About Basquiat Porcelain Plate – Pez Dispenser (1984)
This elegant Ligne Blanche Basquiat Porcelain Plate features the iconic New York school artist Jean-Michel Basquiat’s notorious drawing Pez Dispenser (1984). This Limoges fine porcelain plate featuring Basquiat’s iconic dinosaur drawing wearing a crown, rendered in his immediately recognizable graffiti art style. Basquiat’s dinosaur wearing a crown also refers to the US candy dispensers, Pez thus arguing for a commentary on the American consumerist society and popular culture, much in relation with artists such as Andy Warhol or Roy Lichtenstein. Like Andy Warhol and other Pop Artists, Basquiat eloquently critiqued the elitist pedestal of art through his popular culture references and immediately recognizable imagery. Basquiat also presented challenges to the institution of Art, along with the graffiti artist Keith Haring, who both served as intermediary artists attempting to bridge the academically-trained artistic production with that of the intuitive and non-traditional graffiti art. Like Haring, Basquiat also used recognizable symbols and archetypal figures used in other works such as the crown on top of the dinosaur, which is often found on figures he revered or respected. More details on Basquiat Porcelain Plate – Pez Dispenser (1984):
- Dimensions: 8.27″ x 8.27″ x 0.5″ lbs
- Weight: 2.5 lbs (est)
- Material: Porcelain
- Ligne Blanche | Porcelaine de Limoges, Fabriqueé en France.
- Licensed by Artestar
- © Estate of Jean-Michel Basquiat
About Jean-Michel Basquiat
Jean-Michel Basquiat was born in Brooklyn, on December 22, 1960. His family was of Puerto Rican and Haitian descent, and he was the second of four children. His mother, from an early age, instilled in him a love for art that never died and she always took him to art museums in Manhattan, as well as enrolled him as a junior member of the Brooklyn Museum of Art. A naturally gifted child, Basquiat impressed those around him with his early attempts at creation and found that his art was encouraged universally. Basquiat and his friend, Al Diaz, made names for themselves spray painting graffiti on buildings in Lower Manhattan, under the group-tag of SAMO (Same Old Shit) in 1976. Just two years later, in December of 1978, The Village Voice published an article about their collaborative graffiti (which, after the fame of being recognized, caused the two to split in 1979, ending with the words, “SAMO IS DEAD” inscribed on many buildings). Another masterpiece, Irony of Negro Policeman, created in 1981, is Jean-Michel Basquiat’s attempt to show how white culture controls and influences the minds of African-Americans. With the intention to show how, essentially, brainwashed African-Americans have become with the institutionalized, corrupt forms of power in America even years after Jim Crow had ended, Basquiat’s commentary gave the piece a reverberating force of will that truly withered the concept of the ‘black policeman’ – that is to say, an African-American being a tool of the white establishment.