The Impact of New York City on Jean-Michel Basquiat's Art

Urban Life and Architecture

Motifs of New York within Basquiat’s work highlight the influence of his urban surroundings. The vitality and chaos of urban life are recurring themes in Basquiat's art, often depicted through dense, graffiti-like layers and architectural elements. One notable example is Basquiat’s Mecca (1982), in which he depicts the Empire State building situated under his trademark crown, and the word ‘Empire’ written in inverted commas.

Music and Nightlife

Music also had a significant influence on Basquiat’s creations. New York’s vibrant music scene, particularly jazz and hip-hop, influenced Basquiat’s rhythmic and improvisational style, leading him to recreate these elements through radical juxtapositions of colours and subjects. Basquiat also repeatedly returned to motifs of instruments and musicians, seen in works such as Trumpet (1984) and Horn Players (1983). Fuelled by his personal passion for music, Basquiat was deeply involved in New York’s music scene, attending hip-hop concerts, appearing in music videos of prominent artists, and creating his own new-wave band Gray in 1979.

New York, New York (1981)

Several of Basquiat's most iconic works directly reference New York City. His New York, New York (1981) is a significant piece within the artist's oeuvre. Created during a pivotal time in his career, this piece reflects Basquiat's transition from street artist to an influential figure in the contemporary art scene. The piece’s contrasting mediums of oil, acrylic and spray paint, capture the city’s pulsing urban rhythm and reflects the raw energy of Basquiat’s creative stomping ground.

King Zulu (1986)

Another of Basquiat’s works influenced by his urban surroundings is King Zulu (1986), a compelling canvas depicting four influential jazz players, submerged in a blue space personifying the lyrical sound of blues music. Positioning Louis Armstorng at the centre of the composition, Basquiat intentionally titles his piece to allude to the jazz artist’s appearance as King of the Zulus at the 1949 New Orleans Carnival parade. Characteristically incorporating black American culture into his art, Basquiat illustrates his deep engagement with New York’s racial and cultural identity.

Basquiat's legacy is inseparable from New York City, this urban playground witnessing his pioneering fusion of street art and fine art, which continues to influence contemporary artists and the art world today. Since his untimely death, New York remains a central hub for his posthumous acclaim and Basquiat's work continues to be celebrated at numerous New York exhibitions, including the Whitney Museum of American Art, The Museum of Modern Art and the Brooklyn Museum.

Basquiat's bold, unapologetic style has inspired countless contemporary artists, who continue to draw from his innovative approach and the urban themes he explored. Amongst these, Banksy has paid direct homage to Basquiat’s legacy in his work, shown in his Basquiat Welcomed by the Metropolitan Police (2017) and Banksquiat (2019).

Basquiat's art is deeply intertwined with the essence of New York City, its frenetic energy and its cultural diversity translating into his artworks. The city’s architecture, music culture, and varied milieu profoundly shaped his artistic vision, embedding within his work the chaotic vibrancy and complex social dynamics of urban life. From his early graffiti days of SAMO©, to his celebrated status in the contemporary art scene, Basquiat's oeuvre stands as a testament to New York's indelible impact on his creative journey. The motifs and themes inspired by the rich, often tumultuous tapestry of urban existence, ensures Basquiat's legacy endures not only in the art world, but also in the very fabric of New York itself.