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Jean-Michel Basquiat & Andy Warhol

Collaboration Paintings

May 23–June 22, 2002
Beverly Hills

Andy Warhol & Jean-Michel Basquiat, Monster Meat, c. 1984–85 Synthetic polymer paint and silkscreen ink on canvas, 103 × 102 inches (261.6 × 259.1 cm)

Andy Warhol & Jean-Michel Basquiat, Monster Meat, c. 1984–85

Synthetic polymer paint and silkscreen ink on canvas, 103 × 102 inches (261.6 × 259.1 cm)

Andy Warhol & Jean-Michel Basquiat, GE Short Line & Reading, c. 1984–85 Synthetic polymer paint and silkscreen ink on canvas, 76 × 88 inches (193 × 223.5 cm)

Andy Warhol & Jean-Michel Basquiat, GE Short Line & Reading, c. 1984–85

Synthetic polymer paint and silkscreen ink on canvas, 76 × 88 inches (193 × 223.5 cm)

Andy Warhol & Jean-Michel Basquiat, Big Rat, c. 1984–85 Synthetic polymer paint and silkscreen ink on canvas, 77 × 119 inches (195.6 × 302.3 cm)

Andy Warhol & Jean-Michel Basquiat, Big Rat, c. 1984–85

Synthetic polymer paint and silkscreen ink on canvas, 77 × 119 inches (195.6 × 302.3 cm)

Andy Warhol & Jean-Michel Basquiat, Ford, c. 1984–85 Synthetic polymer paint and silkscreen ink on canvas, 86 × 68 inches (218.4 × 172.7 cm)

Andy Warhol & Jean-Michel Basquiat, Ford, c. 1984–85

Synthetic polymer paint and silkscreen ink on canvas, 86 × 68 inches (218.4 × 172.7 cm)

Andy Warhol & Jean-Michel Basquiat, PE D G Two Heads, c. 1984–85 Synthetic polymer paint and silkscreen ink on canvas, 76 × 98 inches (193 × 248.9 cm)

Andy Warhol & Jean-Michel Basquiat, PE D G Two Heads, c. 1984–85

Synthetic polymer paint and silkscreen ink on canvas, 76 × 98 inches (193 × 248.9 cm)

About

Reception for the artist: May 23, 6 – 8pm

Gagosian Gallery is pleased to present a series of large collaborative paintings by Andy Warhol and Jean-Michel Basquiat dating from 1984-85.

At Jean-Michel Basquiat's dealer, Bruno Bischofberger's, suggestion in the early 1980s, Andy Warhol and Basquiat began a series of collaboration paintings. Warhol was inspired by Basquiat's energy and youth and Basquiat had always idolized Warhol.

Warhol's contribution to the collaborations can be seen in his straightforward methods of hand painting enlarged headlines, brand names and advertisements returning to the Pop paintings of the 1960s. In contrast, Basquiat responds with his trademark graffiti style-creating a dialogue between the two personalities and aesthetics of each artist.

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Alexander Calder poster for McGovern, 1972, lithograph

The Art History of Presidential Campaign Posters

Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.

Allen Midgette in front of the Chelsea Hotel, New York, 2000. Photo: Rita Barros

I’ll Be Your Mirror: Allen Midgette

Raymond Foye speaks with the actor who impersonated Andy Warhol during the great Warhol lecture hoax in the late 1960s. The two also discuss Midgette’s earlier film career in Italy and the difficulty of performing in a Warhol film.

Andy Warhol, Self-Portrait with Skull, 1977, Polaroid Polacolor Type 108, 4 ¼ × 3 ⅜ inches (10.8 × 8.6 cm). The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol: From the Polaroid and Back Again

Jessica Beck, the Milton Fine Curator of Art at the Andy Warhol Museum, Pittsburgh, considers the artist’s career-spanning use of Polaroid photography as part of his more expansive practice.

Brice Marden: Sketchbook (Gagosian, 2019); Lee Lozano: Notebooks 1967–70 (Primary Information, 2010); Stanley Whitney: Sketchbook (Lisson Gallery, 2018); Kara Walker: MCMXCIX (ROMA, 2017); Louis Fratino,Sept ’18–Jan. ’19 (Sikkema Jenkins & Co., 2019); Jean-Michel Basquiat: The Notebooks (Princeton University Press, 2015); Keith Haring Journals (Penguin Classics Deluxe Edition, 2010).

Book Corner
Private Pages Made Public

Megan N. Liberty explores artists’ engagement with notebooks and diaries, thinking through the various meanings that arise when these private ledgers become public.

Andy Warhol catalogue. Philadelphia: Institute of Contemporary Art, 1965.

Book Corner
On Collecting with Norman Diekman

Rare-book expert Douglas Flamm speaks with designer Norman Diekman about his unique collection of books on art and architecture. Diekman describes his first plunge into book collecting, the history behind it, and the way his passion for collecting grew.

Andy Warhol cover design for the magazine Aspen 1, no. 3.

Artists’ Magazines

Gwen Allen recounts her discovery of cutting-edge artists’ magazines from the 1960s and 1970s and explores the roots and implications of these singular publications.