“About two hours after the (US) election, the first SAMO© I wrote was, “SAMO©,,, FOR NASTY WOMEN AND BAD HOMBRES,,,”, he reveals. Jean-Michel Basquiat (French: [ʒɑ̃ miʃɛl baskja]; December 22, 1960 – August 12, 1988) was an American artist of Haitian and Puerto Rican descent. [5] For the movie New York Beat (later released as Downtown 81) Basquiat was persuaded to walk through the streets of the Lower East Side recreating for the camera much of his earlier graffiti. To be sure, the Communist Cadre had been stenciling slogans like YIPPIES JE­SUS FREAKS AND MOONIES ARE GOVERNMENT for years. Some of it was friendly — SAMO© CALL HOME AT ONCE! a rush, you know? By late 1978 the two were using spray paint to quickly get up larger phrases. “If you needed art credit, you could do a course where you would go to MoMA, or something, and Jean and I did that class together. Für Einige verkörpert Basquiats rascher Aufstieg zum Ruhm und sein ebenso schneller wie tragischer Tod durch eine Heroinüberdosis die zu kommerziell ausgerichtete Kunstszene der 1980er Jahre. Aber nicht nur in der Musik, sondern auch in der bildenden Kunst prägten ihn die anatomischen Darstellungen. He had this all very planned in his head. Diaz had previously been part of the New York graffiti scene (he knew the first writer of sayings, FLINT.i..For Those Who Dare when they both attended the High School of Art and Design) using the tag "Bomb I". Basquiat took the standpoint of prisoners and the underclass and the tone became morose. “We were both big on words and language, and that really did it. It works like this: You do whatever you want here on earth, then when confront­ed with your deeds at the Pearly Gates you simply tell God: “I didn’t know.”. [2] The character of SAMO was first developed by Basquiat and Diaz, while they were fellow students at City As School high school. Basquiat and Diaz said they could sometimes do thirty on a busy day. Er war sich bewusst, dass diese Rolle seinen künstlerischen Erfolg förderte, ihn aber auch schnell für materielle Zwecke ausschöpfte. Dezember 1960 in New York City; 12. Is it anti-cool to take credit for street art? But with his own circle of friends, he was pretty outgoing. Jean-Michel Basquiat ([basˈkja] * 22. “But when SAMO© came along it was like whoa! he explained to Anthony Haden-Guest. Basquiat says the name was first developed in a stoned conversation with high school friend Al Diaz, calling the marijuana they smoked "the same old crap," then shortening the phrase to "Same Old", then "SAMO". All rights reserved. Gérard Basquiat soll seinen Sohn rausgeworfen haben, als der Teenager die Edward R. Murrow High School verließ. "Jean started elaborating on the idea and I began putting my thoughts into it," remembered Diaz. "The SAMO Graffiti.. Boosh Wah or CIA? [2] Sometimes the SAMO© graffiti would refer to its own spread, as in a large, mural sized, multiple choice graffiti: Art critic Jeffrey Deitch called it "disjointed street poetry" and remembered that "Back in the late seventies, you couldn't go anywhere interesting in Lower Manhattan without noticing that someone named SAMO had been there first. Im Mai 2017 kaufte der japanische Milliardär Yusaku Maezawa Basquiats Totenkopfgemälde "Untitled" von 1982 für 110,5 Millionen Dollar bei einer Sotheby's-Auktion. Obwohl Jean-Michel Basquiat seit jeher als Straßenkünstler gilt, ist er nicht in den schmalen Straßen von Manhattan aufgewachsen, sondern in einem Reihenhaus in Brooklyn. Er war auch Teil eines Expertenausschusses, der sch mit potenziellen Fälschungen von Kunstwerken beschäftigte, die als echte Basquiats beworben wurden. We thought we were a little bit ahead of the game” – Al Diaz, “We were commenting on whatever we were dissatisfied with, or thought was funny – whatever! In a couple of weeks, it was like ‘SAMO© AS AN ALTERNATIVE TO GOD’.” They wrote it on a church on West Broadway, although there is no visual documentation of it now: “Back then, in the 70s, you’re not really thinking, ‘Oh, let’s save this for posterity. “He was shy around the more aggressive types, like the skateboarders or the graffiti arists,” recalls Diaz. And I started painting."[10]. SAMO© AS AN ESCAPE CLAUSE He has published many of the SAMO graffiti photos on the internet.[5]. His early 1981 painting on canvas "Cadillac Moon" has the inscription in the lower left "SAMO©" crossed out, and the names "AARON" (for Henry Aaron), and "JEAN-MICHEL BASQUIAT" written in instead. It cracks me up. Julian Schnabel, der zur gleichen Zeit wie Basquiat als Künstler in New York City bekannt wurde, übernahm die Regie des Films. (eds. “We were tired of the name followed by the number format of graffiti because it wasn't saying anything other than ‘Joe 182’ was here. Al: There is no one specific method or ritual […], http://www.pyragraph.com/2016/07/next-time-you-are-in-the-city-watch-out-for-wet-paint/, http://www.6sqft.com/new-yorker-spotlight-al-diaz-on-nyc-street-art-and-working-with-jean-michel-basquiat/, NYSM & Outlaw Arts Present: “Public Announcements” Al Díaz SAMO©… and WET PAINT (1977 to Present) March 25 – April […], Underground artist surfaces a generation later Al Diaz, co-founder with Jean-Michel Basquiat of SAMO©, is producing new art and looking […], Al Diaz: After SAMO, Basquiat’s Old Friend Still Getting Up Written by: Beth Roeser Posted on Tue, 12.23.14 at 11:13am […], I recently won a summer travel grant from my school. While Diaz pursued separate artistic paths for himself and years later began working on a new project, titled WET PAINT, for which he adopted his own alphabet and used cut up letters and glue to send messages out via the walls of the New York subway system. People even began to believe SAMO© was the CIA – hence the article’s title, “SAMO© Graffiti: BOOSH-WAH or CIA?”. As his solo career began to take off, around the early to mid-80s he stopped signing his work with SAMO©, instead using Jean-Michel Basquiat. Basquiat was the team's driving force. "[5], Diaz had been a young and early member of the New York graffiti scene of the 1970s, and his tag "Bomb I" was included in Norman Mailer's famous book The Faith of Graffiti in 1974.[7]. But we can’t stand on the sidewalk all day screaming at people to clean up their acts, so we write on walls.”, Is no surface sacred? Seine Eltern hatten einen unmittelbaren Einfluss auf die künstlerische Entwicklung des jungen Basquiats. SAMO© AS AN END TO VINYL PUNKERY outside the Trash and Vaudeville boutique. Der Satz, der an verschiedenen Orten tauchte mehrfach auf Gebäuden in ganz Lower Manhattan auf. Looking at his friends from SVA, Haring, Scharff and Basquiat would all make the transition from graffiti to gallery about the same time, but only Basquiat completely changed his style in order to do it. SAMO© IS DEAD. Not just any artist, a famous artist’. An Intimate Look at Jean-Michel Basquiat’s Early Days, “Boom for Real” Finds Jean-Michel Basquiat Tagging Himself ‘It’, Ten Pioneering Pieces Of Hip-Hop Street Art, Jean-Michel Basquiat, Flyboy in the Buttermilk, Village Voice Exclusive: An Interview With Banksy, Street Art Cult Hero, International Man of Mystery, The Fatal Consequences of the Secret Life of John S. Knight III, How Rudy Giuliani Took the Media for a Ride, The Trial of the Chicago 7: Indictment and Protest. It’s like they’re walking around with price tags stapled to their heads. He was very certain about what he was doing. The SAMO© Graffiti photographed by Henry Flynt . [11] Basquiat then started hanging around with Haring and other SVA students Kenny Scharf and John Sex. Der gebürtige New Yorker wurde am 22. SAMO© was like a refresher course because there’s some kind of statement being made. You never want to have to over explain it because something about it takes away the magic of it. Forget it. “It makes people think ‘hey, maybe there’s another way.’ But it’s not like we can defend it. Scharf said that in 1979 he would go out on forays doing wall drawings with Basquiat. "Jean-Michel Basquiat at Annina Nosei (review)", Deitch J, Cortez D, and O'Brien, G. I was like, ‘oh, he’s calling himself SAMO©’. What’s going on? Einst ein Zeichen von Hausfriedensbruch und Vandalismus, … Or drawing chalk outlines of fallen bodies with bright red bloodstains? We better know about this!’ So they conclude this thing that we’re CIA.… I can’t begin to explain where they got that.”, Their epithet, BOOSH-WAH, seems to pro­voke the most hostile reactions. Beschreibung des Kunstwerks: Al Diaz und Basquiat entschlossen sich unter Verweis auf künstlerische Unterschiede, ihre Zusammenarbeit unter dem Namen SAMO mit der Ankündigung "SAMO is dead" zu beenden. That’s like a heavy com­pliment, man.”, Al picks up the thread: “People are so bored that when something seems mysterious and it keeps coming up it’s like ‘Oh wow! When Flynt first exhibited his portfolio he got to know Diaz and Dawson who helped him confirm the authorship of every graffito. Basquiat added, “We can’t stand on the sidewalk all day screaming at people to clean up their acts, so we write on walls”. Scribbled. "[2], In 1979, Henry Flynt began taking photos of the SAMO graffiti, not knowing who had done them. “SAMO©,,, AS AN END TO THE 9 TO 5 “I WENT TO COLLEGE” “NOT 2-NITE HONEY”,,,BLUZ’,,,THINK,,,”, “SAMO©,,, AS AN ALTERNATIVE 2 ‘PLAYING ART’ WITH THE ‘RADICAL CHIC’ SECTION OF DADDY’$ FUNDS,,,”.

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