Jean-Michel Basquiat
The Death of Michael Stewart, 1983
Acrylic and marker on sheet rock, framed, (86.4 x 101.6 cm)
Collection of Nina Clemente, New York
© Estate of Jean-Michel Basquiat. Licensed by Artestar
Photo: Allison Chipak
© Solomon R. Guggenheim Foundation, 2019
Basquiat’s ‘Defacement’: The Untold Story From June 21 to November 6, 2019, the Solomon R. Guggenheim Museum presents Basquiat’s ‘Defacement’: The Untold Story, a focused, thematic exhibition of work by Jean-Michel Basquiat (American, 1960–1988), supplemented with work by others of his generation.]]>
Source: Guggenheim Museum
”Basquiat’s ‘Defacement’: The Untold Story” explores a formative chapter in the artist’s career through the lens of his identity and the role of cultural activism in New York City during the early 1980s.
The exhibition takes as its starting point the painting “The Death of Michael Stewart”, informally known as “Defacement, created by Basquiat in 1983 to commemorate the fate of the young, black artist Michael Stewart at the hands of New York City transit police after allegedly tagging a wall in an East Village subway station. Originally painted on the wall of Keith Haring’s studio, the work was not meant to be seen widely and has rarely been exhibited in a public context. With approximately twenty paintings and works on paper by Basquiat and his contemporaries, this presentation examines Basquiat’s exploration of black identity, his protest against police brutality, and his attempts to craft a singular aesthetic language of empowerment. The works on view by Basquiat further illustrate his engagement with state authority as well as demonstrate his adaptation of crowns as symbols for the canonization of historical black figures.
Also featured are archival material related to Stewart’s death, including Keith Haring’s diary and protest posters, along with samples of artwork from Stewart’s estate. Paintings and prints made by other artists in response to Stewart’s death and the subsequent criminal trial of the police officers charged in his death include Haring’s “Michael Stewart—U.S.A. for Africa” (1985); Andy Warhol’s screenprinted “headline” painting from 1983 incorporating a New York Daily News article on Stewart’s death; David Hammons’s stenciled print titled “The Man Nobody Killed (1986), George Condo’s “Portrait of Michael Stewart” (1983) and Lyle Ashton Harris’s photographic portrait “Saint Michael Stewart” (1994), all of which are testaments to the solidarity among artists at the time and the years following.
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