Albertina, Bécs
2022. szeptember 9 – 2023. január 8.
Untitled, 1982, Oilstick on paper
Irony of a Negro Policeman, 1981, Acrylic and oilstick on wood
La Hara, 1981, Acrylic and oilstick on wood
The Blacks are the protagonists in most of my paintings. I realized that I didn’t see many paintings with Black people in them.
Jean-Michel Basquiat
Warrior, 1981, Acrylic and oilstick on wood
Untitled, 1982, Oilstick on paper
Pater, 1982, Acrylic, oil and colored oilstick on canvas | Untitled, 1982, Acrylic, oilstick and spray paint on wood
Untitled (Pollo Frito), 1982, Acrylic, oil and enamel on canvas
Pork, 1981, Acrylic, oil and oilstick on wood and glass door
Made in Japan I, 1982, Acrylic and oilstick on paper on canvas | Untitled (Self-Portrait), 1982, Oilstick and ink on paper
Untitled (Self-Portrait), 1982, Oilstick and ink on paper
Magic doesn’t especially interest me. What I like is the intuition that tells me that a work is finished. I’m not an elitist artist, but an autodidact who would like to be part of the family of artists.
Jean-Michel Basquiat
Untitled (Prophet I), 1981, Acrylic, oilstick, and paper collage on canvas
Untitled, 1982, Pastel on paper | Untitled, 1982, Oilstick on paper
Untitled (Infrantry), 1983, Acrylic on canvas
Untitled, 1983, Acrylic and oilstick on paper
Untitled, 1982, Acrylic and oilstick on paper
Untitled, 1982, Acrylic and oilstick on canvas
I start with a picture and then finish it. I don’t think about art when I’m working. I try to think about life.
Jean-Michel Basquiat
Untitled, 1983, Acrylic and oilstick on panel | Untitled, 1983, Oilstick on paperboard
I think I make art for myself, but ultimately I think I make it for the world.
Jean-Michel Basquiat
Flesh and Spirit, 1982/83, Acrylic, oilstick and paper collage on canvas
I don’t know if my being Black has anything to do with my success. I don’t think I should be compared to Black artists but with all artists.
Jean-Michel Basquiat
Untitled, 1982, Oil crayon on paper | Untitled, 1983, Oilstick on paper | Head, 1982/83, Oilstick on paper
I cross out the words to move them into the background a bit.
Jean-Michel Basquiat
Myth (Quetzalcoatl), 1984, Acrylic and silkscreen on canvas
Tuxedo, 1983, Silkscreen on paper
Untitled, 1983, Silkscreen on canvas
Grazing Soup to Nuts, 1983, Acrylic and oilstick on canvas
Untitled (Spermatozoon), 1983, Acrylic and oilstick on canvas
Self-Portrait, 1983, Oilstick on paper on wood
Jean-Michel Basquiat / Andy Warhol: Apples and Lemons, 1985, Acrylic, colored oilstick, and synthetic polymer paint silkscreened on canvas
Untitled (Andy Warhol), 1984, Oilstick and acrylic on paper
Joy, 1984, Acrylic, oilstick and Xerox collage on canvas
I’m an artist who has been influenced by this New York environment. But I have a cultural memory. I don’t need to look for it; it exists. It’s over there in Africa. That doesn’t mean that I have to live there. Our cultural memory follows us everywhere, wherever you are.
Jean-Michel Basquiat
Fool’s Fetish, 1984, Acrylic and oilstick on canvas
Untitled, 1982, Acrylic and oilstick on paper
Pedestrian 2, 1984, Acrylic and oilstick on canvas
Big Shoes, 1983, Oilstick and collage on canvas
Untitled, 1983, Acrylic and oilstick on paper
6 Months, 1987, Acrylic and oilstick on canvas
Untitled, 1984, Oil, photocopy, and collage on canvas | Untitled, 1984, Oil, photocopy, and collage on canvas
Amber Vision, 1988, Acrylic and oilstick on canvas
Item, 1987, Acrylic and oilstick on canvas
Light Blue Movers, 1987, Acrylic and oilstick on canvas
Untitled, 1987, Wax crayon on paper
Untitled, 1982, Collage, acrylic and oilstick on paper
Untitled (Streetball), 1985, Acrylic, oil, spray paint, oilstick and hardware on wood construction © Fotók: Eln Ferenc