Jean Michael Basquiat

Biography

Basquiat was born in Brooklyn, New York. His mother, Matilde, was Puerto Rican and his father, Gerard Basquiat origin is Haiti and the former Minister of Haiti. Because her parents nationalities, Basquiat who speak fluent French, Spanish, and English from early age. He read in this language, including the Symbolist poetry, mythology, and history. [2] At the early age, Basquiat displayed a talent for art and encouraged by his mother to draw, paint and other to participate in activities related to art. In 1977, when he was 17, Basquiat and friend Al Diaz started spray-painting graffiti on buildings in Manhattan below, add a signature that is called "only" (ie, "same old shit") see: only © Graffiti entry. The graphics are pithy messages such as "it is only safe to think .." and "only as a way out clause." In December 1978, the Village Voice published articles about his writings. [3] The project ended only with the epitaph "only IS DEAD" is written on the wall of the building SOHO. Basquiat attended Edward R. Murrow High School in New York. In 1978, Basquiat dropped out of high school and left home, one year before graduating. He moved to the city and stay with friends, living by selling T-shirts and postcards on the street, and work in the Unique Clothing Warehouse on Broadway. By 1979, however, Basquiat has obtained a certain celebrity status that developed in the midst of Manhattan's art and the East Village through regular on the Glenn O'Brien's live public access cable show, TV Party. At the end of the 1970s, Basquiat formed band called Gray (the name a reference to the book Gray's Anatomy), with Shannon Dawson, Michael Holman, Nick Taylor & Wayne Clifford. Gray played at clubs like Max's Kansas City, CBGB, Hurrahs, and the Mudd Club. Basquiat worked in the film Downtown 81 (aka New York Beat), which displays some of Gray's rare recordings on the soundtrack. [4] He also appeared in a video Blondie "rapture" as a replacement for DJ Grandmaster Flash when he does not show. Basquiat first started to get recognition as an artist in June 1980, when he participated in The Times Square Show, a multi-artist exhibition, sponsored by Collaborative Projects Incorporated (Colab) Fashion and Fashion. In 1981, poet, art critic and cultural provocateur Rene tonymx published "The Radiant Child" in Artforum magazine, [5], helping to launch Basquiat's career to the international stage. During the next few years, he Exhibiting his works in New York and internationally (with the way other artists) is now in the gallery, such as the Fun Gallery and the Gallery now, and promoted by such gallery owners and dealers as Bruno Bischofberger and Annina Nosei. He then shows in the galleries of Larry Gagosian, Mary Boone, and finally, Vrej Baghoomian. By 1982, Basquiat was showing regularly, and in addition to Julian Schnabel, David Salle, Francesco Clemente and Cucchi enzo, be part of a so-called Neo-expressionist movement. He started dating an unknown aspiring and then-named Madonna in the fall of 1982. In the same year, Basquiat met Andy Warhol, with whom he collaborated extensively in 1984-6, forging close, if strained, friendship. He was also briefly involved with artist David Bowes. [6] [7] By 1984, many of the friends that he was concerned about Basquiat excessive drug use and increasingly erratic behavior, including signs of paranoia. Basquiat had developed a serious cocaine and heroin by this habit, which started from the beginning of the year living among the junkies and street artists in New York underground. On February 10, 1985, Basquiat appeared on the cover of The New York Times Magazine in the feature entitled "New Art, New Money: The Marketing of American Artist." [8] As Basquiat high international success, his works are shown in solo exhibitions in Europe and the United States. Andy Warhol's death in 1987 is very distressing for Basquiat, and it is speculated by Phoebe Hoban, in the 1998 biography of the artist, Warhol's death, which is the peak for Basquiat, and after that he is addicted to drugs and depression began to spiral. [6] Basquiat died accidentally mixed-drug toxicity (he has been combining cocaine and heroin, often using cocaine to stay up to painting the night and then use heroin in the morning to sleep, also known as "speedballing") at 57 Great Jones Street loft / studio in 1988, a few days earlier, what has Basquiat second trip to the Ivory Coast. [edit] Artistic activities Basquiat's paintings during the 1980s is viewed in the correct context of painterly, neo-expressionist movement popular in New York and Europe at the time. But he was working early (before he has the money to paint and canvas), he continues to use the words in the painting, and Common themes racism and identity also align him with the trends of the period. Basquiat is to always deliver the most expressive, but the quality and consistency of each painting is very varied. Before starting his career as a painter, he produced punk-inspired postcards sold on the street, and became known for the political-poetic graffiti under the name only. On one occasion Basquiat painted his girlfriend's clothes, with the words, a "Little Shit Brown". Basquiat's career as an artist known Exhibiting top three wide, though overlapping styles. At the beginning of the period, from 1980 to the end of 1982, Basquiat used painterly gestures on canvas, often depicting the framework and figures such as face masks of the obsession with death. Other frequently depicted as a picture car, building, police, children's sidewalk games, and experience comes from graffiti paintings in the streets of the city. Many critics [who?] Basquiat He made the best people to work around 1982. Untitled in the head ( "untitled (skull)," 1981) illustrated above is a typical example. A middle of the end of the period from 1982 to 1985 features multi-panel paintings and individual canvases with exposed stretcher bars, the surface dense with writing, and does not appear to collage images. This paper reveal a strong interest in Basquiat's black identity and identification with the historical and contemporary black figures and events. Some works that reach large physicality, and interest in the early Rauschenberg became more evident, "Grillo" (1984) is a good example. 1984-85 period is also the main hold up Warhol-Basquiat collaboration. Collaborative paintings that received poor critical reception but iconographically complex process of paintings together and influenced each other's working time. End of the period, from about 1986 to Basquiat's death in 1988, showing a new type of figurative illustration, often in the back of the painting. May be influenced by both Warhol and Basquiat's increasing use of drugs; "Riding with Death" (1988) is an example of this style. Some of the symbols and content from new sources apear in this period, but he also re-used many phrases and motifs from previous works, the settings in starker. A major reference source used by Basquiat throughout his career is the book Gray's Anatomy, [9] that he provided in the hospital as a child. He remains influential in the internal anatomy human depictions, and in a mixture of images and text. Other major source is Dreyfuss' Symbol Sourcebook [10], Leonardo Da Vinci's notebooks, and Brentjes African Rock Art [11]. Equally important as an input in the painting is the music of Jazz 1940s, history and travel books, and TV cartoons and other things that will happen in the television while he was painting. Discussion of some of the best sources that Richard Marshall "Repelling Ghosts" in the work of [12], and Marc Mayer "Basquiat in History" in [13] but definitive studies remain to be done. [edit] Legacy Some of the major museum retrospective exhibition of Basquiat's works have been carried out since his death, in the U.S. and internationally. The first is the "Jean-Michel Basquiat" exhibit at the Whitney Museum of American Art from October 1992 to February 1993 (and this trip to the museum in Houston, Iowa, and Alabama through the 1993 - 1994). The catalog for this exhibition [12], edited by Richard Marshall and includes essays from several different styles, is part of the groundbreaking scholarship in his work, and still the main source. Other major and influential exhibition (and catalog [13]) is the "Basquiat" exhibit at the Brooklyn Museum, March-June 2005 (which then travel to Los Angeles and Houston in 2005-2006). In 1996, seven years after his death, a film biography entitled Basquiat was released, directed by Julian Schnabel, with actor Jeffrey Wright playing Basquiat. Until 2002, the highest amount paid for an original work of Basquiat is U.S. $ 3,302,500, set at the 12 November 1998 at Christie's. On 14 May 2002, Basquiat's Profit I (large-sized pieces, 86.5 "/ 220 cm by 157.5" / 400 cm), which is owned by drummer Lars Ulrich of the heavy metal band Metallica, has been put up for auction, once again at Christie's. Sold U.S. $ 5,509,500. [14] of the auction process is documented in the film Some Kind of Rakasa. On 12 November 2008 Ulrich to sell Basquiat piece in 1982, Untitled (Boxer), to U.S. $ 13,522,500 (estimated in the region at the request of U.S. $ 12 million) to another telephone bidder at Christie's auction. [15] Previously, on 15 May 2007, an untitled Basquiat work from 1981 was sold at Sotheby's in New York of U.S. $ 14.6 million. [16]. Basquiat's lasting creative influence immediately recognized in the paper and the next generation self-taught artists such as Gordon Bennett, Mark Gonzales, Kelly D. Williams and Raymond Morris. In 2005, the poet M.K. Asante, Jr. published the poem "only", which is dedicated to Basquiat, in his book Beautiful. And Ugly Too.

About Dayak ethnic origin (Budaya dan Karakteristik Suku Dayak )

About Dayak Ethnic Origin

About the origin Dayak tribe, which received a lot of theory is the theory of Chinese immigration, the nation's Yunan Province in South China. Population Yunan pro-immigration, large-scale (in small groups) in the estimate in the year of 3000-1500 BCE (BCE). Some of them to roam Tumasik and Malay peninsula, before the region to Indonesia. Some other past Hainan, Taiwan and filipina.Pada first migration wave that some experts called by Proto-wilt, come negroid groups and weddid. While the second wave, in an amount greater than that in the Deutero-Malays. Migrants Deutero-Malay then inhabit the beach area is called Kalimantan and the Malay race. Proto-and Deutero-wilt wilt actually came from the same country. According H.TH. Fisher, migration from asia first phase occurred in the era of Tretier. Then, the Asian continent and the island of Kalimantan is still ignites the archipelago, which allows the Mongoloid race from asia roam through the land in Kalimantan and to traverse the mountain now called Muller-Schwaner mountains. Pegungungan that comes from rivers, all of Kalimantan. Estimated, the range in a long time, they must spread the rivers downstream to the coast and then inhabit the island Kalimantan Dayak tribe next story is about how they wave-wave the other groups that came to Kalimantan. Dayak tribe had to build a kingdom. Dayak in the oral tradition, often called "Java Nansarunai Uşak", ie, a kingdom of Dayak Nansarunai destroyed by Majapahit, which is estimated to occur between the years 1309-1389 (Fridolin Ukur, 1971). Incident resulted in a push Dayak tribes and sprawl, some incoming hinterland. Flow happens next major influence on the Islamic kingdom of Demak berasala with the inclusion of Malay traders (around 1608). Most of the Dayak tribes embrace Islam no longer recognizes himself as the Dayak, but mentions himself as a person or persons Banjar Malay. While the Dayak people who reject Islam, the river again, into the hinterland of Central Kalimantan, in the living areas Timber Tangi, Amuntai, Margasari, Watang Amandit, Labuan and Watang Balangan long. Continue to push some more entry jungle. Dayak people who embraces islam are mostly located in South Kalimantan and some Kotawaringin, one of the Sultan of the Sultanate of Banjar is famous Lambung Mangkurat is a Dayak (Ma'anyan or Danum OT) Not only from Indonesia, the other nations also came to Kalimantan. Chinese nation is starting to come to Kalimantan in the year 1368-1643 Ming Dynasty. Manuscripts from berhuruf starch mentioned that the city's first visit was in Banjarmasin. But still not clear whether the Chinese nation in the coming era Bajarmasin (under Majapahit hegemony) or in the era of Islam. Arrival Chinese nation does not move result Dayak population and does not have direct influence as directly as they only trade, especially with the kingdom in the Banjar Banjarmasin. They do not trade directly with the Dayak people. Chinese heritage of the nation is still kept by some tribes such as the Dayak malawen plates, pot (jar) and ceramic equipment. In fact, another source said since the beginning of V century Chinese nation has been up to in Kalimantan. In the XV century King Yung Lo send a large force of war to the south (including the archipelago) under Ho Chang, and return to China in the year 1407, after the previous stop in to Java, Kalimantan, Malacca, Manila and Solok. In the year 1750, Sultan Mempawah accept the Chinese (from Brunei) who are looking for gold. Chinese people are also carrying merchandise among opium, silk, glassware such as plates, cups, bowl and jar

ART DRAMA DAYAK Tribe

Traditional performing arts community called Kutai Mamanda. The term comes from the alleged mamanda term pamanda or uncle. The word in a story is a call addressed to the king's ministers, wajir or mangkubuminya with a pamanda minister, pamanda wajir and pamanda mangkubumi.Karena word often spoken in pamanda each director, the term is a nickname for the art show itself. Mamanda traditional art of drama is one of the popular performing arts in Kutai in the past. Art is always be on every national celebration, the wedding, khitanan and sebagainya.Mamanda is one type of entertainment that the public be. Mamanda can disejajarkan with art Kethoprak and Ludruk in Java. If the way the story presented in Mamanda is about a kingdom, then the director Mamanda is similar to Kethoprak. However, if the story is dilakonkan ordinary people, the staging Mamanda is similar to Ludruk. In pementasannya, Mamanda always use two types of equipment that is musical instrument drum and violin. This art is rarely dipentaskan openly. However, in the Festival in the city Trenggalek Tenggarong, arts Mamanda often be open to fill in one of the entertainment event of the people. Meanwhile, through the local television media, the arts Mamanda shown once a week. Stories from the diverting Mamanda not lose with the story or film sinetron. Even though no figures Mamanda in "standard" but can be added other figures with the other stories, stories mamanda meaning can be created in accordance with the development of the era. What showtimes mamanda longer duration of the whole night now adjusted to the demand, mean duration can be 3 hours or 5 hours. Istemewanyanya Mamanda, can be played with a script as a whole or only terater modern story set with a great story line such as, Babakan and plot, while the dialogue is known by the term impropisasi. Players - the players Mamanda known berimpropisasi expertise. Figures mamanda a standard that is the King, Mangkubumi, vizier, the Prime Minister, The War, First hope, hope the second wage earner, empress, the Son of the King (or daughter can Pangeran). Figures according to other stories such as the King of another country, Youth, marauder, Jin, the Netherlands, or from other regions (Java, China, Batak, Madurese or other). As well as in the modern theater, showtimes starting before akan sinopsisnya is, in mamanda presented through "Baladon". Baladon story is said to be melodious and dance movement. Stories mamanda can berkolaburasi with art or dance music. That is the kingdom after the meeting finished akan showtimes dance show with the purpose of entertaining the king or the kingdom of the whole apparatus of the war when the kingdom held showtimes entertainment or dance music skelter. Mamanda origin is noble entourage when Badamuluk Malacca (Abdoel Moeloek noble or Indra, 1897 M) which is headed by Encik Ibrahim and his wife Cik Eve, live in the few months the Banjar showtimes. Theater is popular so quickly in the middle of the Banjar. After adapting, theater is a new birth to a theater called "Mamanda". Mamanda have any understanding of "greeting" to the respected people in the kinship system or kekjluargaan. Mamanda has two streams. First: Flow Batang Banyu. Who live in the coastal river areas in the Hulu Sungai Margasari. Often called Mamanda pot. Second: Flow Tubau years beginning in 1937 M. Flow of life in this area Tubau Rantau. Dipentaskan often land in the area. This flow is also called Mamanda Batubau. This flow is developed in the Banjar. Showtimes Mamanda cultural values have showtimes Mamanda That is in addition to the entertainment media as also function as a medium of education for the public Banjar. Stories presented both on the history of life, a good example toladan, social criticism or satire of a building, democratic, and cultural values Banjar community. Begins, Mamanda have a music suite with the orchestra wilt mendendangkan rhythmic songs wither, now switch to the accompaniment skelter with the song Two mendendangkan expectancy, Two King song, Tarima Love Songs, Songs Baladon, Mambujuk music, song Tirik, Japin Songs, Songs Gandut, Mandung-Mandng song, song and nation.

CULTURAL CHARACTERISTICS •

Communication and Language Initially, the social community in lingkupan Dayak in Central Kalimantan, the language used is language Dayak. In this case there is some kind of language Dayak, Dayak Ngaju such as language, language Maanyan Dayak, Dusun, Bakumpai, and other. From some type of language, language can be said Ngaju Dayak language is the most popular in Central Kalimantan. Popular word here in the sense that most people in Central Kalimantan, both from upstream to downstream, from west to east across the Central Kalimantan Dayak understand language.

• Appearance For the Dayak tribes who lived in Sarawak border Kalimantan and Malaysia, for example, a tattoo around the fingers of the tribe indicates that benevolent treatment as experts. The more tattoos on the hands, showed him the more and more experts to help in the community pengobatan.Bagi Dayak Dayak Kenyah and Kayan in East Kalimantan, many people describe the tattoo is often roam. Since each village has a different motif tattoo, the tattoo signifies the owner has visited many villages. Do not imagine the village is only a few kilometers. In Kalimantan, antarkampung distance can be hundreds and even thousands of kilometers, and the boat must be using the river more than a month! Tattoos can also be given to the nobleman. Among the Dayak Kenyah people, a common motif for the nobleman (paren) are the hornbills of endemic birds that dikeramatkan.Adapun Kalimantan Dayak Iban for, the tribe and its descendants with the motif ditato "top of the world" or something that lives in the air. In addition motifnya selected, how to manufacture tattoo nobility usually more subtle detail and compared to the middle-tattoo (panyen). Subsuku for the other, the tattoo is associated with the tradition mengayau or decapitate the enemy in a war. This tradition is already tens of years is not done anymore, but used the more mengayau, tatonya motif is more special and unique. Tattoos for the daredevil in this battleground, usually placed in the right shoulder. But on the other subsuku, placed in the left arm if keberaniannya "normal", and in the right arm, if courage and keperkasaannya in the battle field is outside or biasa.Tato Parung or betik not only for men but also women. For men, tattoos can be made in any part of the body, while the female is usually only on the legs and tangan.Jika in men is associated with a tattoo of an award or honor, making the women more motivated religious tattoo. At a certain subsuku, making tattoos also associated with women's self, so that the technical term tedak kayaan, which means that women do not bertato considered lower in rank than the bertato. However, views such as this only applies in a small subsuku Dayak.Pada Kayan Dayak tribe, there are three kinds of tattoos that are usually in the women's clothing, among other tedak kassa, ie covers the whole foot and after the adult. Tedak usuu, tattoos are made on all hands and tedak hapii on the entire thigh. Meanwhile, in the Dayak Kenyah tribe, making tattoos on women starting at age 16 years or after the first period. For tattoos for women, is done with the customary ceremonies in a special home. During the making of tattoos, all men should not be out of the house. Besides, the whole family is also required to undergo a variety of taboo to avoid disaster for the women who are ditato and their families. Motif tattoo for women, more limited, such as drawing a picture that is black around the finger joint called the song irang or bamboo shoots. As for the cross on the back of the book is called finger ikor. Tattoos on the wrist called the tiger face image silong lejau.Ada also made a tattoo on the thigh. Dayak women have a tattoo on the thigh high social status and are usually equipped at the bottom of the bracelet betis.Motif tattoos are usually in the thigh also like silong lejau. The difference with the tattoo on the hand, there are transverse to the calf, called nang klinge.Tato rarely found in the knee. However there is also the tattoo on the knee in men and women, who usually made at the end of making tattoos in the body. Tattoos are made on the knee and calf to the circle to the snake-like, actual dog imitation or called tuang buvong ASU. Tattoos on both men and women, traditionally made to use the orange spine long and slow-slow and use some of the needles at once. That does not change is the creation of the tattoo usually use the crock pot's color hitam.Tato colors that made the young man now, tattoo is just decoration that does not have any meaning. Image and the placement is done carelessly and origin-derived. Tattoos like that at all does not have a religious value and appreciation, but only just for beauty, and who want to have even considered to be the champion.

• Food Dayak identity is not always the problem of narrow, language, architecture design, turf and ground vegetation diversity, treatment. One of which is owned by the Dayak tribe of food. Dayak tribe leaders really like juhu rimbang, patin side dish, side dish papuyu, juhu taya and more types of food processed from a natural kalimantan. Likewise bat / bengamat. Food is owned by the Dayak people, processed and cooked properly then the food is very delicious. Lemang, a food dayak

Traditional norms Seven Principles of role models & Norma Dayak Kalteng

1. Dayak tribe has a form of body and organs as a human, not animals, such as caudate, because it is seen that clothing made from animal skin. 2. Dayak tribe or a native of the island of Kalimantan 3. Dayak people are not cutting the neck and the human consumer. 4. The general nature of Dayak is brave, honest, humane, and benevolent setiakawan. 5. Dayak people prefer to give in (especially for immigrants), humility and respect tetuanya. 6. Dayak people have art, culture and sensitive to beauty. 7. Dayak people aware of the law and obey the law that treated him. 8. Dayak people respect the customs and beliefs of others, full of tolerance and not fanatical. 9. Dayak people agree to changes that do not violate customary, antusia period of growth and response to the Science & Technology.

• Awards Tattoos for the Dayak ethnic communities are part of the tradition, religion, social status of someone in the community, and can also form as a tribute to the ability of a tribe. Therefore, the tattoo can not be made carelessly. There are certain rules in making the tattoo or Parung, good choice of pictures, the social structure of the ditato and placement tatonya. However, the tattoos have a religious meaning in the Dayak community, namely as a "torch" in the journey toward a natural immortality after death.

• Spirituality Dayak people trust the system, which includes trust in the spirits, called kaharingan. They believe that the spirit of the deceased will go to a place called natural Datu Tunjung punu gamari. To be able to reach that place must be special ceremonies, led by walian or purchase. In addition there are informal leaders in the community, for example, pangulu, mantir, and pembakal Relationships-Hubungsn Kinship system Dayak people drawn based on patrilineal principles, forms of kinship with the most important is extended family. An extended family occupy a large house called betang or balal or lamin. Mi big house in the Dayak people hold ceremonies and religious activities. Some combination of extended family-oriented one ancestor who is very respected. Reverence for the spirit of the ancestors are closely tied to their belief system.