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Can I read “SAMO© as an Escape Clause”: Jean-Michel Basquiat's Engagement with a Commodified American Africanism on EtoBox?
“SAMO© as an Escape Clause”: Jean-Michel Basquiat's Engagement with a Commodified American Africanism by LAURIE A. RODRIGUES is a Social Sciences article available to read on EtoBox.
What is “SAMO© as an Escape Clause”: Jean-Michel Basquiat's Engagement with a Commodified American Africanism about?
Heir to the racist configuration of the American art exchange and the delimiting appraisals of blackness in the American mainstream media, Jean-Michel Basquiat appeared on the late 1970s New York City street art scene – then he called himself “SAMO.” Not long thereafter, Basquiat grew into one of the most influential artists of an international movement that began around 1980, marked by a return to figurative painting. Given its rough, seemingly untrained and extreme, conceptual nature, Basquiat's high-art __oeuvre__ might not look so sophisticated to the uninformed viewer. However, Basquiat's work reveals a powerful poetic and visual gift, “heady enough to confound academics and hip enough to capture the attention span of the hip hop nation,” as Greg Tate has remarked. As noted by Richard Marshall, Basquiat's aesthetic strength actually comes from his striving “to achieve a balance between the visual and intellectual attributes” of his artwork. Like Marshall, Tate, and others, I will connect with Basquiat's unique, self-reflexively experimental visual practices of signifying and examine anew Basquiat's active contribution to his self-alienation, as Hebdige has called it. Basquiat'
Who reads “SAMO© as an Escape Clause”: Jean-Michel Basquiat's Engagement with a Commodified American Africanism?
It is typically read by researchers, students, and practitioners in Social Sciences.
- Author
- LAURIE A. RODRIGUES
- Publisher
- Cambridge University Press (CUP)
- Published
- 2010
- Language
- EN
- Field
- Social Sciences