ROBOT Triptych (Set of Three (3) Skateboards)

2017

Yayoi Kusama With All My Flowering Heart (Triptych), 2014 Set of Three (3) Separate Limited Edition numbered skate decks on 7-ply Canadian maple wood 31 × 8 × 2/5 inches (each) Hand ...

Larry Clark Untitled Larry Clark Kids Skateboard Skate deck, 2013 Screenprint on 7-ply Canadian maplewood skatedeck Signed on the deck 31 × 8 inches Long sold out 2013 skateboard dec...

The Skateroom x Estate of Jean-Michel Basquiat In Italian Skateboard Triptych, 2014 7 ply Grade A Canadian Maple wood (Set of 3) 31 1/2 × 7 9/10 in 80 × 20 cm Open edition Licensed...

Jean-Michel Basquiat - In Italian Date of creation: 2024 Medium: Digital print on Canadian maple wood Edition: Open Size: 80 x 20 cm (each skate) Condition: In mint conditions and never displayed This triptych is formed by three skate decks made of 7 ply grade A Canadian maple wood. © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York In Italian (1983) is one of Jean-Michel Basquiat’s iconic works, created during a peak period of his artistic career. The piece reflects his distinctive style, blending graffiti, expressive brushwork, text, and symbolism. Like many of his paintings, "In Italian" presents a powerful and chaotic composition where words, figures, and signs interact in a raw and energetic visual language. The title, In Italian, may suggest a reference to classical European culture—especially Italian Renaissance art—while at the same time subverting it through Basquiat’s urban, Afro-Caribbean perspective. His interest in contrasting high and low culture, refined and raw, is evident in this piece. The inclusion of text, often fragmented or cryptic, was one of Basquiat’s trademarks and serves here to provoke thought rather than deliver a clear message. In this work, Basquiat explores themes such as identity, language, cultural heritage, and the appropriation of symbols. The figure depicted—alongside the textual elements—appears almost mythological or totemic, reinforcing Basquiat’s tendency to elevate marginalized characters into powerful, almost divine figures. The brushstrokes are urgent, the colors bold, and the composition layered. It’s as if the viewer is meant to decipher a code—a mix of history, race, rebellion, and irony. Words in different languages, especially English and Italian, appear not to clarify meaning but to complicate it, suggesting the multilingual, multicultural environment Basquiat inhabited and commented on. In Italian is a prime example of how Basquiat merged influences from the streets of New York with art history, African-American identity, and global culture. It's a bold visual statement that challenges traditional canons and forces the viewer to reconsider what art is, who gets to create it, and which voices are heard. ABOUT THE ARTIST Jean-Michel Basquiat (1960-1988) was one of the most influential artists of the 20th century, famous for his ability to fuse urban culture, social criticism and art history into a unique style. Born in Brooklyn, New York, to a Haitian father and Puerto Rican mother, his life and work were shaped by his multicultural heritage, the New York art scene and the social tensions of his time. Although his career was brief, his impact on contemporary art has been lasting and significant. Basquiat showed an interest in art from an early age. His mother, Matilde Andrades, took him to museums and encouraged him to draw. At the age of seven, a car accident left him hospitalized for a time, and it was then that his mother gave him a copy of the anatomy book Gray's Anatomy, which influenced his fascination with the human body and its visual representation. Despite his early talent, Basquiat's family life was turbulent. His mother was hospitalized for psychiatric problems and his relationship with his father, Gerard Basquiat, was troubled. This instability contributed to Basquiat dropping out of school at age 17 to pursue his artistic career on the streets of New York. As a teenager, Basquiat joined the New York graffiti scene under the pseudonym SAMO (an acronym for "Same Old Shit"), which he used to sign his cryptic and poetic messages on the streets of Manhattan with his friend Al Diaz. SAMO's graffiti were a mixture of philosophical and social commentary on popular culture, capitalism and religion, and soon attracted the attention of the underground art scene. In 1980, SAMO "died" when Basquiat and Diaz decided to end their collaboration, marking the beginning of Basquiat's transition from street graffiti to art galleries. Basquiat emerged as a talent to watch in 1980, when he participated in the group exhibition The Times Square Show, which included other emerging artists from New York's Lower East Side scene. That same year, he attracted the attention of critics and collectors who saw in his work an electrifying blend of street art and neo-expressionism, the predominant movement of the time. In 1981, art critic René Ricard published the influential essay The Radiant Child in Artforum magazine, which positioned Basquiat as one of the most promising artists of his generation. Shortly thereafter, he met renowned artist Andy Warhol, with whom he formed a close friendship and significant artistic collaboration. This association was instrumental in catapulting his career into the world of high art. The collaboration with Warhol was a pivotal point in Basquiat's career. The two artists, although coming from very different worlds, shared a fascination with fame and popular culture. Together, they produced a series of works that combined Warhol's pop art icons with Basquiat's raw, spontaneous style. However, this collaboration was also a source of controversy. Many critics accused Warhol of "exploiting" Basquiat, while others saw the collaboration as a creative dialogue between two genius minds. Although the criticism was mixed, there is no doubt that the relationship between the two artists helped cement Basquiat's reputation in the art world. Basquiat's style is a unique amalgam of influences. His work is characterized by the use of dismembered human figures, skeletons and internal organs, evoking the fragility of the body and mortality. Basquiat also used symbols that alluded to African-American and African history, such as crowns, masks and references to historical figures such as Toussaint Louverture. The use of text is another crucial aspect of his work. Words, phrases and numbers appeared in his paintings, often crossed out or overlapped, creating a sense of controlled chaos. These fragmented words provoked a non-linear reading of his works and conveyed multiple layers of meaning. His art also reflected his concerns about racial issues, especially the place of people of African descent in Western art history and in society at large. The crowns that Basquiat often drew on his figures were a symbol of power and resistance, a way of proclaiming himself "king" in a world that had historically excluded black artists from the upper echelons of art. In works such as The Death of Michael Stewart...