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After Jean-Michel Basquiat - Lithography - Tuxedo, 1983
2015

$950List Price

About the Item

After Jean-Michel Basquiat - Lithography - Tuxedo, Black and White, 1983 Jean-MIchel Basquiat Black Stamp Signature, Numbered 17/250 Dry-Stamp Embossed of The Jean Michel Basquiat Estate Copyright, 2015 About Tuxedo : "Shortly after Jean-Michel Basquiat settled into a new studio in the gallery of Larry Gagosian’s Venice residence, in 1982, he and I started the production of the first of his large-scale silkscreen works. Composed from fifteen individual drawings and one collage on paper, this work, which upon completion would be titled Tuxedo, required a fair amount of technical know-how and some interesting choices by the artist. Basquiat wanted to reverse his original artwork from black images and text on a white background to white images and text on a black background. This was achieved photographically, turning the artist’s original artwork into one large silkscreen. During production, I didn’t give much thought to Basquiat’s intention in reversing the original artworks, but from the moment Tuxedo was completed, it became clear that his decision to turn everything black in the work into white and everything white into black was not merely a look he desired to achieve. Basquiat’s aesthetic decisions were his means of questioning certain social and cultural assumptions, with identity most important among them. Tuxedo was completed at virtually the same time in early 1983 that Basquiat produced the early rap record Beat Bop. Released on the label of the artist’s own Tartown Record Co., the long-playing album was made in collaboration with Fred Brathwaite, Toxic, A-One, Al Diaz, and Rammellzee. Basquiat’s cover art shared Tuxedo’s reversal of black-and-white imagery, further testifying to his fascination with the aesthetic look he had explored in that work. We timed the production of Tuxedo so that the completed artwork could be included in Basquiat’s exhibition at the Larry Gagosian Gallery in West Hollywood (March 8–April 2, 1983). It became a striking counterpart to the rich, colorful paintings, laden with multilayered images, that formed most of the exhibition. The reaction to Tuxedo was complicated. One of the artist’s biggest collectors at the time immediately committed to acquire the example on exhibit, only to change his mind on learning that the work was not unique, but one of an edition of ten. When the New York gallerist Tony Shafrazi asked Basquiat for a work for his upcoming exhibition Champions, the artist was excited to send another example of Tuxedo, only to be informed that the gallery had expected a painting for its “important” exhibition. Somewhat despondently taking Tuxedo back to his studio on Crosby Street, Basquiat responded by actually painting on this version of Tuxedo. Basquiat’s desire to include Tuxedo in the Shafrazi exhibition is meaningful for a number of reasons. Champions was the first important survey of the emerging generation of artists whose work reflected the new social and cultural currents in the downtown New York of the 1980s. Before their introduction in this and subsequent exhibitions (at the Shafrazi and Fun galleries), certain of these artists worked primarily on the streets. They soon became identified as “graffiti artists,” because they tagged primarily outdoor locations with images and texts. The Champions exhibition quickly became seen as marking the arrival and validation of this new generation, and their transformation from artists of the street to an accepted presence in established galleries. By presenting Tuxedo in this context, Basquiat wanted to introduce a completely new look; not only was the work distinctive, it was “cool.” It was for this reason that he named the work Tuxedo: the work conveys the qualities of elegance, refinement, and a sense of mystery that a tuxedo might bestow on its wearer. Basquiat’s choice of Tuxedo for this groundbreaking group show suggests his confidence that the work would immediately be perceived as a manifestation of cool, and, as such, would assert his unique voice in downtown hip-hop culture. Although he had a brief history as a graffiti tagger, he had moved on to the New York art world establishment. Tuxedo represented Basquiat’s new way of tagging, of making his aesthetic activity a declarative act. Just as all taggers have their “own arrow,” the key artistic choices resulting in Tuxedo, and especially the decision to reverse the whites and blacks, resulted in Basquiat finding a completely original means of expression. Tuxedo became his declaration that he still embraced the spirit of street culture." Source : Fred Hoffman & Gallery Gagosian Jean Michel Basquiat Estate fine Art lithograph Pop Art print is a very special and unique piece to add to your collection. The fine art print was printed in The United Kingdom in 2015 with the licensed authorized rights of The Estate of Jean Michel Basquiat. It features an artwork image originally created by Basquiat in 1983. Jean Michel Basquiat ( 1960 - 1988 ) was born to two Haitian immigrants in Brooklyn New York in 1960. His early creative career was as the Street graffiti artist nick named " Samo " in the late 1970's on New York City's Lower East Side. By the early 1980's with the help f his friend Andy Warhol, Basquiat began to make his emotionally charged aesthetically arresting Neo Expressionist paintings. In 1992 The Whitney Museum of Art did a retrospective exhibition of the life works of this great American Contemporary artists and master of social commentary. His work focused on suggestive dichotomies such as wealth vs poverty, integration vs segregation, and inner vs outer experience of the human condition. He appropriated poetry, drawing, painting, & married text and image with Abstraction and figuration. Basquiat's works had strong social commentary and deeper truths about the individual and the power structures of racism, and criticism of colonialism and support for class struggles. This fine art lithograph print is printed on high quality heavyweight archival paper stock. It is in excellent new condition with very light signs of handling.. Please see photos for condition reference. Size is framed.

Creation Year:
2015
Dimensions:
Height: 33.5 in (85.09 cm)Width: 23 in (58.42 cm)
Medium:
Lithograph
Movement & Style:
Street Art
After:
(after) Jean-Michel Basquiat (2001, American)
Period:
Late 20th Century
Condition:
Gallery Location:
Pasadena, CA
Reference Number:
Seller: basquiat txuedo1stDibs: LU40638021742

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