Artists and their creative output is often inspired and sculpted by the cities they inhabit. We only have to cast our minds back to the famous ecole de paris in the 20th century to see how Miro, Mondrian and others drew from the French capital. Indeed, we commonly associate Warhol and Haring with New York, where Basquait hails from, and the artist himself is, very clearly, tied to the Big Apple. However, lesser known is his prolific and productive time spent in Los Angeles.
After years devoted to street art, Jean-Michel Basquiat embarked on a remarkable journey to fame in 1980, marked by a groundbreaking exhibition at the Times Square Show. His ascent to stardom saw him become a celebrated figure in New York City, earning recognition in Artforum, making his first sale to the iconic Debbie Harry of NYC punk fame, and forming a burgeoning bond with the legendary Andy Warhol. Amidst his numerous connections to the New York art scene, it's surprising to discover that a significant portion of Basquiat's artistic output—up to a quarter—was created thousands of miles away in a quiet California beach town.
In December 1982, Basquiat found himself in Venice, California, at the invitation of art dealer Larry Gagosian, who would later become a titan in the art world. At the time, Gagosian was still a burgeoning figure, having recently opened his first gallery. The two met in 1981 during one of Gagosian's trips to the East Coast, and Basquiat had his first exhibition on the West Coast in spring 1982. Over the next 18 months in Los Angeles, Basquiat would produce over 100 works, including some of his most pivotal pieces.
To commemorate this significant period in Basquiat's career, Gagosian presents "Made on Market Street," showcasing over 50 pieces created by Basquiat during his time in Southern California. Co-curated by Gagosian and art historian Fred Hoffman, who had collaborated with Basquiat in the past, the exhibition features loans from as far as Munich, Germany. Hoffman, reflecting on the timing of the exhibition, noted the heightened interest in Basquiat's work in recent years.
Hoffman describes Basquiat's experience in LA as congenial both personally and artistically. The laid-back atmosphere of Venice provided a refreshing change from the frenetic pace of New York City. Basquiat quickly immersed himself in the emerging LA hip-hop scene, even producing a track during his stay. According to Hoffman, Basquiat felt comfortable and recognized in LA, a stark contrast to the pressures he felt in New York.
A centerpiece of the exhibition is "Tuxedo," a monumental work co-created by Basquiat and Hoffman. This piece, standing over 8 feet tall and composed of 15 individual drawings and a collage, exemplifies Basquiat's artistic vision. The inversion of black and white in "Tuxedo" reflects themes central to Basquiat's art, exploring the identity of a Black man in a predominantly white world.
"Tuxedo" showcases many of Basquiat's trademarks, including his iconic three-pointed crown and his use of obscured words to draw viewers in. The piece is laden with references and imagery, offering glimpses into Basquiat's complex ideas and influences.
The exhibition also brings together major works like "Flexible," "Gold Griot," and "M," displayed together for the first time. These pieces, notable for their use of salvaged wood slats, mark a turning point in Basquiat's iconography, evoking qualities of royalty and divinity.
Through "Made on Market Street," Gagosian aims to deepen our understanding of Basquiat's work and legacy. Hoffman emphasizes the importance of exploring Basquiat's vision in greater depth, positioning him among the artistic giants of the past. As interest in Basquiat continues to soar, exhibitions like this shed new light on his extraordinary talent and unique perspective. To purchase tickets for the exhibition, visit the official website.
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