Jean-Michel Basquiat (1960-1988) - Untitled (Red Warrior) - Artestar licensed print - 40x40 *COA*

Jean-Michel Basquiat Photolithograph (* )
High-quality reproduction of the work “Untitled (Red Warrior),” created by Basquiat in 1982.
Luxury edition on heavyweight Monte Carlo watercolor paper (300 g/m2)
Printed with authorization from Artestar New York.
Copyright Estate of Jean-Michel Basquiat.
Includes Certificate of Authenticity (COA).

Specifications:

- Paper dimensions: 40 x 40 cm
- Image dimensions: 30 x 30 cm
- Condition: Excellent (this work has never been framed or displayed and has always been kept in a professional art portfolio, so it is offered in perfect condition).

The work will be carefully handled and packed in reinforced flat cardboard packaging. It will be shipped by registered mail with a tracking number, using the best shipping companies.

The shipment will also include full insurance for the final value of the work, with a full refund in the event of loss or damage, at no cost to the buyer.

(*) Jean-Michel Basquiat was the first of the three children of Matilde Andrades and Gerard Basquiat. His father was a Haitian accountant of considerable means, and his mother was a Puerto Rican graphic designer with an outstanding reputation in her profession. Jean-Michel grew up in a troubled family environment; his parents divorced, and as a result he had to change schools many times. He studied at a private Catholic school, then at a public school, and finally, at age 16, enrolled at City-As-School, a school for gifted teenagers, from which he was expelled for rebelliousness a year before graduating.
As a young man, he came into contact with the subculture of the big city, associated with drug use and street gangs. In 1977, together with Al Díaz, he entered the world of graffiti, painting on subway cars and around SoHo, a New York neighborhood known for its many art galleries.
The following year, he left school one year before graduating from high school and left home to spend two years living on the streets, in abandoned buildings, or with friends in Lower Manhattan, surviving by selling postcards and T-shirts that he decorated himself. He continued making graffiti; his tags and writings were highly poetic and philosophical, but above all satirical. The pseudonym of the alter ego he shared with Al Díaz was SAMO (an abbreviation of “Same Old Shit,” meaning “the same old crap”), which they both used to sign their tags and graffiti featuring cryptic messages. The use of this name proved decisive in his life.
These murals bore inscriptions such as “SAMO saves idiots” or “SAMO ends religious brainwashing, the politics of nothingness, and false philosophy.” An article about SAMO’s street writing published in The Village Voice was the first indication that the art world was taking an interest in him.
The artist had several relationships that influenced his work, one of the most significant being with artist Andy Warhol.
He also had relationships with several women; one of the best known today was Madonna. They lived in Lower Manhattan at the time, and in 1982 they began spending more time together and going to gallery parties. One thing they had in common, she mentioned in an interview: “I was a big fan of Miles Davis and Charlie Parker.”
In 1988, exhibitions were held in Paris and New York, and in April of that same year he tried to overcome his addictions and withdrew to his home in Hawaii. He returned to New York in June, announcing that he had freed himself from his addictions, but on August 12, 1988,6​7​, at the age of 27, he died of a heroin overdose, becoming the most successful visual artist in the history of African-descended art. He is buried in Green-Wood Cemetery in Brooklyn.

Over the course of his brief but intense artistic career, he would hold more than 40 solo exhibitions and take part in around 100 group exhibitions. Self-promotion and publicity were priorities for Basquiat, as they had previously been for Andy Warhol and Julian Schnabel.
Neo-Expressionism gradually gained ground over appropriationism, partly thanks to the economic boom that drove art prices—and painting prices in particular—to great heights, and partly thanks to the support of gallery owners and collectors. Critics, however, were not unanimous in their assessment, and denunciations of the Neo-Expressionist movement’s lack of a theoretical foundation were common. It was claimed that the art practiced by the Neo-Expressionists lacked any political or social meaning and was merely a commodity, and therefore subject to the market’s ups and downs. Neo-Expressionist painting was reduced to a consumer product and, as such, deemed creatively disqualified and vulgar.

#freeshipping #freeshipping #freeshipping