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拍品专文
Throughout Jean-Basquiat's career there are a number of recurring subjects, themes and images that dominate his work. 'Justcome Suit' from 1983 is a great example of his early work that contains references to some of these catagories. In this work, the viewer firstly centres his attention on the 'Empire', which he painted on a few more occasions during the early eighties. The Empire State Building being one of New York's famous landmarks, refers to the artist's interest in city life. Coincidently, Basquiat's mentor and friend Andy Warhol, made a movie in which this same building is filmed in slow motion from the same angle for an interminable period of time.
On the left and right sides of 'Justcome Suit' the canvas is filled with graffiti motifs as well as with anatomy references. As Enrico Navarra points out "Basquiat's interest in graffiti dates, of course, to his own involvment in spray-painting graffiti on New York walls. And although he was friendly with and sympathized with the activity of a number of graffiti artists, he did not consider himself an authentic 'graffiti artist', primarily because his work was not executed in bold colours on subway trains." On the right hand side of the canvas we find an anatomy reference, Basquiat's interest in anatomy began when his mother gave him as a child Gray's anatomy book while recovering from surgery. From this book he gained his lifelong fascination with the body, particularly the skeletal structure, and his fondness for identifying these images in his paintings.
Basquiat was not only a highly sensitive artist but also a social thinker, who was tormented by everything that surrounded him. His style derives from many artistic sensibilties that were co-existing in the late 1970s and early 1980s. A reaction to the long phase of Minimalist domination exploded, and Basquiat was one artist who turned to the vocabulary of the masters of Abstract Expressionist movement, especially Jackson Pollock. He admired Pollock's densely overpainted and overlapping shapes and figures. He also admired Twombly's investigation of the relationship between painting and gesture and written language. Basquiat's visceral receptivity not only brought this back into the canvas like Twombly, but also brought some of Pollock's lyrical passion into painting (E.Navarra, 'Jean-Michel Basquiat', 1996, p.34).
On the left and right sides of 'Justcome Suit' the canvas is filled with graffiti motifs as well as with anatomy references. As Enrico Navarra points out "Basquiat's interest in graffiti dates, of course, to his own involvment in spray-painting graffiti on New York walls. And although he was friendly with and sympathized with the activity of a number of graffiti artists, he did not consider himself an authentic 'graffiti artist', primarily because his work was not executed in bold colours on subway trains." On the right hand side of the canvas we find an anatomy reference, Basquiat's interest in anatomy began when his mother gave him as a child Gray's anatomy book while recovering from surgery. From this book he gained his lifelong fascination with the body, particularly the skeletal structure, and his fondness for identifying these images in his paintings.
Basquiat was not only a highly sensitive artist but also a social thinker, who was tormented by everything that surrounded him. His style derives from many artistic sensibilties that were co-existing in the late 1970s and early 1980s. A reaction to the long phase of Minimalist domination exploded, and Basquiat was one artist who turned to the vocabulary of the masters of Abstract Expressionist movement, especially Jackson Pollock. He admired Pollock's densely overpainted and overlapping shapes and figures. He also admired Twombly's investigation of the relationship between painting and gesture and written language. Basquiat's visceral receptivity not only brought this back into the canvas like Twombly, but also brought some of Pollock's lyrical passion into painting (E.Navarra, 'Jean-Michel Basquiat', 1996, p.34).