Jean-Michel Basquiat
Art Vent Letting the Fresh Air In
March 9, 2013
JEAN-MICHEL BASQUIAT
Untitled (Julius Caesar on Gold), 1981
Acrylic and oil paintstick on canvas
50 x 50 inches (127 x 127 cm)
© The Estate of Jean-Michel Basquiat/ADAGP, Paris, ARS, New York 2013
Every year at this time my friend, Terry Perk, comes from England with his students from the University for the Creative Arts and I take them on a gallery tour of Chelsea. Last year the art was so bad I was embarrassed for New York. This year it was a feast, although really, the Basquiats alone would have made the trip worthwhile. Terry says they don’t really know Basquiat in England; there have been no major shows, and the printed images give no indication of their power.
Basquiat had a formidable effect on my life – to the point that in the mid-1980s I stopped painting and withdrew from the gallery I was about to join. I envied the freedom in his work and hated what I saw as orderliness and constraint in mine. I thought, “If I can’t do that, why bother?” My absence from the studio lasted only a few months, but I would not show for another ten years, which was how long it took me to learn to appreciate what was, if uncomfortably, indelibly mine. My method was to make paintings so personal that no one would be interested in exhibiting them. Proof of this is that my first painting from that time, All the Numbers in My Head includes my Social Security number and my AmEx number. I had used writing in my paintings since 1976, but often it was obscured. Now, since I was sure no one was going to see them, I could be more revealing. Eventually they turned into paintings derived from my journals that were ultimately shown at the same gallery I'd been talking to ten years before – although that was pure coincidence since, in the interim, the gallery had a complete change of personnel. Seeing the Basquiats today, those spooky Boettis down the street—preceded by the work of Suzan Frecon and the late Alan Uglow, artists with whom I’ve had connections in the past—is almost too much to process. All of those exhibitions I’ve now been to several times, each visit more satisfying than the next, as well as the transfixing video by Ragnar Kjartansson at Luhring Augustine, with whom my relationship is, at least as yet, uncomplicated.
Basquiat had a formidable effect on my life – to the point that in the mid-1980s I stopped painting and withdrew from the gallery I was about to join. I envied the freedom in his work and hated what I saw as orderliness and constraint in mine. I thought, “If I can’t do that, why bother?” My absence from the studio lasted only a few months, but I would not show for another ten years, which was how long it took me to learn to appreciate what was, if uncomfortably, indelibly mine. My method was to make paintings so personal that no one would be interested in exhibiting them. Proof of this is that my first painting from that time, All the Numbers in My Head includes my Social Security number and my AmEx number. I had used writing in my paintings since 1976, but often it was obscured. Now, since I was sure no one was going to see them, I could be more revealing. Eventually they turned into paintings derived from my journals that were ultimately shown at the same gallery I'd been talking to ten years before – although that was pure coincidence since, in the interim, the gallery had a complete change of personnel. Seeing the Basquiats today, those spooky Boettis down the street—preceded by the work of Suzan Frecon and the late Alan Uglow, artists with whom I’ve had connections in the past—is almost too much to process. All of those exhibitions I’ve now been to several times, each visit more satisfying than the next, as well as the transfixing video by Ragnar Kjartansson at Luhring Augustine, with whom my relationship is, at least as yet, uncomplicated.
Carol Diehl, January, 1997
Oil on canvas, 36" x 36"
Oil on canvas, 36" x 36"
To see:
John Byam / Edlin / 134 Tenth Ave. / thru 3/16
Alan Uglow organized by Bob Nickas / Zwirner / 519 W 19 / thru 3/23
Suzan Frecon / Zwirner / 525 W 19 /
Matthew Weinstein; Elger Esser / Sonnabend / 536 W 22 /
Alighiero Boetti / Gladstone / 515 W 24 /
Ragnar Kjartansson / Luhring Augustine / 531 W 24 / thru 3/18
Andrew Masullo / Boone / 541 W 24 / thru 4/27
Jean-Michel Basquiat / Gagosian / 555 W 24 / thru 4/6
Thomas Nozkowski / Pace / 508 W 25 / thru 3/23
Thomas Nozkowski (drawings) / Pace / 511 W 25
Anthony McCall; James White / Kelly / 475 Tenth Avenue @ 36
Comments (7)
February 16, 2013
At the CAA: A lively, meaty panel on “Art Criticism and Social Media” chaired by Phyllis Tuchman, with Walter Robinson, Sarah Douglas, Lindsay Pollock, and Barry Schwabsky, where Walter Robinson tweeted throughout, looking up only to ask, “What was the question?” (I thought it was a hilarious commentary on the topic, although some stuffier members of the audience got their knickers in a bunch about it)…Facebook was compared to a modern day equivalent of the Cedar Bar, but happily more egalitarian and less sexist…one questioner lamented that art criticism doesn’t pay, to which Barry Schwabsky commented that it is a counter to economic rationale, was never really a true profession but something people do because they can’t help themselves….another asked how she could get traffic to her “small blog.” The most prominent Facebooker in the audience generously suggested that she post it on his page (anything that gets attention he leaves it up, otherwise, he takes it down) and there was some discussion of tweets, etc. but no one mentioned CONTENT, which is the way things really happen. You can tweet until kingdom come, but if it’s not interesting, no one will read it, whereas if it is, you can be re-tweeted into history—which is the beauty of the Internet.
Again, in another panel, more talk about the “how” rather than the “why” or “what”—this is where I want to start screaming, in Donald Trump fashion, “CONTENT, CONTENT, CONTENT!”—but Lindsay Pollock did address the importance of editors. So much writing on the Web, even when pretty good, lacks cohesion and focus. The irony is that the content that's written with the most thought and care—that in art magazines—gets the least distribution and dies an early death if it’s not archived online.
I walked past a booth flaking a “low residency PhD,” which tempted me for a moment, thinking how much fun it could be to go from no degree to a PhD and study theory and philosophy in an organized way, but immediately scotched the idea when I attempted another panel that opened with an incomprehensible presentation by a chaired Harvard professor, a specialist in African and African-American art who, among other flubs, could not correctly pronounce “Basquiat” or “Cote d’Ivoire” (“Bas-kee-yay” and “Coot Deever”—eek!).
The CAA job mill was humming, as usual, with interviewees scurrying about or sitting on the floor at the Hilton making last-minute touch-ups to their resumes, but—you read it here—I give the art school bubble another 10 years, maybe only five. With the move from professorships to low-paying adjunct positions, it’s unlikely students will put up with high tuition rates when the only jobs they can expect at graduation pay next-to-nothing and offer neither benefits nor security. At least there will be no need to complain anymore about the academization of art—the academies will simply kill themselves.
Beyond the Hilton there was art to see: speaking of Basquiat (that’s “Bas-kee-yat”), a humongous museum-style show at Gagosian, Suzan Frecon’s lovely Tantric-like studies at David Zwirner, the sumptuous Boetti embroideries at Gladstone, and a sign of progress at Gavin Brownwhere, at the artists’ request, there were NO press releases available. Hooray!
Suzan Frecon
for a large painting – (malachite color), 2007
Watercolor on old Indian ledger paper
Framed: 15 3/4 x 18 1/2 inches (40.01 x 46.99 cm)
Paper: 9 3/4 x 12 1/2 inches (24.8 x 31.8 cm)
for a large painting – (malachite color), 2007
Watercolor on old Indian ledger paper
Framed: 15 3/4 x 18 1/2 inches (40.01 x 46.99 cm)
Paper: 9 3/4 x 12 1/2 inches (24.8 x 31.8 cm)