in 1982 at the age of just 22 years old Jean-Michel Basquiat would produce this painting.
A powerful and dazzling image, that mixes text, colour, symbolism, and mark making in a raw and
uncensored explosion. In a single painting, he would use his instinctive powers of visual language
to say everything he wanted to say: About America, about art and about being black in both worlds.
Basquiar's meteoric rise in the early 80s sent shockwaves through downtown Manhattan.
In the New York art scene at the time he stood out not only as a black man in the
white-washed world of art, but also as an artist who brought attention to its ethnic imbalance.
And he would become one of the few black painters to break through into international consciousness.
"I don't see - I know black people are never really portrayed realistically and - not maybe not -
I mean not even portrayed in modern art - enough"
Basquiat would show the faces, and name the names of countless millions of people that had been disregarded by art history.
He would shake the art world, with paintings that depict the black experience.
Paintings that would be placed in museums - that were designed for a whole different audience.
1982 was Basquiat's year. He was a rising star at the height of his powers and this would be his
most mythical and sought after painting. A painting that after its initial sale was not seen in public for over 30 years.
In fact only a tiny photo of it survived - as proof it ever existed.
Then in 2017, it came up for auction.
When Jean-Michel Basquiat was in New York in 1978, it was a low-rent, high crime bankrupt city.
Downtown Manhattan was a grubby Mecca for the artist, the musician, and the filmmaker.
Everyone was creative and "everyone" was going to make it big.
People assumed that Basquiat was an uneducated, uncultured graffiti artist from the ghettos,
with an almost supernatural talent. It was partly a deliberate myth he constructed himself
and partly, people's expectations of what a scruffy, dreadlocked, black artist could be.
But he wasn't the "noble savage" the press liked to portray him as. On the contrary he was an intensely
ambitious middle-class young man, who knew his art history - particularly when it related to the
presence and absence of blackness in western art.
Basquiat was born to a Haitian father and a Puerto Rican mother,
in a solidly middle class household in Brooklyn. Privately educated, he was
a gifted child, who could read and write by the age of four, and would speak three languages fluently.
He was very close to his mother, who encouraged his artistic side. She took him to see "Guernica" as a child,
at the Museum of Modern Art - and enrolled him as a junior member of the Brooklyn Museum of Art.
The young Basquiat would spend every second drawing. Unfortunately his mother was committed
to a psychiatric hospital when he was 13 and he would leave home for good at 17.
At first he lived rough on the streets of Manhattan and in fleabag hotels.
Graduating to friends and lovers sofas and beds. Then in 1978 he would team up with an old school
friend, Al Diaz and they would form the street art duo "SAMO".
Basquiat's career started with text
Under the pseudonym SAMO, Basquiat and Diaz began spray painting on buildings in the Lower East side.
But while graffiti was about "tagging", marking out territory, SAMO wrote more than just a name.
If this was graffiti at all, it was something quite different. They were poets and provocateurs, writing
cryptic messages on walls next to art galleries. TV: "Mr. Samo and his associates..."
But for Basquiat, it was just a means to an end. He wanted to become rich and famous, and SAMO was a way to get noticed
by the press and the public. In 1980 at the height of their fame, he called it quits and went solo.
He never considered SAMO to be "graffiti". To him, they were statements and poems - yet even when he was
hugely successful, Basquiat would be described as "a graffiti artist" or an "ex-graffiti artist".
A term that he thought, tied his work with the uneducated and unsophisticated.
A term he found simplistic and racist.
He moved into the east village with Alexis Adler.
Because he had no money for canvases, he would paint on the floors, walls, doors, and furniture.
Then he would make postcards, which he sold for a dollar on the streets. It was while selling postcards in Soho,
that Basquiat spotted Andy Warhol at a restaurant. He was a big fan of Warhol's and
was thrilled when he sold him a postcard titled "Stupid Games / Bad Ideas". It features the naughts and crosses
he will incorporate into "untitled". Warhol was intrigued by this paint-splattered street kid,
and a couple of years later, would initiate a collaboration - and hook onto Basquiat's rising star.
There was a marketable glamour to being a down-and-out prodigy, but it was an act for Basquiat.
His reference points were fine artists, like Cy Twombly and Jean Dubuffet. Writers like Jack
Kerouac, Alan Ginsberg, and William Boroughs - and musicians like David Bowie and Miles Davis.
Basquiat, would look at how early rappers at the time use "samples" and he would apply that to his artwork.
In the same way musicians borrowed from James Brown, he borrowed from Rauschenberg,
Picasso, African art - and referenced his own Haitian and Puerto Rican heritage.
He would paint several canvases at once - have dozens of reference books around him - have music on
full blast and the TV on at the same time. His reference points were many, and eclectic:
Anatomy, Poetry. Jazz, Trash TV, Typography and Art History. They enabled him to create visual
collages, which were profoundly original and at the same time
rooted in a rich linguistic history. He would fuse words and texts together instinctively.
Like a musician.
But it was colour that held his works together. Basquiat was a master colourist
and would use oil stick with spray paint, crayons and acrylics, undiluted primary colours layered in rapid
succession - and he would build his figures up by reinforcing and over drawing every line and form.
The words here have been scratched out and painted over, in a conscious borrowing of an
old masters technique known as "Pentimento". This was a signature motif of Basquiat, who would say:
"I cross out words, so you will see them more. The fact they are obscured makes you want to read them"
He would use his work to highlight black heroes, and the "Double A" we see in Untitled,
may represent "Aaron", a reference to Hank Aaron, the celebrated African-American baseball player,
a childhood idol of Basquiat, and the first of his heroes to be crowned or "sainted" in his paintings.
Crowns in western art, come loaded with historical baggage, and Basquiat would use the symbol of
the crown, to challenge notions of "Race" and "Power".
He would crown black heroes.
For him the three-pointed crown he used mostly represented athletes, musicians, and writers.
The crown raises the disenfranchised to Royal - even Saintly status.
Another symbol he used is the "copyright sign". He used it as an ironic attack on the mechanisms of
the art market, and as a sign of reclaiming authorship.
The coarse, spiked lines we see in his works, read as barbed wire. A common sight in the rundown New York of the 80s.
It has also been interpreted as metro lines, but it is the skull we mostly associate with Basquiat.
In 1968 at the age of seven, Basquiat was badly hit by a car, while playing in the street,
and had to have his spleen removed. As he recovered, his mother bought him the textbook "Gray's Anatomy",
which he memorised. Anatomy would become a central theme in the artist's practice.
That obsession, is at its most unforgettable in his depiction of human skulls. These are the skulls of generations
of slaves, the voodoo skulls of Haiti and the primitive African masks, so long appropriated in Western art.
Basquiat's career would coincide with the arrival of the Neo-Expressionist movement,
a return to painting, and the re-emergence of the human figure.
And this raw and powerful image would announce the arrival
of the virtually unknown young artist, as one of the movement's leading figures.
After finishing "Untitled" in January 1982, New York gallerist Annina Nosei
gave him a studio underneath her gallery, so he could work on his first solo show with her.
A rumour started, that a "wild, black runaway" was churning out masterpieces while being kept in the basement.
"That's just... um... this has a nasty edge to it. you know? I mean i was never "locked" anywhere... I mean...
ah Christ. No no it's just....
If i was white, they would say "artists in residence", rather than sell that other stuff..."
It has been said that Basquiat's driving force, was a desire to be accepted, after rejection by his father.
Fame gave him that - and a lot of money - but he would never be totally accepted.
He sold his first painting to Debbie Harry of Blondie, for two hundred dollars,
and within a year, he was selling paintings for twenty thousand dollars,
faster than he could paint them. His solo show at Annina Nosei gallery was a huge success.
He found himself painting in Europe and California. Living with Madonna and befriending Warhol.
He may have been living a lavish lifestyle - but he still faced racism. Every day.
He would leave successful opening parties, and find it impossible to get a cab.
In stores, he was always followed by a security guard. He would be refused entry into expensive restaurants,
and once he was held up for two hours at the airport, and questioned
as to how a black man with dreadlocks could afford to fly in first class.
For Basquiat, "making it" didn't mean getting a show, a dealer, or even making a fortune. He wanted recognition
from major critics, curators, and art historians. "The establishment". But there was prejudice against him:
For his youth, for his graffiti connection, for being untrained, and for his subject matter.
He met Warhol again in 1982 this time for a lunch arranged by his art dealer. Basquiat had always
admired Warhol, and perhaps he saw this as an opportunity to reach the art world establishment?
Basquiar went home after the lunch, and within two hours, a painting was delivered to Warhol, still wet,
of him and Basquiat. This painting started the deep friendship between the two artists,
and their collaboration began. It is a myth though that Basquiat's career really took off when
he hooked up with warhol. He was already famous or Warhol wouldn't have been interested in him.
Their relationship, both professionally and personally, was symbiotic. They needed each other.
Warhol's career had stagnated and he needed new life breathed into it, and Basquiat needed access
to the art world elite. Their second exhibition of joint paintings in 1985 was slaughtered by critics,
and torn apart by the media. One critic called Basquiat "Warhol's mascot", which hit him really hard.
The friendship never really recovered and Basquiat severed ties with Warhol.
Despite the the press attacks, there was a genuine love and respect between the two artists.
Warhol was one of the few people he would listen to, when it came to advice on curbing his drug use.
Warhol, it was said, loved Basquiat like a son. Just over a year after their friendship ended, Warhol
died suddenly, during a routine operation. Basquiat was devastated, he became increasingly isolated and
his heroin addiction and depression grew out of control.
A year later, he too would be dead.
"Is there any anger in you? Any anger in your work? "yeah of course there is..."
"Talk about that, tell me what the anger is..."
"What are you angry about?"
Unable to deal with the demands that fame brought him, in 1988 at the age of just 27
Jean-Michel Basquiat, the most successful black artist in history - died from a heroin overdose.
His meteoric rise - and often controversial career - had lasted for just seven years.
Basquiat, was an artist who was as dedicated to his craft, and just as aware of his legacy as Michelangelo or Picasso.
Like all of the artists i've looked at in this Great Art Explained series,
Jean-Michel Basquiat was driven, ambitious, and worked extremely hard.
When Madonna lived with him, she said she would wake up at 4.00 am and would find him still painting.
He had a desperate need to create, and in his short career he would produce over 2 000 works of art.
But he would never compromise to reach his goal - never dilute the message.
His raw and brutal works, draw on the problems faced by African Americans in the US.
They are as relevant now, as they were 40 years ago.
Yet despite his importance, there are almost no works by him in public collections.
Not a single one in the UK, and very few internationally.
"Untitled" had been in the same private collection since it was bought in 1984 for $19,000.
When it came up for auction in 2017, it reached the highest price ever paid for a work,
not just by a black artist, but by any American artist, including Andy Warhol.
110 million dollars.
His art is inextricably linked to his life. His charisma and drive, his race, his talent, and his untimely ending
His works, live on as a testament to his talent for placing the immediacy of the everyday into his art.
Jean-Michel Basquiat's career was brief and spectacular.
But continues to cast a long shadow over the art world.