{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Preview of the Basquiat retrospective exhibition in Paris' data-url='/boclips/videos/5c54c42fd8eafeecae166d97' data-video-url='/boclips/videos/5c54c42fd8eafeecae166d97' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nPreview of the Basquiat retrospective exhibition in Paris\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eAP Television City Museum of Modern Art, Paris, 13th October 20101. Close up photo of Basquiat2. Tilt down Basquiat in his studio 19853. Various of tour 4. SOUNDBITE (English) Fabrice Hergott, Chief Curator of City Museum of Modern Art,...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eAP Television \u003cbr/\u003eCity Museum of Modern Art, Paris, 13th October 2010\u003cbr/\u003e1. Close up photo of Basquiat\u003cbr/\u003e2. Tilt down Basquiat in his studio 1985\u003cbr/\u003e3. Various of tour \u003cbr/\u003e4. SOUNDBITE (English) Fabrice Hergott, Chief Curator of City Museum of Modern Art, Paris: \u003cbr/\u003e\"He was very young, and he was very full of energy, he was the incarnation of what could be a young American artist, with his French culture. He was very open to everything. And I think in France we have a very deep interest for Africa, for the history of France. And the way he was showing his painting, his subjects, was very touching for people here.\" \u003cbr/\u003e5. Various of painting\u003cbr/\u003e6. SOUNDBITE (English) Dieter Buchhart, Curator of the Basquiat exhibition: \u003cbr/\u003e\"He was like manic, drawing permanently, everywhere where he was more or less, he was drawing. And in his paintings the drawing component is one of the most important. More or less all of the paintings are all the drawings at the same time.\" \u003cbr/\u003e7. Various of Zydeco (1984) \u003cbr/\u003e8. SOUNDBITE (English) Dieter Buchhart, Curator of the Basquiat exhibition: \u003cbr/\u003e\"He was never seen as a graffiti artist, even if he did graffiti. But those graffiti were very poetic, very conceptual. And that's already the basis that he would keep on with postcards; like in a collage style inspired by Rauschenberg, and keeps on painting, drawing on everything around him, surrounding him.\" \u003cbr/\u003e9. Close up of painting \u003cbr/\u003e10. SOUNDBITE (French) Marie-Sophie Carron de la Carri�re, Curator of the Basquiat exhibition: \u003cbr/\u003e\"We keep on finding in his painting a sycopal effect of words. He often sticks words and images together. He repeats words in his painting as a rapper could, to chant, to repeat the Gospel, which was one of his influences.\" \u003cbr/\u003e11. Various of \"Arm and Hammer II\" collaboration between Basquiat and Andy Warhol. \u003cbr/\u003e12. SOUNDBITE (English) Dieter Buchhart, Curator of the Basquiat exhibition: \u003cbr/\u003e\"He would rework it many times, he wouldn't be satisfied just with the first solution. People said, 'oh that was wonderful work you had in your studio, what's with that' - 'oh I over painted it.' So he would keep on and keep on the process of working. Also the composition was like that. It developed like in a process.\" \u003cbr/\u003e13. Various of people walking through the museum \u003cbr/\u003e14. SOUNDBITE (French) of Marie-Sophie Carron de la Carri�re, Curator of the Basquiat exhibition: \u003cbr/\u003e\"In his painting we see black silhouettes that can be seen as self portraits, but we can also see these black silhouettes in a plastic way. It is something that is very strong and that allows him to create a sign in the painting. He uses black for the colour itself. The black has virtues that he uses, it corresponds to skin colour, but he uses it really in a literal sense.\" \u003cbr/\u003e15. Various of paintings with the use of black \u003cbr/\u003e16. SOUNDBITE (French) of Marie-Sophie Carron de la Carri�re, Curator of the Basquiat exhibition:\u003cbr/\u003e\"He is of the same generation as Obama. Obama just celebrated his 49th birthday. Basquiat would be 50 today. So he also knew the entire issue, the difficulties with civil rights. It is at the beginning of the 60's. He was a part of the evolution of that society.\" \u003cbr/\u003e17. Various of paintings \u003cbr/\u003e18. Wide of Untitled Skull 1981, visitor walks into shot \u003cbr/\u003eA retrospective marking what would been Jean-Michel Basquiat's 50th birthday has opened to the public in Paris.\u003cbr/\u003eComprised of more than 100 pieces from museums and private collections in the United States and Europe, it is the largest retrospective of Basquiat's work that has ever come to France.\u003cbr/\u003eThe artist's death from a drug overdose in 1988 earned him a place alongside the likes of Jimi Hendrix, Jim Morrison and Janis Joplin in the \"27 Club\" of stars that died aged 27. \u003cbr/\u003eAt the end of Jean-Michel Basquiat's short life, the explosively talented but troubled New York artist had a dream  - to stage a major exhibit of his eye popping, doodle-covered work in Paris.\u003cbr/\u003eNearly 50 years after his birth, and 22 years after his death at age 27, Basquiat's wish has finally come true.\u003cbr/\u003e\"Basquiat,\" which opened Friday (15th October 2010) at the Modern Art Museum of the City of Paris, brings together more than 150 pieces that trace his rise from graffiti artist to star of the New York art scene.\u003cbr/\u003eThe son of a Haitian father and Puerto Rican mother, Basquiat was the first to break the glass ceiling that had kept black artists out of the art elite. \u003cbr/\u003e\"He was very young, and he was very full of energy, he was the incarnation of what could be a young American artist, with his French culture. He was very open to everything. And I think in France we have a very deep interest for Africa, for the history of France. And the way he was showing his painting, his subjects, was very touching for people here,\" says chief curator, Fabrice Hergott. \u003cbr/\u003eThe exhibition is presented in chronological order, from Basquiat's initial street work to paintings made at the end of his short career. \u003cbr/\u003eThe show explodes with saturated colours, nervous lines and letters and words that - repeated obsessively and sometimes scratched out - crowd the crudely drawn figures. The canvases are palimpsests, piled with layer after layer of acrylic paint and patches of pastel and melded with drawings on paper.\u003cbr/\u003e\"He was like manic, drawing permanently, everywhere where he was more or less, he was drawing. And in his paintings the drawing component is one of the most important. More or less all of the paintings are all the drawings at the same time,\" says co-curator, Dieter Buchhart.\u003cbr/\u003eStreet art is a major influence in all of Basquiat's work. His paintings celebrate icons of black culture, from boxing champions like Cassius Clay, Sugar Ray Robinson and Joe Lewis to jazzmen including Miles Davis.\u003cbr/\u003e\"He was never seen as a graffiti artist, even if he did graffiti. But those graffiti were very poetic, very conceptual. And that's already the basis that he would keep on with postcards; like in a collage style inspired by Rauschenberg, and keeps on painting, drawing on everything around him, surrounding him,\" says Buchhart. \u003cbr/\u003eWords feature heavily combined with a collage technique, applying layer upon layer over previous work, constantly exploring the theme of memory.\u003cbr/\u003e\"We keep on finding in his painting a sycopal effect of words. He often sticks words and images together. He repeats words in his painting as a rapper could, to chant, to repeat the Gospel, which was one of his influences,\" says co-curator Marie-Sophie Carron de la Carri�re. \u003cbr/\u003eAccording to Buchhart, the artist's obsessive, workaholic nature was a source of friction with Andy Warhol, who took Basquiat under his celebrated wing in the early 1980s. The show includes several collaborations between the two, including 1984's \"Arm and Hammer II,\" with two oversized logos from the baking soda brand, side by side. \u003cbr/\u003eThe one on the right - Warhol's - is a faithful reproduction of the iconic logo, with a beefy arm brandishing a hammer, while Basquiat's depicts Charlie Parker with a butter-yellow saxophone dangling from his lips as the logo's centrepiece.\u003cbr/\u003eSometimes according to Buchhart, Warhol wasn't so happy with their collaborations because he would paint something and Basquiat would go in and paint over everything. But Basquiat sometimes thought Warhol was lazy because he would finish so quickly.\u003cbr/\u003e\"He would rework it many times, he wouldn't be satisfied just with the first solution. People said, 'oh that was wonderful work you had in your studio, what's with that' - 'oh I over painted it.' So he would keep on and keep on the process of working. Also the composition was like that. It developed like in a process,\" says Buchhart. \u003cbr/\u003eThe artist's grappling with racism was also a major theme.  The colour black reoccurs frequently and prominently in his art, but Carron de la Carri�re says he used the palette for more than an expression of skin colour.  \u003cbr/\u003e\"In his painting we see black silhouettes that can be seen as self portraits, but we can also see these black silhouettes in a plastic way. It is something that is very strong and that allows him to create a sign in the painting. He uses black for the colour itself. The black has virtues that he uses, it corresponds to skin colour, but he uses it really in a literal sense.\" \u003cbr/\u003eThe retrospective's curators agree that Basquiat's dazzling rise helped pave the way for other prominent African-Americans, including President Barack Obama, who was born just one year after the artist.\u003cbr/\u003e\"He is of the same generation as Obama. Obama just celebrated his 49th birthday. Basquiat would be 50 today. So he also knew the entire issue, the difficulties with civil rights. It is at the beginning of the 60's. 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