Galerie Bruno Bischofberger, Zurich
Private Collection
Private Collection, Geneva
Zurich, Galerie Bruno Bischofberger, Jean-Michel Basquiat, January 1 – February, 16, 1985
Hannover, Kestnergesellschaft, Jean-Michel Basquiat: To Repel Ghosts, November 28, 1986 – January 25, 1987
Malmö, Rooseum, Jean-Michel Basquiat, Julian Schnabel, April 8 – May 28, 1989
Marseille, Musée Cantini, Jean-Michel Basquiat – Une Rétrospective, July 4 – September 20, 1992
Trieste, Civico Museo Revoltella Galleria d’Arte Moderna, Jean-Michel Basquiat, May 15, 1999 – September 15, 1999
Lugano, Museo d’Arte Moderna, Jean-Michel Basquiat, March 20 – June 19, 2005
Jean-Michel Basquiat, exh. cat., Galerie Bruno Bischofberger, Zurich, 1985, p. 9, no. 3 (illustrated)
C. Haenlein, R. Thompson, Jean-Michel Basquiat: To Repel Ghosts, exh. cat., Kestnergesellschaft, Hannover, 1986, p. 73 (illustrated)
F. Roos, J. Deitch, Jean-Michel Basquiat, Julian Schnabel, exh. cat., Rooseum, Malmö, 1989, p. 42, no. 21 (illustrated)
M. Enrici, J.M. Basquiat, Paris: Editions de la Différence, 1989, p. 95 (illustrated)
B. Millet, Jean-Michel Basquiat – Une Rétrospective, exh. cat., Musée Cantini, Marseille, 1992, p. 131 (illustrated)
R. Marshall, Jean-Michel Basquiat, Whitney Museum of American Art, New York, 1992-1993, p. 34 (illustrated)
R. Marshall, J. Prat, Jean-Michel Basquiat, Paris: Galerie Enrico Navarra, 1996, vol. II, p. 136, no. 8
Jean-Michel Basquiat, exh. cat., Civico Museo Revoltella Galleria d’Arte Moderna, Trieste, 1999, p. 85 (illustrated)
L. Marenzi, Jean-Michel Basquiat, Milan: Charta Edizioni, 1999, p. 85 (illustrated)
R. Marshall, J. Prat, Jean-Michel Basquiat, Paris: Galerie Enrico Navarra, 2000, p. 220 (illustrated)
Jean-Michel Basquiat, exh. cat., Museo d’Arte Moderna, Lugano, 2005, p. 75, no. 34 (illustrated)
R. Chiappini, Jean-Michel Basquiat, Skira: Milan, 2005, p. 75, no. 34 (illustrated)
American • 1960 - 1988
One of the most famous American artists of all time, Jean-Michel Basquiat first gained notoriety as a subversive graffiti-artist and street poet in the late 1970s. Operating under the pseudonym SAMO, he emblazoned the abandoned walls of the city with his unique blend of enigmatic symbols, icons and aphorisms. A voracious autodidact, by 1980, at 22-years of age, Basquiat began to direct his extraordinary talent towards painting and drawing. His powerful works brilliantly captured the zeitgeist of the 1980s New York underground scene and catapulted Basquiat on a dizzying meteoric ascent to international stardom that would only be put to a halt by his untimely death in 1988.
Basquiat's iconoclastic oeuvre revolves around the human figure. Exploiting the creative potential of free association and past experience, he created deeply personal, often autobiographical, images by drawing liberally from such disparate fields as urban street culture, music, poetry, Christian iconography, African-American and Aztec cultural histories and a broad range of art historical sources.
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