{"id":108487,"date":"2025-03-18T12:55:22","date_gmt":"2025-03-18T03:55:22","guid":{"rendered":"https:\/\/voyapon.com\/?p=108487"},"modified":"2025-03-18T12:55:28","modified_gmt":"2025-03-18T03:55:28","slug":"jean-michel-basquiat-and-japan","status":"publish","type":"post","link":"https:\/\/voyapon.com\/jean-michel-basquiat-and-japan\/","title":{"rendered":"High and Low: Jean-Michel Basquiat and Japan"},"content":{"rendered":"\n

In the 1980s Jean-Michel Basquiat<\/strong><\/a> \u30b8\u30e3\u30f3=\u30df\u30b7\u30a7\u30eb\u30fb\u30d0\u30b9\u30ad\u30a2<\/strong> emerged as probably the first real-deal African-American art superstar. Beginning as a graffiti artist on the crusts of popular culture he rampaged through New York signing his public work as SAMO<\/strong> (meaning \u2014 Same Old Shit), he graduated into one of the most prominent painters of the 20th century. An artistic and cultural magpie<\/strong>, he took from and referred to native African art, Da Vinci, Picasso, Pollock and his beloved mentor Andy Warhol. Basquiat, a beautiful man, charismatic, shy with an astounding talent and a massive influence on contemporary art which can still be felt today. <\/p>\n\n\n\n

\"\"
Andy Warhol, Jean-Michel Basquiat, Bruno Bischofberger and Fransesco Clemente, New York, 1984. Photo: Attribution-Share Alike 4.0 International<\/a><\/figcaption><\/figure>\n\n\n\n
Table of Contents<\/span><\/span><\/span>