Basquiat: A Quick Killing in Art (Revised Edition)

Basquiat: A Quick Killing in Art (Revised Edition)
by Phoebe Hoban

Basquiat: A Quick Killing in Art (Revised Edition)
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Book Summary Information

Author: Phoebe Hoban
Edition: Paperback
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2004-10-19
ISBN: 0143035126
Number of pages: 416
Publisher: Penguin (Non-Classics)

Book Reviews of Basquiat: A Quick Killing in Art (Revised Edition)

Book Review: Highway Chile
Summary: 5 Stars

"Painter Jean-Michel Basquiat was the Jimi Hendrix of the art world" so says the back cover of the Quick Killing in Art. They both died at 27. There are numerous comparisons - Hendrix even wrote a kind of epitaph for Jean in "Highway Chile": "I couldn't say what went through his mind/ Anyway, he left the world behind/ But everybody knows the same old story/ In love and war you can't lose glory."

And so begins the complex art story of Jean-Michel Basquiat. Avant-Guard New York 1980's painter. A brilliant extremist, who was harbored or harassed by the biggest art dealers in New York. Once he even poured a jar of fruit and nuts on a buyer as she was leaving his studio. Once he served eels for lunch for his art dealer at the time. The message was clear

There was one big difference between Jean and Jimi: the critics. Rock 'n Roll critics, a new breed in the 1960's loved Jimi. Art critics, a breed that has been around for hundreds of years, loved to tear Jean to pieces, or damn him with faint praise, or concentrated on his drug problems.

They say Jean started his art career living in a cardboard box, painting graffiti, but
the real story was he was a perpetual runaway kid starting at 15 and started up with a friend SAMO that sprayed painted aphorisms on walls next to or near art galleries. He sold t-shirts and postcards on the streets. His career painting started when he painted up a friend's refrigerator door. PS1, an art show that featured at least 20 other artists opened up his success, and it took off from there. So the line from Highway Chile reminds me of him too: "Now you'd probably call him a tramp/But I know it goes deeper than that/ He's a highway chile". Money and success didn't change this.
Jean often used signals and signs of hobos in his art. "Nothing to be found here"

"He came, he saw, he painted," author Hoban says in her concluding essay on Basquiat in the last chapter. He moved from art dealer to art dealer and famously never giving up his slacker/starving artist attitude "problem". Staring down people cold instead of saying hi back, smoking spliffs in front of their faces, and his addictions, that started way before he was famous and only got worse.

Andy Warhol became Jean's mentor, and Jean was known to say, I put the painting brush back in Andy's hand, I did more for him than he did for me. They collaborated in a show, where one painting was painted over by the other. The critics hated the show, calling Jean "a mascot of the art world" Jean's love for Andy faltered, and the relationship fell out, much of this chronicled in the Warhol Diaries.

Then Jean's drug habits, a heroin addict, again, a bad slacker/starving artist habit he never could shake. Jean was an addict in the Burroughs describes in Junky, "Junk isn't a kick, it's a way of life".

Although his art career fell out, or seemed to, a few years before his died, I believe, in the end (the author doesn't state this) that he was suicidal, and became even more reckless when Andy died in Feb. 1987, but it was the anniversay of Andy's birthday, August 6th, 1988, that must have hit Jean in the worse way: on the 12th of Aug, 1988, he died of a heroin OD at the age of 27.

Robert Hughes, art critic, wrote a review after his death, "Requiem for a Featherweight", and proclaimed Basquait's work worthless. It took another generation to absorb the erratic, childlike, thrown together, the crossed out words, the detailed small photocopies, cartoon inspired paintings, all huge, 5' by 7' by the way.

Author Hoban details everything in Basquiat's life in her bio of him, but there is so much reading between the lines.

"His dusty boots is his Cadillac".
















































Summary of Basquiat: A Quick Killing in Art (Revised Edition)

Painter Jean-Michel Basquiat was the Jimi Hendrix of the art world: in less than a decade he went from being a teenage graffiti writer to an international art star; he was dead of a drug overdose at age twenty-seven. Phoebe Hoban's Basquiat, the first biography of this charismatic figure, charts the trajectory from the artist's troubled childhood to his volatile passage through the white art world of dealers and nouveau-riche collectors, chronicling the meteoric success and overnight burnout that made him an instant art-world myth.

As much the portrait of an era as the portrait of an artist, Basquiat is an incisive expose of the eighties art market that paints a vivid picture of the rise and fall of the graffiti movement, the East Village art scene, and the out-of-control auction houses. Ten years after the artist's death, Basquiat resurrects both the painter and his time.


This minutely reported book is as much a portrait of the frenzied, prodigal New York art world of the 1980s as it is a biography of Jean-Michel Basquiat, who died of a drug overdose at age 27 in 1988. Basquiat, one of very few African American artists to acquire an international reputation, left a thick web of dealers, collectors, friends, lovers, paintings, drawings, and used syringes behind him. Author Phoebe Hoban seems to have unblinkingly interviewed or examined them all. While she duly registers Basquiat's sad childhood, with his unstable Puerto Rican mother and punishing Haitian father, she doesn't make much of the deeper veins of sorrow and self-destruction that may have motivated the artist and informed his art. Rather, she allows his celebrity, which whisked him from street urchin to art star, to be the central trajectory of this story. The Warhol protégé would probably approve, as he was the primary obliterator of his own psychological depths, throwing away his short, phenomenally productive life in the edgy club and drug scene of downtown Manhattan. The miracle is that Basquiat was so good, and so serious, an artist, surrounded as he was by hype and cash. Hoban's book is a fluid, intricate, authoritative dissection of a time, a place, and--almost--a person. --Peggy Moorman

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