On view from Nov. 1, 2023, through Jan. 7, 2024, this is the first time the collaboration has been the subject of a major New York exhibition since Andy Warhol & Jean-Michel Basquiat at Gagosian Gallery in 1997. The exhibition is traveling from Fondation Louis Vuitton in Paris and has benefited from the collaboration between the two institutions.
The Brant Foundation is pleased to present Basquiat x Warhol at the Foundation's East Village location, curated by Dr. Dieter Buchhart and Peter M. Brant in collaboration with Dr. Anna Karina Hofbauer. On view from Nov. 1, 2023, through Jan. 7, 2024, this is the first time the collaboration has been the subject of a major New York exhibition since Andy Warhol & Jean-Michel Basquiat at Gagosian Gallery in 1997. The exhibition is traveling from Fondation Louis Vuitton in Paris and has benefited from the collaboration between the two institutions.
As the lot opened up to a salesroom populated exclusively by cameras and auction house specialists, Gemma Sudlow, a senior vice president at Christie's who was leading the auction, opened bidding at $40 million, and quickly brought its price to $52 million.And...
Soon, six bidders began to vie for the work, slowly pushing its price in increments ranging from $1 million to $3 million. After about six minutes of bidding, the nearly 6.5 foot-high (2 meters) painting hammered at $81 million. Auction house fees payable by the buyer added on another $12 million.And...
The painting was last purchased publicly in 2002, when it sold at Sotheby’s for just under $1 million. It then sold privately in 2007 for an undisclosed sum. The seller on Tuesday night, according to reports, was former Valentino chairman Giancarlo Giammetti; the buyer was not immediately known.Basquiat died of a heroin overdose in 1988 at his home-studio at 57 Great Jones St. between the Bowery and Lafayette. He was 27.
Without guiding text or a road map, laypeople may feel disoriented or find the space aloof. On the top floor, there is a skylight that brings in natural luminosity against the artwork. If you follow it, the rooftop offers a panoramic view of the city.
Although it belies any pedagogical purpose characteristic of civic institutes like public museums, the bare presentation does not detract from the ethos and impact of the artwork. For example, the second-floor stuns with a wall of paintings framed on signature canvas stretchers innovated by former assistant Stephen Torton, from floor to high-vaulted ceilings.
Beyond the high volume and overwhelming demand, Basquiat exhibitions diversify the demography of its attendees. Unlike any other artist before or since, Basquiat invites everybody into the museum — art nerds, hip-hop heads, immigrant kids, post-colonial ex-pats, rebels young and old, everyday Black and Brown folk, thirsty celebrities, and indeed rich white people too. Basquiat hails you to revel in his glorious defiance, then take a piss on the walls of an oppressor.
"The demand for tickets was not a huge surprise," Allison Brant told artnet News in an email. "We knew how beloved Jean-Michel Basquiat is and that people would not want to miss an opportunity to see this many works together again, especially in the East Village."
