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\"A collection of essential quotations and other writings from artist and icon Jean-Michel Basquiat. One of the most important artists of the late twentieth century, Jean-Michel Basquiat explored the interplay of words and images throughout his career as a celebrated painter with an instantly recognizable style. In his paintings, notebooks, and interviews, he showed himself to be a powerful and creative writer and speaker as well as image-maker. Basquiat-isms is a collection of essential quotations from this godfather of urban culture. In these brief, compelling, and memorable selections, taken from his interviews as well as his visual and written works, Basquiat writes and speaks about culture, his artistic persona, the art world, artistic influence, race, urban life, and many other subjects. Concise, direct, forceful, poetic, and enigmatic, Basquiat's words, like his art, continue to resonate.\"--Publisher's description.

The Ivorian author Koffi Kwahulé traces the genesis of the American Black painter Basquiat, father of graffiti and leading figure of the New York underground movement. The author's text, performed by three actors, three \"versions\" of the same Basquiat, is crossed by dance, the live music of the saxophone and is punctuated by visual inserts that prove the frenzy and urgency of creation that animated this meteor whose notoriety had not closed the intimate wounds.

Basquiat first came to prominence when he collaborated with Al Diaz to spray-paint enigmatic statements under the pseudonym SAMOأ. 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 historical context and look at his career through the lens of performance.

Director Tamra Davis pays homage to her friend in this definitive documentary but also delves into Basquiat as an iconoclast. His dense, bebop-influenced neoexpressionist work emerged while minimalist, conceptual art was the fad; as a successful black artist, he was constantly confronted by racism and misconceptions. Much can be gleaned from insider interviews and archival footage, but it is Basquiat's own words and work that powerfully convey the mystique and allure of both the artist and the man.

Francis Bacon, Lucian Freud, and Jean-Michel Basquiat were key figures in the resurgence of expressive figurative painting in the late twentieth century. All three made personal visual art, drawing their subjects from among the people and things they cared most about. Yet they worked in very different ways, toward very different goals. This paper considers how their differing motivations and methods resulted in radically differing life cycles of creativity, measured both by auction market outcomes and by the judgments of art scholars. The experimental art of Bacon and Freud developed gradually and produced masterpieces late in their long lives, whereas the conceptual Basquiat made his most innovative art well before his premature death.

\"Accompanying a major traveling exhibition, this first-ever survey of the rarely seen notebooks of Basquiat features the artist's handwritten notes, poems, and drawings, along with related works on paper and large-scale paintings. With no formal training, Jean-Michel Basquiat (1960-1988) succeeded in developing a new and expressive style to become one of the most influential artists in the postmodern revival of figurative during the 1980s. In a series of notebooks from the early to mid-1980s, never before exhibited, Basquiat combined text and images reflecting his engagement with the countercultures of graffiti and hip-hop in New York City, as well as pop culture and world events. Filled with handwritten texts, poems, pictograms, and drawings, many of them iconic images that recur throughout his artwork-teepees, crowns, skeleton-like silhouettes, and grimacing masks-and these notebooks reveal much about the artist's creative process and the importance of the written word in his aesthetic. With over 150 notebook pages and numerous drawings and paintings, this important book sheds new light on Basquiat's career and his critical place in contemporary art history.\"-- Provided by publisher.

Purpose>The price of a painting is determined by multiple variables, including color-related variables. Colors are important in an economic analysis. This study aims to analyze the paintings executed by Jean-Michel Basquiat (the famous street artist from the 1980s' New York City) and sold at auction to study the potential effect of color intensity, luminosity and color contrast on the prices of his paintings. The authors also study the case of the op art master, Carlos Cruz-Diez, as a robustness analysis to the main results. The analysis that the authors present may be of interest to academicians and to participants in the art market.Design/methodology/approach>The authors run a hedonic regression model considering 306 paintings (executed by Basquiat alone), and 41 works painted collaboratively between Basquiat and Warhol and sold at auction (2003–2017). The data and the images corresponding to each painting were hand-collected from the websites of several auction houses and complemented with information obtained from the Artprice and Blouin websites.Findings>Increases in color intensity, luminosity and color contrast have a positive effect on art prices. The authors also find that color intensity is even more recognized (as reflected by higher prices) for paintings belonging to Basquiat's most appreciated (understood as most expensive) artistic period (1980–1983) and during the second part of the sample period (2011–2017). The authors find similar results for Cruz-Diez. The authors also estimate that Basquiat's artworks made collaboratively with Andy Warhol are worth 55% less than those made only by Basquiat. An investment in Basquiat's paintings generated an average annual compounded return of 16.81% (2003–2017), clearly overperforming the S&P 500.Research limitations/implications>The main limitation of the hedonic regression method lies in the need to have a significant and varied sample to identify the true effect of each variable on the price of the good. Another limitation is that we are only able to use art prices from auctions, as this is the only comprehensive source of data that is publicly available. These two limitations are common to all studies that use the hedonic pricing model. This paper has implications not only for the art pricing (and more generally, asset pricing) literature, but also for the fields of psychology and marketing.Originality/value>This is the first paper that highlights the importance of analyzing the price impact of color intensity throughout the artistic periods of a painter, finding that color intensity is even more appreciated (as reflected by higher prices) for paintings belonging to an artist's most recognized period. In the case of color contrast, the authors present a novel way to estimate this variable.