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Cabra
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Cabra
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Cabra

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NY, US
US

About the item

Executed in the pivotal years of 1981-82, Cabra is a singularly compelling masterpiece from the early output of Jean-Michel Basquiat, emphatically declaring the arrival of the brilliant, then virtually unknown prodigy into a world that would be forever transformed by his paintings. Amongst the earliest depiction of the combative boxer-warrior that is so synonymous with the artists most famous works, the present work explores a moment of particular triumph within the larger cultural narrative of the black athletes heroic ascent to power in the face of adversity; exemplifying Basquiats emphatic engagement with and searing scrutiny of the contemporary discourse surrounding black athletes in 1980s America, Cabra brings into searing focus Muhammad Alis historic triumph over undefeated heavyweight boxer Oscar The Bull Bonavena in their legendary face-off in December 1970. Held in the esteemed collection of Yoko Ono for over two decades, Cabra is best known from an image of Basquiats studio, in which it is staged immediately to the right of the artists easel. Exhibited in the pivotal Champions show at Tony Shafrazi Gallery in 1983, and first held in the personal collection of Tony Shafrazi, Cabra is a historical testament to Basquiat's enduring legacy. Outstanding as one of the most visually compelling, irresistibly animated, and conceptually ingenious of the artists paintings, Cabra unites three cultural icons artist, hero, and collector in a triumphant exhibition of raw and indomitable artistic brilliance that leaves the viewer simply spellbound.Masterfully layering potent graphic forms, intricate symbolism, and viscerally charged painterly bravura, Cabra irrefutably demonstrates Basquiats commanding mastery and use of culturally loaded signs and symbols in his paintings. Distinctly evocative of his encyclopedic absorptive relationship with visual culture, the present work invokes with remarkable specificity one of Muhammad Alis most historic triumphs: his victory over fellow heavyweight boxer Oscar The Bull Bonavena, in their epic face-off in December 1970. In this now mythic boxing match, Ali returning to boxing from a three year hiatus defiantly faced his opponet, ignoring the racially charged slurs Bonavena slung in the highly publicized spectacle of psychological warfare. The legendary outcome of the match is immortalized by Basquiat upon the present work: inscribed above the glaring bulls skull, the roughly scrawled hieroglyphic letters TKO invoke Muhammad Alis victory when, in the fifteenth round, Ali knocked his opponent to floor to achieve a Technical Knockout (TKO), ending the match and cementing his legacy as amongst the most celebrated and mythic figures of the Twentieth Century. In a vibrant maelstrom of saturated pigment, furious oilstick, and fiercely bold symbolism, Basquiat canonizes Alis iconic victory against The Bull, immortalizing not only his supreme athletic showmanship, but also, the athletes triumph over racial oppression and subjugation. Undoubtedly, one of the most psychologically searing and powerful examples of the artists early output, Cabra serves as rallying cry for both artist and hero, driving both forward into the magnificent pinnacles of their careers.\nMemorializing a pivotal moment in the young artists extraordinary artistic career, the incendiary scarlet canvas of Cabra powerfully embodies the raw and indomitable force of Basquiat at his most ambitious. Today, Basquiats meteoric ascension from graffiti artist on the streets of downtown New York to icon of the 1980s art scene is legendary; a high school dropout, the artist first made his name and mark upon downtown Manhattan as the notorious graffiti vandal/hero SAMO, before the discovery of his prodigious talent in late 1981 launched him into a spotlight of critical acclaim and breathtaking notoriety. Over the course of 1982, this once-in-a-lifetime artist would receive his first solo exhibition with Annina Nosei in New York, followed quickly by Larry Gagosian in Los Angeles, Bruno Bischofberger in Zurich, and, most astoundingly, an invitation to attend the international exhibition Documenta 7 in Kassel as the youngest artist of more than 176 to present his art. Evoking contemporaneous masterworks Untitled, 1981, in the collection of the Broad Museum, and Untitled, 1982, now in the Maezawa collection, the visceral impact of the searing skull-like visage is absolute and immediate, the central and solitary form serving as blazing emblem and self-portrait for the burgeoning artist. Describing the young Basquiat, scholar Marc Mayer recounts, an articulate and prolific spokesman for youth: insatiably curious, tirelessly inventive, innocently self-deprecating because of youths inadequacies, jealously guarding his independenceHis work is likely to remain for a long time as the modern picture of what it looks like to be brilliant, driven, and young. (Marc Mayer, Basquiat in History, in Exh. Cat., New York, Brooklyn Museum, Basquiat, 2005, p. 57)\nJubilantly demonstrative of Basquiats triumphant artistic breakthrough of 1981-82, Cabra belongs to the artists select pantheon of legendary portrayals of the Twentieth Centurys most infamous boxers and black athletes. The triumphs and achievements of such men as Joe Louis, Sugar Ray Robinson, Jersey Joe Walcott, and Jack Johnson, over opponents and racial prejudice alike, served as a crucial inspiration for the young artist; in particular, Muhammad Ali, whose legendary rhetoric and championing of social justice outside of the ring proved a clarion call to the African American diaspora during the Civil Rights era and the struggle for racial equality. Basquiat was highly aware of such injustices, once remarking, "I realized that I didn't see many paintings with black people in themthe black person is the protagonist in most of my paintings." (Jean-Michel Basquiat quoted in Cathleen McGuigan, New Art, New Money,' The New York Times, 10 February 1985, n.p.) Executed in the year following Alis formal retirement from boxing, the indelible intensity of Basquiats fervent oilstick evokes the voracious spirit of the iconic boxer himself, the fierce gaze challenging the viewer with confidence of a proven champion. The young artists homage to Muhammad The Greatest Ali is solidified in the paintings title: translated from Spanish, Cabra means Goat, or Greatest of all time. Intricately weaving layers of meaning between the searing white ropes of the crude boxing ring emblazoned upon his canvas, Basquiat brands this arena as the podium and battle groundfor Ali, icon and hero to innumerable young black Americans.\nSigned, titled and dated 81-82 on the reverse
US
NY, US
US

medium

Acrylic and oilstick on canvas

creator

Basquiat, Jean-Michel

dimensions

60 1/4 by 60 1/4 in. 153 by 153 cm.

exhibition

New York, Tony Shafrazi Gallery, Champions, January - February 1983, p. 18, illustrated Acireale, Palazzo di Città; Rome, Regione Lazio, Centro Culturale Cembalo Borghese, Palazzo Borghese; Comune di Ferrara, Gallerie Civiche d'Arte Moderna, Palazzo del Diamanti; and Malo, Museo laboratorio Casabianca, La Scuola di Atene: il sisteme dell'arte, December 1983 - April 1984, p. 26, illustrated Basel, Fondation Beyeler; and Paris, Musée d'art moderne de la ville de Paris, Basquiat, May 2010 - January 2011, p. 46, no. 32, illustrated in color and pp. 34-35, illustrated in color (in the artist's studio, 1982) (Basel); pp. 38-39, illustrated in color (in the artist's studio, 1982) (Paris) 

literature

Exh. Cat., New York, Whitney Museum of American Art (and travelling), Jean-Michel Basquiat, 1992, p. 239, illustrated (in the artist's studio, 1982) Richard D. Marshall and Jean-Louis Prat, Jean-Michel Basquiat, 1st Ed., Vol II, Enrico Navarra, Paris, 1996, p. 56, no. 1, illustrated in color and p. 124, illustrated in color (in the artist's studio, 1982) Richard D. Marshall and Jean-Louis Prat, Jean-Michel Basquiat, 2nd Ed., Vol II, Enrico Navarra, Paris, 1996, p. 58, no. 1, illustrated in color Exh. Cat., Paris, Fondation Dina Vierny-Musée Maillol, Jean-Michel Basquiat: Works on Paper, 1997, p. 158, illustrated in color (in the artist's studio, 1982) Exh. Cat., Paris, Galerie Jerome de Noirmont, Jean-Michel Basquiat: Témoignage 1977-1988, 1998, p. 38,  illustrated in color (in the artist's studio, 1982) Tony Shafrazi, Jeffrey Deitch, Richard D. Marshall, et al., Jean-Michel Basquiat, New York, 1999, p. 80, illustrated in color Richard D. Marshall, ed., Jean-Michel Basquiat: Works on Paper, Enrico Navarra, Paris, 1999, p. 352, illustrated in color (in the artist's studio, 1982) Exh. Cat., Venice, Fondazione Bevilacqua La Masa, Basquiat a Venezia, 1999, p. 126, illustrated in color (in the artist's studio, 1982) Exh. Cat., Naples, Museo Civico Castel Nuovo, Basquiat a Napoli, 1999, p. 134, illustrated in color (in the artist's studio, 1982) Richard D. Marshall and Jean-Louis Prat, Jean-Michel Basquiat, 3rd Ed., Vol. II, Enrico Navarra, Paris, 2000, p. 84, no. 1, illustrated in color and p. 276, illustrated in color (in the artist's studio, 1982) Exh. Cat., New York, Van de Weghe Fine Art, Jean-Michel Basquiat. Works on Paper, 2007, p. 208, illustrated in color (in the artist's studio, 1982)

provenance

Collection of Tony Shafrazi, New York Acquired by the present owner from the above in 1993

signedDate

Signed, titled and dated 81-82 on the reverse

artist_range_end

1988

artist_range_start

1960

consignmentDesignation

Property from the Collection of Yoko Ono

creator_nationality_dates

1960 - 1988


*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.

*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.


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