‘What has propelled [Basquiat] so quickly is the unmistakable eloquence of his touch. The linear quality of his phrases and notations shows innate subtlety-he gives us not gestural indulgence, but an intimately calibrated relationship to surface instead’ (L. Liebmann, 1982, quoted in M. Franklin Sirmans, ‘Chronology,’ in R. Marshall (ed.), Jean-Michel Basquiat, exh. cat., Whitney Museum of American Art, New York, 1992, p. 239).
Rendered with raw, impulsive strokes of oilstick on paper, Jean-Michel Basquiat’s Self-Portrait is a powerful statement of the artist’s self-image at the height of his meteoric career. With demonic red eyes and a messianic cloak, Basquiat casts himself as monster and saint, fiend and prophet. The previous year, the twenty-two year old artist had made the pivotal transition from street graffitist to undisputed king of the New York art scene, cementing his international reputation through a series of prestigious accolades. Having moved out of his dealer Annina Nosei’s basement into a liberating seven-storey loft space on Crosby Street, his solo exhibitions in Los Angeles, Zurich, Rome and Rotterdam were followed by an invitation to Documenta 7, where he was the youngest artist within a line-up of contemporary masters including Gerhard Richter, Joseph Beuys and Cy Twombly. Twombly’s schismatic linear style, born of intuition, chance and visceral instinct, had a profound influence on Basquiat, and is palpable in the graphic immediacy of the present work. At the same time, overtones of Egon Schiele’s Expressionist self-portraits linger in the figure’s hunched posture, whilst his wild head of hair brings to mind the landmark Fright Wig paintings that his friend, collaborator and mentor Andy Warhol produced just three years later. Throughout his career, Basquiat’s self-portraits played a pivotal role in his practice: the man and the myth were inseparable, and the art was powerfully fused with its maker – even, at times, featuring his own blood. As the dealer Fred Hoffman wrote, ‘Underlying Jean-Michel’s sense of himself as an artist, was his innate capacity to function as something like an oracle, distilling his perceptions of the outside world down to their essence and in turn, projecting outward through his creative acts’ (F. Hoffman, ‘The Defining Years: Notes on Five Key Works’, in Basquiat, exh. cat., Brooklyn Museum, New York, 2005, p. 129).
JOHNNY DEPP’S ESSAY ON BASQUIAT
On a turbulent flight out of Vienna, en route to Paris, I was asked to write a couple of pages about the works of Jean-Michel Basquiat. The passengers on this bumpy journey – Enrico Navarra, Sebastian Moreu, and myself were in the throes of what happened to be an enormous Austrian pork hock... at least we hoped it was. We’d acquired the beast at a small, run down, carnival-like market on the edge of Vienna. Our feast was primitive and ferocious. Speaking for myself, I can honestly say that it had been at least 24 hours since any solid had slithered down my gullet and my appetite was ravenous. And now, here we were, bearing down on this greasy pig meat and all too grateful for it, even as the plane dipped and jilted us around like kewpee dolls. The brain has been fed well that day, having just seen a collection of Jean-Michel Basquiat’s works and then on to another museum for a quick peak at a huge Warhol exhibition. All this information, in the matter of a few hours, is enough stimulation to drive any man to the nearest carnival-like market and throw down all of his coin for as much pork as humanly possible. So we did just that...
Between bites, Enrico brought up the idea of me writing something for the new and updated big book of Basquiat paintings he was about to re-publish. He said that if I wrote the piece, I should, at all costs, try to avoid writing about Basquiat’s life. Everyone, it seems, has a tendency to write more about the man than the work itself. This seemed fair enough, especially since I didn’t know the guy and had never met him, so the only thing that I really have is my opinion and my take on the legacy of what he left behind... in art. That, and of course, we seemed to share the same affinity for pork products. However, it is almost impossible to speak about his works without it becoming a crude dissection of the man. On any canvas or drawing, he spilled himself... maybe even without wanting to. His thoughts, his feelings – however fleeting, unfinished or incomplete are captured in that moment when he connected with his target. Early drawings show that he even literally shed his own blood onto the paper as proof of his commitment to the piece, his art... an acceptance of his destiny. A blood fusion, like a voodoo ritual, making the man and his art inseparable, an unholy bond merging the two into one.
If we really get down to brass tacks here, we can begin by saying that Basquiat is not for everyone. Much like pork is not for everyone. You either get it, or you don’t. One either loves with a passion, or despises with a vengeance. I’ve never heard of anyone saying, ‘Well, he’s okay, I guess...’ No, to my knowledge, that doesn’t happen with Basquiat. This is a very difficult result to achieve in any art form. The capability of not merely floating nicely in the middle, like a medium-tempered, semi-well-intentioned, virtually-invisible neighbor, whose passivity grates on one’s very being, but rather, the ability to speed like a bullet into the brains and bodies of the many jaded, and therefore ruined, intellectual art-hag and simpleton alike. That is the objective. It is a game of hit or miss. And when this motherfucker hits, he hits hard, on many levels.
There are some of his works that kill me and some that do absolutely nothing for me. But once you are touched by him, you are burned into either a kind of emotional stillness, or you may find yourself on the verge of doubling over into a painful belly laugh. Because as much honesty and history and life experience that he spewed into his drawings, paintings, objects, writings, whatever ... he had a killer sense of humor. Even in some of his most poignant works, his devilish sense of the absurd came through like gangbusters, completely unfiltered. As did his heartfelt disappointments in the human race, and his hopes for it. The signature imagery that comes to mind: the crown, the halo of thorns, portraits stripped of flesh, vital organs pumping blood- blue veined or devoid of any life, his childhood heroes Hank Aaron and Charlie Parker, etc., sainted for all eternity, the homage to his ancestry, endless references to his childhood ... he splayed himself open like a can of sardines for all of us to pick at, as he, in fact, devoured us.
He was never truly able to hide his feelings or influence in the work. He openly acknowledged Cy Twombly, Picasso, the word juxtaposition of William Burroughs and Brian Gyson, Andy Warhol, Leonardo da Vinci, Be Bop Jazz, T.V. programs and cartoons. He sometimes even used the drawings of his friends’ children as inspirations. His deep understanding and profound confusion with the American culture that he practically drowned himself in, was also an infinite reservoir from which he could draw upon for his chaotic assaults.
Looking at these works, one cannot escape without feeling the almost perverse sense of care taken to raw detail with what seems an acute distracted concentration. However crude the image may be or how fast it appears to have been executed – every line, mark, scratch, drip, footprint, fingerprint, word, letter, rip and imperfection is there because he allowed it to be there.
His paintings and drawings come alive for me every time I look at them, and if Jean-Michel Basquiat had stuck around for a bit longer, I like to think that he might have eventually moved into animation, for a time at least, combining his music, his language and drawings into an arena seemingly more palatable to the rank and file, but one that would have opened the floodgates for his messages to attack the masses. Something akin to Lenny Bruce’s ‘Thank You Mask Man’, an ingenious weapon that enabled him to scatter his divine tirades out into the world without the hammer of censorship slamming him hard.
Had Jean-Michel Basquiat lived through the fatal times that eventually took him away from this world, there’s no telling what he would’ve been able to do. The possibilities are endless.
Nothing can replace the warmth and immediacy of Basquiat’s poetry, or the absolute questions and truths that he delivered. The beautiful and disturbing music of his paintings, the cacophony of his silence that attacks our senses, will live far beyond our breath. Basquiat was, and is music ... primitive and ferocious.
Published in E. Navarra, Jean-Michel Basquiat, Paris 2000, pp. 16-17.