Jean Michel Basquiat


"Basquiat's career was incubated by the short-lived graffiti movement, which started on the streets and subway cars in the early 1970s, peaked, fell out of view, began all over again in the 1980s, peaked again, and finally receded, leaving Basquiat and the amusingly facile Keith Haring as its only memorable exponents. Unlike Haring, however, Basquiat never tagged the subways. The son of middle-class Brooklyn parents, he had a precocious success with his paintings from the start. The key was not that they were "primitive," but that they were so arty. Stylistically, they were pastiches of older artists he admired: Cy Twombly, Jean Dubuffet. Having no art training, he never tried to deal with the real world through drawing; he could only scribble and jot, rehearsing his own stereotypes, his pictorial nouns for "face" or "body" over and over again. Consequently, though Basquiat's images look quite vivid and sharp at first sight, and though from time to time he could bring off an intriguing passage of spiky marks or a brisk clash of blaring color, the work quickly settles into the visual monotony of arid overstyling. Its relentless fortissimo is wearisome. Critics made much of Basquiat's use of sources: vagrant code-symbols, quotes from Leonardo or Gray's Anatomy, African bushman art or Egyptian murals. But these were so scattered, so lacking in plastic force or conceptual interest,

that they seem mere browsing - homeless representation. "The claims made for Basquiat were absurd and already seem like period pieces. 'Since slavery and oppression under white supremacy are visible subtexts in Basquiat's work ,' intoned one essayist in the catalog to his posthumous retrospective at the Whitney Museum, 'he is as close to Goya as American painting has ever produced.' Another extolled his 'punishing regime of self-abuse' as part of 'the disciplines imposed by the principle of inverse asceticism to which he was so resolutely committed.' Inverse asceticism, apparently, is PC-speak for addiction. There was much more in, so to speak, this vein. But the effort to promote Basquiat into an all-purpose inflatable martyr-figure, the Little Black Rimbaud of American painting, remains unconvincing."

- From "American Visions", by Robert Hughes