This is purely coincidental, but maybe ten days before I attended the massive new exhibit Jean-Michel Basquiat: King Pleasure, a pair of brazen art thieves attempted to steal one of the late artist’s paintings — valued at $45,000 — from a Chelsea art gallery in broad daylight. The crime was easily foiled as the couple — who, sadly, avoided apprehension — attempted to just walk out of the gallery holding the artwork. Ballsy! I mention this to illustrate the fact that Basquiat’s popularity hasn’t waned in the 34 years since his death from an accidental drug overdose at age 28. Though he did not get to live a long life, Jean-Michel Basquiat lives on through his art, and King Pleasure is here to make sure he is not forgotten.
While it was sad to say goodbye to Geoffrey, as he returned home to Los Angeles after a fun-filled week visiting me here in NYC, we added countess memories to our already bountiful cache of G and G Adventures and random good times! Here we are skipping to the front of the line at the Basquiat: King Pleasure exhibit, which you will be reading more about soon right here on The ‘Gig!
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At the time of his death in 1983, Michael Stewart was an aspiring young artist new to the scene, and the details of his death remain officially unsettled thirty-six years later. Stewart was arrested for allegedly writing graffiti in the First Avenue L train station in the early morning of September 15th, 1983, on his way home to Brooklyn after a night out with friends in the East Village. At around 3:30 AM, he was brought, hog-tied and comatose, by police to Bellevue Hospital, where he died thirteen hours later.
The Death of Michael Stewart (1983) represents the Basquiat’s attempt to envision Stewart’s encounter with the police that night, and pay tribute. Originally painted on a wall of Keith Haring’s Cable Building studio, laden with tags by numerous graffiti writers, Basquiat’s composition comprises three figures: two cartoonish policemen wielding their batons over the partially defined man between them. The figure, rendered in black paint, represents both Michael Stewart and the enormity of the history of violence against black bodies: it could have been any black man in the wrong place at the wrong time, in America. The word “Defacement?” hovers above the trio in the upper register, posing a question about defilement: Can the (alleged) desecration of property be an excuse for erasing a life? It is important to consider that during the 1980s, ‘defacement’ was frequently used interchangeably as a term for graffiti.
For Basquiat, who famously said about Stewart’s death, “It could have been me,” the tragedy brought to the surface his own conflicted status as a black artist in a city roiled by racial tensions and a predominantly white art world that in the early eighties was largely unengaged with the social and economic inequities of New York City. When Haring moved studios in 1985, he cut the work from the wall. In the spring or summer of 1989, he placed the painting in an ornate, gilded frame inspired by the decor of the Ritz Hotel in Paris where he often stayed. The painting hung above Haring’s bed until his death from AIDS-related complications in 1990, when it was bequeathed to his goddaughter, its current owner.
Photographed as part of the Exhibit, Basquiat’s Defacement: The Untold Story at the Guggenheim Museum in NYC.
It’s hard to believe that Eduardo Kobra’s Mount Rushmore of Art mural has been up for five months already, and it took me that long to photograph it in its finished state; but that what I finally had the chance to do on Easter Sunday, when I went for walk on the High Line. Continue reading Eduardo Kobra’s Mount Rushmore of Art Mural, Chelsea Gallery District
Fans of artists Andy Warhol and Jean-Michel Basquiat will not want to miss an exciting new play coming to the off-Broadway stage just in time for the Christmas season. Staged Dreams is pleased to present the world premiere of Collaboration: Warhol & Basquiat, a new American play written by Tony Award nominee, Calvin Levels and directed by Tony Award nominee, Lonny Price.