Untitled Skull, 1981

In many of Jean-Michel Basquiat's works, autobiographical elements abound, with "Untitled" serving as a quasi-self-portrait. The skull depicted hovers between life and death—its eyes lack vitality, the face is sunken, and the head appears subdued, almost lobotomized. Amidst these somber features, vibrant colors and dynamic marks hint at an internal whirlwind. In this early piece, Basquiat weaves his personal iconography, referencing both modernist use of African masks and delving into the mask's symbolic exploration of identity. Unlike his usual bursts of energy, Basquiat dedicated months to this painting, evident in its intricate surface and imagery. Unveiled at his inaugural solo gallery exhibition in New York City, the painting's intensity mirrors Basquiat's anxieties about navigating the commercial art world's pressures.

 

Untitled Skull, 1982

In 1982, Jean-Michel Basquiat created "Untitled", a pivotal work from his most esteemed period. Notably, many of Basquiat's highest-grossing pieces at auctions stem from this prolific year. This artwork features a skull formed by black brushstrokes adorned with red, yellow, and white accents set against a vivid blue backdrop. Originally purchased for $4,000 in 1982, it transitioned from the Annina Nosei Gallery in New York to Phoebe Chason, who subsequently sold it to Alexander F. Milliken that same year. Following its 1984 auction at Christie's for $20,900 to Jerry and Emily Spiegel, the painting remained out of the public eye until then.

Dustheads, 1982

Set against a dark backdrop, the artwork features two slender figures resembling sticks. Sparse lines suggest a potential sidewalk. One of the figures takes center stage, bathed in vivid red hues, energetically waving hands and arms above the head.

The figures' eyes widen like saucers, adorned with concentric circles that give the illusion of spinning. A grin adorns one face, while the other, though less lively, still features enlarged eyes with concentric circles. Together, both visages exude a mask-like quality.

Irony of a Negro Policeman, 1981

In Basquiat's artwork "Irony of Negro Policeman", he delivers a pointed critique of his own race. The portrayal of an African-American policeman serves as a deliberate commentary on the control exerted by the white majority over African-Americans in the United States. Basquiat finds irony in the idea of an African-American enforcing rules that historically oppressed their own community. The figure in the painting is a commanding black presence, featuring a mask-like face and a hat resembling a cage. Positioned on the right, the words "Irony of Negro Policeman" convey Basquiat's perspective, while the term "Pawn" at the bottom right unequivocally expresses his opinion on the paradoxical role of an African-American policeman.

Untitled (Boxer), 1982

Boxer portrays an imposing figure of a colossal, black boxer dominating the canvas, with victorious hands raised high. This artwork distinctly captures the triumph of raw physical strength.

The infusion of abstract, geometric forms across the boxer's physique, notably on his face, imparts a quasi-otherworldly visage. Does the relentless pursuit of strength and combat prowess come at the cost of diminishing his inherent humanity?

In this artwork, Basquiat skillfully highlights the boxer's muscles using striking white strokes. The dynamic composition, characterized by bold lines and a vibrant energy, reflects Basquiat's distinctive neo-expressionist style.

Hollywood Africans, 1983

Part of Jean-Michel Basquiat's series addressing African American stereotypes in the entertainment industry, Hollywood Africans was created during his 1983 visit to Los Angeles. Autobiographical elements include depictions of the artist with Rammellzee and Toxic, his companions from New York, and his birth date digits: 12, 22, and 60. Historical references, like "Sugar Cane," "Tobacco," and "What is Bwana?" comment on the limited roles for black actors in early Hollywood. Basquiat's deliberate technique of crossing out words aims to emphasize them, highlighting issues of exclusion: "I cross out words so you will see them more; the fact that they are obscured makes you want to read them."

In Italian, 1983

Executed in 1983, "In Italian" incorporates a series of symbols dear to Jean-Michel, frequently featured in his diverse body of work. Notably, the genesis of the term "In Italian" remains absent from this particular painting. Singularly, Jean-Michel opted for the Italian word 'Sangue,' translating to 'blood.' Interestingly, he deliberately excluded the Italian term 'Sangue,' substituting it with the Latin equivalent, 'Sangre.'

Win $ 1’000’000, 1984

Immersed in the vibrant New York cultural scene of the 1980s, Basquiat actively collaborated with musicians, filmmakers, and fellow artists. Andy Warhol, a seasoned figure in the art world, held a special place in Basquiat's esteem. Amidst the challenges of fame and isolation, Basquiat discovered in Warhol not only a favorite artist but also a reliable advisor, confidant, and kindred spirit. Reciprocally, Warhol drew inspiration from Basquiat's boundless energy and infectious creativity.

During 1984 and 1985, they teamed up for a collection of pieces merging their unique silkscreen and painting styles. This artistic alliance between these giants was both prolific and groundbreaking, constituting 10% of Basquiat's overall artistic output.

Dos Cabezas, 1982

Dos Cabezas, meaning "Two Heads" in Spanish, is a mixed-media artwork in acrylic and oil stick on canvas, mounted on wood supports, featuring Jean-Michel Basquiat and American pop artist Andy Warhol. During the early 1980s, Basquiat, then an emerging artist, met his longtime idol, Warhol, thanks to an arranged lunch by art collector Bruno Bischofberger on October 4, 1982. The piece was hastily created by Basquiat immediately after the meeting and promptly sent as a gift to Warhol, showcasing his enthusiasm. This painting marked the commencement of a legendary relationship between the two iconic artists.

Riding With Death, 1988 (his last work)

Created shortly before Basquiat's passing in 1988, "Riding with Death" stands as one of his last paintings. Departing from his usual frenetic and vibrant style, this piece features a more subdued composition. Against a textured beige backdrop, Basquiat portrays an African-American figure riding a white skeleton. Despite its apparent simplicity, the artwork remains rich in symbolism, seamlessly weaving together references to culture, history, and society, a hallmark of Basquiat's intricate artistic language.