Jean-Michel-Basquiat Joy 1984 Acrylic, oil-stick, Xerox and paper collage on canvas. 218.4 x 172.7 cm. (86 x 68 in). Signed, titled and dated ‘Jean-Michel Basquiat, Joy Sept 1984’ on the reverse.
Provenance Tony Shafrazi Gallery, New York; Private collection; Gagosian Gallery, New York Exhibited Paris, Galerie Enrico Navarra, Jean-Michel-Basquiat, 1996 Literature R. Marshall J.L. Prat, eds., Jean-Michel-Basquiat, Paris, 1996, 1st Edition, Vol. I, p.167 (illustrated); R. Marshall J.L. Prat, eds., Jean-Michel-Basquiat, Paris, 1996, 2nd Edition, Vol. I, p.203 (illustrated); Kaohsiung Museum of Fine Arts and Taichung Museum, Exhibition Catalogue, Jean-Michel-Basquiat, Kaohsiung, 1997, p. 59; Gallery Hyundai, Jean-Michel-Basquiat, Seoul, 1997, p. 53; Mitsukoshi Museum and M.I.M.O.C.A., Jean-Michel-Basquait, Tokyo, 1997, p. 65; Castel Nuovo, Jean-Michel-Basquiat, Naples, 1999, p. 89; Galerie Enrico Navarra, Jean-Michel-Basquiat, Paris, 2000, 3rd Edition, Vol. III, p. 188, no. 2 (illustrated); G. Pfeffer-Levy, ed., Jean-Michel-Basquiat, Paris, 2000, 3rd Edition, Vol. I, p. 273 (illustrated) Catalogue Essay Jean-Michel-Basquiat’s art is often dense with the jagged, glowing blend of language and image which gives one plenty to think about. From his work in the mid-eighties, there is an astounding sense of growth and maturation, a freewheeling physical inventiveness, especially where collage on canvas is concerned, and an agile, curious mind. Basquiat’s rich tapestry of subject matter ranges through the history and culture of the world, of America and of black America, tying things together in fresh ways. In a sense, Basquiat’s best work gives new and particular meaning to the inspiring phrase with which the painter Barnett Newman characterized the emergence of Abstract Expressionism: “We are making it out of ourselves.” The self that Basquiat had to work with provided unusually fertile soil. Whether his eccentric patched –together images are spare and linear or dense with bright paint, he was at his best juggling disparate, often conflicting bits of imagery and information, so that huge chunks of human endeavor effortlessly float through the mind. R. Smith ‘Basquiat: Man For His Decade’ in New York Times, 23 October, 1992 Read More
Jean-Michel-Basquiat Joy 1984 Acrylic, oil-stick, Xerox and paper collage on canvas. 218.4 x 172.7 cm. (86 x 68 in). Signed, titled and dated ‘Jean-Michel Basquiat, Joy Sept 1984’ on the reverse.
Provenance Tony Shafrazi Gallery, New York; Private collection; Gagosian Gallery, New York Exhibited Paris, Galerie Enrico Navarra, Jean-Michel-Basquiat, 1996 Literature R. Marshall J.L. Prat, eds., Jean-Michel-Basquiat, Paris, 1996, 1st Edition, Vol. I, p.167 (illustrated); R. Marshall J.L. Prat, eds., Jean-Michel-Basquiat, Paris, 1996, 2nd Edition, Vol. I, p.203 (illustrated); Kaohsiung Museum of Fine Arts and Taichung Museum, Exhibition Catalogue, Jean-Michel-Basquiat, Kaohsiung, 1997, p. 59; Gallery Hyundai, Jean-Michel-Basquiat, Seoul, 1997, p. 53; Mitsukoshi Museum and M.I.M.O.C.A., Jean-Michel-Basquait, Tokyo, 1997, p. 65; Castel Nuovo, Jean-Michel-Basquiat, Naples, 1999, p. 89; Galerie Enrico Navarra, Jean-Michel-Basquiat, Paris, 2000, 3rd Edition, Vol. III, p. 188, no. 2 (illustrated); G. Pfeffer-Levy, ed., Jean-Michel-Basquiat, Paris, 2000, 3rd Edition, Vol. I, p. 273 (illustrated) Catalogue Essay Jean-Michel-Basquiat’s art is often dense with the jagged, glowing blend of language and image which gives one plenty to think about. From his work in the mid-eighties, there is an astounding sense of growth and maturation, a freewheeling physical inventiveness, especially where collage on canvas is concerned, and an agile, curious mind. Basquiat’s rich tapestry of subject matter ranges through the history and culture of the world, of America and of black America, tying things together in fresh ways. In a sense, Basquiat’s best work gives new and particular meaning to the inspiring phrase with which the painter Barnett Newman characterized the emergence of Abstract Expressionism: “We are making it out of ourselves.” The self that Basquiat had to work with provided unusually fertile soil. Whether his eccentric patched –together images are spare and linear or dense with bright paint, he was at his best juggling disparate, often conflicting bits of imagery and information, so that huge chunks of human endeavor effortlessly float through the mind. R. Smith ‘Basquiat: Man For His Decade’ in New York Times, 23 October, 1992 Read More
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