HUGHES & BASQUIAT

JIM CROW - 1986

Acrylic and oil stick on wood
205.3 x 244 x 4 cm

In this piece we see a black face or skull with red-rimmed eyes situated over the Mississippi River. Beneath this face is the beginnings of a skeleton: we can see ribs and thin bones of the figure's arms held open wide. This skeleton is then abruptly ended by a black box that can be seen as a coffin or grave from which the figure is emerging from. This black box also covers the word Mississippi that is repeated across the bottom of the piece. In total, the word Mississippi can be seen 17 times. Other terms are listed, such as Hudson River and Ohio River - yet these are only presented once. While a sequence of rivers is clear, the emphasis seems to fall on Mississippi.  

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Additionally, we see strong visual elements of Hughes's poem "Mississippi - 1955," found under the tab labeled Poems above. This poem can also be paired with Hughes's "The Negro Speaks of Rivers," pictured below. 

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As emphasized by the title and highlighted by Hughes's poems, Basquiat's Jim Crow presents for us systematic and institutionalized racism and discrimination extending beyond the lifetime of the laws that further cemented these practices.

THE NEGRO SPEAKS OF RIVERS

Langston Hughes

With rivers acting as the most prominent landscape over-which African Americans were killed (Miller), we see this body of water acting as a commonality across these pieces. Hughes's poem illuminates the racial war that African Americans faced in the United States through the lynching-warfare that plagued the nation, most prominently in southern states such as Mississippi - a state echoed across Basquiat's painting. Collectively, this poem and this painting both illuminate the ever-present fear of lynching in America. 

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Obtained from the Beinecke Rare Book & Manuscript Library.

UNTITLED PORTRAIT OF LANGSTON HUGHES - 1983

From the notebooks of Basquiat

The words "Famous Poet" are telling of Hughes's lasting legacy, but perhaps the duality of identity here is all the more significant. The linear contour portrait paralleled with the more detailed, colored, "poet" Hughes may reveal how Hughes (and perhaps all African American men) have to balance the consciousnesses of inner self and outer self, as well as the self that is prescribed to us versus the one that is more authentically identifiable.

The portrait on the left has Hughes's name in quotes, as if to present him a unconvincing point-blank, baseline manner. This portrait is labeled "Langston Hughes" ©. The utilization of the copyright symbol may indicate that this is a Hughes that has been published and presented by others - and this use implies a dissatisfaction with such practice. Conversely, the portrait on the right conveys more dynamism. In the second portrait Basquiat has a smile drawn on top of a closed mouth and a third external eye. His face is colored in with brown whereas the left-hand portrait is left colorless and plain. Additionally, his name is repeated below the second portrayal as if listed. These features seem external to Hughes, yet more appropriate and realistic than the portrait on the left. 

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Perhaps that which is most interesting can be found in the bottom left of the piece. We see "Langston Hughes" written over a line, and underneath the line is his name once more, but without the quotation marks. This order seems to present a sense of hierarchy: perhaps the historically presented and crafted Hughes was valued over the true Hughes. 

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This piece encourages us to consider what does this reveal of Hughes? Or how others viewed him? In evaluating this piece of art as a portrait, why does it matter how Hughes is portrayed?

Image courtesy of Basquiat Biography 

DEFACEMENT (THE DEATH OF MICHAEL STEWART) - 1983

Acrylic and marker on wood
63.5×77.5 cm

This piece was created after fellow-artist and contemporary of Basquiat, Michael Stewart, died as a direct result of police brutality after being arrested for vandalism.

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This painting, with strong and clear themes of police cruelty towards African Americans still resonates in our society today. In the middle of the painting is an unidentified and ambiguous black figure that could stand to symbolize all African American men. Surrounding the figure are two pink figures with snake-like eyes and fangs, holding clubs in the air - denoting the violence to come. These pink creatures are painted in blue clothing and caps with yellow stars and badges: highlighting their role as police.

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The word "Defacimento" posed as a question in this piece prompts the viewer to consider the role of defacement. In an era when artists like Basquiat created and produced art all over New York City, would their pieces be considered defacement of property? If so, is this such a severe charge to constitute death? The term can also lend itself to the police defacement of African American men - highlighting the cruelties and injustices within the police system.

While depicting the death of a fellow-artist and the societal issue of police brutality, this piece can also be paired with Hughes's poem "Who But the Lord?" found below.

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Image obtained from Williams Magazine.