats a leader of the revolution, such as mao, an actress such as marilyn, is a famous portrait such as the mona lisa or “crosses” (1981/82) on a canvas again and again, in the same way, everyone and everything becomes a question of light and shade, the pose and the public image. “sober, unemotional, and factually,” said andy warhol wanted his works of the ‘ 60s seem. the 32-year-younger basquiat, warhol, the compiled from the end of the 70s already his own work in retrospective images should be (see “retrospective (reversal series)”, 1978), a new impetus for the later work. warhol died in 1987 of complications from gall bladder surgery, a year later jean died of addiction-michel basquiat with his drug. on the verge of the negative reactions of the press on the collaborations should have moved the community project has already been the death blow.
Born in 1960, basquiat witnessed in the new york art world of the 1980s, a meteoric rise, maybe michael jackson will be liable to be comparable. he was one of the first dark-skinned, fine artists, the over-received national importance. basquiat’s association in his own images of archetypal characters, text, anatomical knowledge, the history of african americans and the jazz music (e.g., shows “the discography (one)” from 1983, a tribute to charlie parker), etc., on a fragmented or collaged image-makers. he was famous for always painting, where he has stayed also, and whatever he held in his hands. the interesting box “putto” (1985) combines all these aspects.
Bischofberger – a gallerist taught artist with each other
Bischofberger, andy warhol invited for the 4. october 1982, to the young basquiat with his polaroid camera portrait. he wrote in his diary:
Serendipity< to sell the t-shirts. he was just one of those guys that make me crazy… and then it was discovered by bruno, and now it’s all uphill for him.“ (andy warhol)
It was not until 1983, after warhol and basquiat’s first art exchanged works and a good rapport with each other had developed, asked bruno bischofberger, if warhol could imagine, to paint, together with jean-michel basquiat and francesco clemente images. in december of the year they started third-party cooperation, which should bring up to the spring of 1984, last and 15 works.
Warhol / basquiat – collaborations
Proud of basquiat knew to report that he was the andy warhol brought to work again with his stencil art of the early 1960s: “i was the one who helped andy warhol paint! it had been twenty years since he’d touched a brush. thanks to our collaboration, he was able to rediscover his relationship to painting.“ at the same time, warhol and basquiat worked, but also to your own pictures just the two of you. the community work are all created in andy warhol’s studio at 860 broadway. warhol started the paintings and returned them back to oil painting, basquiat revised the motifs with a wide bristle brush and thick oil crayons, which he was most respectful with the existing bypassed, however, the reaction in the erase, and paint over the existing admit. warhol and basquiat-influenced each other to paint warhol re-started with templates (e.g., the logo of general electrics), and basquiat used the screen printing technique (e.g., “alba’s” imitates breakfast basquiat painting in the style of warhol from 1961/62). they always worked on several canvases at the same time. more than 130 collaborations were developed in the years 1984 to 1985.
The first presentation of the critics of the “decomposed”
On the 14. in september, 1985, were issued to 16 plants for the first time in the tony shafrazi gallery (in collaboration with bruno bischofberger), because they did not want to show warhol’s new york gallerist leo castelli. the 1985 shafrazi designed poster of warhol and basquiat as boxer, the artistic, multi-cultural confrontation, the image of an actor in the fight – the slating by the critics in favour of warhol’s involvement should scare basquiat, and the community work of a soon-to-be death blow move. the show was well received by the public interested in the art of criticism, however, is written down, the biggest point of criticism is the collaboration between an established and an emerging artist, where both accused the other of exploiting. it turned out to be as difficult to sell the images. although andy warhol and jean-michel basquiat received their cooperation in the beginning, more upright, should disown basquiat from 1986 onwards, increasingly by warhol and no longer work with him. as warhol in 1987, passed away unexpectedly, selling basquiat, his share of the last images of bruno bischofberger.
Warhol was 16. april 1984 in his diary recorded: “i did a dog painting in five minutes at five of 6:00. i had a picture and i used the tracing machine that projects the image onto the wall and i put the paper where the image is and i trace. i drew it first and then i painted it like jean-michel. i think those paintings we’re doing together are better when you can’t tell who did which parts.“ in spite of the desire of andy warhol, and the handwriting of the younger appropriate, are pronounced, the personalities of the two artists so that it is hardly difficult to distinguish the artistic contributions.
Warhol created most of the base, the basquiat revised by he responded to the existing and altered (also by means of extinction!). he revised everything with the important symbols and signs, the fed, including its interest for the african – american sports and the history of art, like the jazz music but also his enthusiasm for anatomy teaching (he had to get as a child from his mother’s “grey’s anatomy” as a gift). basquiat described the cooperation from his perspective in 1985:
“he would start most of the paintings. he would put something very concrete or recognizable like a newspaper headline or a product logo, and then i would sort of deface it and then i would try to get him to work some more on it, and then i would work more on it. i would try to get him to do at least two things, you know? (laughs) he likes to do just one hit and then leave me do all the work after that.“
The more than 130 paintings, both created each other, more than 10 percent of basquiat’s work. the younger wiped out with its own symbols, the logos of warhol, wrote their own text-making about it, and this wiped out again, the desire of the viewer to read them out would be required. the quote of logos by warhol meets explicit critique of capitalism, and a picturesque “wildness” in the addenda basquiats. the meaning of the work derives, therefore, from warhol’s rejection of the mechanical reproduction technology to a “signature friendly” formulation of its concepts. this is then supplemented with stencils and printmaking imitating the craft of warhol’s from a seemingly “primitive” and subjective painting, basquiat’s. kelly jones described this idiom basquiat’s aptly as “playing the primitive” and as part of his strategy.
Warhol / basquiat in the bank austria art forum
As already mentioned above, shows the collaborations between the individual presentations of the two artists. across from the entrance depends on basquiat’s “brown spots (portrait of andy warhol as a banana)” from the year 1984. some of the silk screen of andy warhol links prints follow early paintings, in which the american world is a price information provided, or mutated into the picture an ironic warning label. the images of basquiat’s are without a doubt in their spidery, childlike acting strokes to recognize your all-over symbols and texts. warhol’s large-scale composite numbers, and trademarks, have been revised from basquiat brave. some of the image obviously in the process of painting also on the back of the head. dead head similar elements and seem to be the advertising messages warhol’s naughty to grin. the sophisticated perfection of the stencilled content opposes basquiat, his strategy of the primitive. the combination of these two very different artists ‘ temperaments may seem strange at first sight, but it works just. bischofberger thank you.
Marc mayer, basquiat. street to studio (exh.kat. brooklyn museum 11.3.-5.6.2005, museum of contemporary art, los angeles museum of contemporary art, los angeles 15.7.-9.10.2005, museum of fine arts, houston 18.11.2005 -12.2.2006), new york, 2005.gerald matt, cathérine hug, thomas, mies gear (hg.), street and studio, from basquiat to séripop (exh.kat. kunsthalle wien 25.6.-10.10.2010), nürnberg 2010.ménage à trois. warhol, basquiat, clemente (exh.kat. art and exhibition hall of the federal republic of germany, bonn 10.2.-20.5.2012), bielefeld/berlin, 2012.
Ingried brugger, florian steininger (eds.), warhol / basquiat (exh.kat. the bank austria art forum, vienna 16.10.2013-2.2.2014), berlin, 2013.