Peace to SAMO

The Power of Art and Humanities by Ken Camell II

Most people are convinced that Jean-Michel Basquiat aka SAMO, died on August 22 in 1988, but nothing can be further from the truth. Basquiat lives on, not only in his artwork (graffiti, paintings, collogues) but, also within all of liberated, rebellious, free spirits that defy social norms. Basquist is rebel and revolutionary to the stereotypes that impede the artistic development of modern society. Basquiat transferred images straight from his soul and his works of art conveyed raw emotion. Towards the latter part of his short, but thorough career critics labeled his work has childish when in actuality his latter works (like his early works) were brutally honest and direct. Like my mom says “it doesn’t take all day to do nothing and it doesn’t take all day to do something” meaning it’s no surprise that Basquiat was capable and often did complete a body of a day. I’m aware that Geniuses have difficulty maintaining in a society overwhelmed by monotony and mediocrity in which gives me over standing to has of why a spontaneous and brilliant artist like Basquiat felt so isolated. In attempts to sustain sanity in shallow world, music, art and drugs became more than coping mechanism therefore music, art and drugs were Jean-Michel Basquiat’s therapy.

               Through the late 1970’s and early 1980’s graffiti artist begun to receive critical acclaim and Basquiat was the cream of the crop. Basquiat’s graffiti style was distinctive due to the references of racial tension as well has the emotion of liberation! Basquiat represents the untapped source, the raw aesthetic of the urban underground. Basquiat’s ambiguous (dual meanings) concepts were manifested through sketch figures and cultural symbols. Basquiat often revealed his painstaking process by crossing out and painting over images and phrases.

Basquiat conveyed the conflict of a dual conscience i.e. an American and a Black conscience. In the masterpiece “Blue Gyp Stock”, Basquiat clearly exhibits how Black people have received similar treatment to that of a stray dog. “Blue Gyp Stock” also displays how sports and music are the two main vices and refuge but both are bitter sweet due to the fact that we (Black athletes and musicians and artists) have treated like livestock since are forced exportation to the Americas.

 Numerous Basquiat paintings hold encrypted references of Black Liberation. In “Soup and Nuts”, Basquiat depicts how African culture and natural resources were consumed by the mouth of a monster (colonization). Basquiat symbolizes the slave and salt trade from Niger and oil exported from Nigeria both of which feed economical greed. Basquiat highlights how commercial exploitation are controlled by a ferocious few. Basquiat champions Ethiopia for their strong stance against Italy. Basquait also celebrates the Rastafarian culture/movement especially the brilliant Bob Marley. The 1930’s were vital in Basquiat sought knowledge of self (African roots). The harsh living conditions forced upon Black people in America (Jim Crow) and in South Africa (apartied) forced Basquiat to contribute so, in 1983 he collaborated on several pieces with fellow artists Andy Warhol and the collective work of art was entitled simply “Collaborations”.”Collaborations” resulted in the value of Basquiat’s artwork to go through the roof. Basquiat’s new found clout enabled him to deal significantly with the manipulation of the art market in which prompted him and Francesco Clemente (friend and fellow artist) to produce a benefit exhibit “Food for Soup Kitchens”, granting donations to the homeless. In 1984, Basquiat contrived “Ishatar”, albeit compared to Bob Marley’s 1978 album ”Babylon By Bus” where as the two works of art focalize Black Liberation i.e. in the 6^th Century B.C  the Jews were forced into Babylonian captivity(by Nebuchadnezzar) and in the 16^th Century A.D. Africans were forced into Colonial captivity(by European Countries).

In a time (1980’s) when Black artist weren’t common nor popular, Jean-Michel Basquiat emerged through the decadent cocaine induced art scene of New York city . Basquiat brought a new awareness to the forefront in which included; America’s conflicts, hypocrisy, and the contradictions of an antagonistic society. Basquiat was not isolated from the entire world, but only a certain segment and he felt every artist is alone in which, led to his solitude in which, influenced his death, in which led amplified his success. Basquiat artistic expressions included; Archaic (characteristics of an earlier period), comics, beat literature, history, jazz, hip-hop and consumerism.

 Basquiat’s left his imprint on the art world with his elegant yet, brutal style. Basquiat utilized words has an effective tool to inflict thought and emotion. For Basquiat language was a abstract expressionism, conceptual art and a neo expressionist figurative message. Jean Michel-Basquit was a “Radiant Child” to say the least; he possessed a bound less imagination. The themes of Regality (royal), Heroism and Street Life were Basquiat’s favorites and his style was expressive, primitive (yet futuristic) and at times viewed has infantile. With an clear conscious Basquiat held up a mirror in the face of America . Basquiat forced America to recognize the social and racial injustices that evade society’s priority list. Saxophone great Charlie Parker (who died at age 34) inspired Basquiat to create masterpiece paintings such as “Hollywood Africans” and “Charles the First”. In the composition of ”Zydeco” Basquiat gives respect to the music that originated in Francophone, LA in which fused R&B, Rock and Roll, Waltzes and Caribbean music that is played with an accordion and sung in English or French. “ King of Zulus” is an ode to Louis Armstrong(jazz great) who was avid supporter of the Civil Right Movement. Basquiat championed Jazz music for its innovations and improvisations. Basquiat identified especially with Charlie Parker, Miles Davis(Trumpet Great) and Jimi Hendrix(Guitar Great who died at the age of  27) because of their immense talent and destructive lifestyles. Basquiat was more than rising star, he was a hyper nova. Basquiat possessed a desire for life’s beauty and horror. Basquiat was the first Black artist to reach the apex of the art world by the age of 24.

Allen Ginsberg poem “Howl” embodies the East Village art scene when he stated” I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through negro streets at dawn looking for an angry fix, the sacrificial victim gave in chewed up piece by piece, Samo has now become another piece of enduring cud”.

 Basquiat paid homage to the artist that did fit America’s “wholesome” image i.e. “Undiscovered Genius” in which is a tribute to Jack Johnson the true father of Rock& Roll (who also died at the age of 27). Basquait expressed his admiration for resilient Black musicians and athletes such as; Billie Holiday, Louis Armstrong, Charlie Parker, Jack Johnson, Jesse Owens, Muhammad Ali , Sugar Ray Robinson and  Hank Aaron by donning crowns and halos upon their heads to exemplify that they are the Saints, Kings and Queens of modern times. Basquiat praised the originality and the often imitated but never duplicated styling of the Jazz era( of the 1930’s) and like the world craved for something new back then, Basquiat was the epitome of spontaneous creative energy. Basquiat’s ancestry was comprised of Haitian (father) and Puerto Rican (mother) in which, expanded his vast taste of music, especially Latin and Caribbean waves of sound. The extraterrestrial works of art created by Basquiat depleted his human energy and spirit similar to his idols Charlie ”Bird” Parker and Jimi Hendrix. Basquiat shares a parallel with jazz in the sense that he painted in rhythm, he understood the power of abstract expression, he was in tuned with his African roots and he captured the tempo of brushstrokes that breathed fresh life into the half dead art world

Basquiat felt that human beings are not abstract entities. Basquiat concluded that humans are never separated from the historical, social nor political context, in which they live. My major is Humanities, but my first love is art and since Art and Humanities go hand in hand it is impossible to have one without the other .I am a testament of this in the sense that I express my interpretations of reality through songs, poems and essays. There is a necessity for inspiring artists and humanitarians to receive proper funding, so with that said I thank you for this opportunity to share my sentiments toward the potential power of Art and Humanities.