CrAcK Is WaCk: Life of a Lonely Dragon

Crack is Wack
Ross Bleckner, Life of a Lonely Dragon, 1981
CrAcK iS WaCk
By SAI GONDI

Ross Blecker, similar to Eric Fishl, offered a new take on art during the 80's. He trained in New York City during the 70's and began to establish himself a new take on abstract art. Life of a Lonely Dragon may seem as if he sketched this with chalk on a charcoal brick wall, however this work is really an oil painting on a canvass. His strange techniques and styles allow him to create this emotional works centered around individualism. The trapped bird seems as though its truing to soar away but is confined by something, possibly the unknown. 

As this is my final blog post for Art History, it seems only right that I leave you all with some thank yous. Firstly, thank you to my classmates from both Renaissance and Modern Art History. These last two years have been filled with laughter and memories. I am excited to see my fellow seniors cruise through college and achieve more than you thought you were capable of. Second, thank you to those who read our posts. We truly enjoy being able to offer our commentary on works. We appreciate those who read them and see how we become more insightful and understanding each and every post. Finally, thank you to Mr. Luce. I came into this class two years ago with little knowledge and regard for art. I am beyond thankful for you opening my eyes to an entirely new subject I foolishly chose to ignore. You made me not only a wiser and better student, but a better, more appreciative human being. And for that, I can never thank you enough. 

It's been a great ride. Peace out all you amazing people. 

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CrAcK Is WaCk: Eric Fischl

Barbecue
Eric Fischl, Barbecue, 1982
CrAcK iS WaCk
By SAI GONDI

Eric Fishl, a classic New York legend who befriended Any Warhol, created a series of works exploring human interaction and sexuality. The controversial aspects and eroticism of his works bestowed him the labels provocative and sensual, and boy, did he own it. Fischl grew up with an alcoholic mother who suffered from depression, which influenced his works. His niche was depicting suburban America using unorthodox perspectives to create scenes of excitement or wonder. The typically R-Rated artist was most notable for his work Bad Boy, giving him the title "the bad boy of Neo-Expressionists."

Fishl's Barbecue shows an upscale backyard cookout. Two topless women converse in the pool while a seemingly young boy tries to impress with blowing fire as a party trick. A older man creepily smirks while spectating. Fishl uses aggressive brush strokes to create a unique texture. The painting feels energetic and vibrant. The slanted table offsets the entire painting creating a different perspective and an imbalance. The work does not seem crowded and as abstract as works by other artists during this period. Originally I thought the bowl of fish ironically placed in front of a pool symbolized something greater, something deeper. But then I realized this was drugged up 1980's New York, maybe he just wanted a damn bowl of fish right in the middle of his painting. 
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CrAcK iS WaCk: FUTURA 2000

Crack is Wack
FUTURA 2000, Untitled, 1984
CrAcK iS WaCk
By SAI GONDI

FUTURA 2000, or Leonard McGurr, brought a fresh new approach to 80s New York street graffiti. Similar to Haring, McGurr offered his distinct style to the public during the pinnacle of street art throughout the subways and neighborhoods of NYC. The popular form of graffiti involved lettering to convey messages or opinions, however McGurr incorporated colors and abstract images to switch things up during the aerosol phenomenon. His works became popular as they offered something different than what the majority was doing. Aside from a graffiti artist, FUTURA also illustrated, designing record sleeves for groups such as The Clash. He also designed a 2012 special edition Hennessy bottle. His colorful works inspired various prints for sneakers and cloths for brands such as Supreme and Levi's. McGurr is still alive today unlike many of his friends from the 1980's art scene.

This untitled work speaks loudly to the change in modern art. The environment became canvasses, paintbrushes became spray cans, and artists became renegades. In this work FUTURA 2000 pushes the boundaries of graffiti creating an abstract form reminiscent of other previous works by different artists such as Armored Train in Action fused with his own unique style. The bright colors clash while being balanced by the use of blacks and grey. This particular work does not bear some social critique aside from showing aspiring street artists to push against what's being done and find your own style. 
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CrAcK iS WaCk: Philistines

Crack is Wack
Jean-Michael Basquiat, Philistines,1982 
CrAcK iS WaCk
By SAI GONDI

One of the god fathers of the freshly birthed Neo-Expressionist movement during the 1980's, Jean-Michael Basquiat created abstract illustrations with blatant references to evident racism in America, specifically endured by African Americans. Neo-Expressionism marked a period where artists depicted humans and their issues with overwhelming emotion and sometimes eroticism. The product would usually look abstract and unique. During the late 20th century, black people faced discrimination often seen through law enforcement and negative portrayal in media. Music became an important platforms for young artists to speak up and voice their opinion and convey their struggle. Basquiat's artwork served as another way to bring attention to the problem.

The visionary produced powerful pieces including Irony of the Negro Policeman, Hollywood Africans, and the Philistines, each creating a different image of a more general race issue in America. His style was completely different, emotional, and sporadic. His works bleed with color and incorporate inconsistent shapes, lines, and curves conveying a sense of anger and urgency.  Basquiat's influence ascended him to the hierarchy of New York's art scene at the time, where he befriending Keith Harking, Futura 2000, and others. His influential career was brought to abrupt end when he overdosed on heroin at the age of 27 in his studio. The artist always dealt with severe depression and turned to drugs as a coping mechanism. Some believe his abuse of heroin produced his haunting, violent style

Philistines was painted in 1982. The painting evokes many thoughts and emotions when trying to understand where Basquiat was going with this work. The answer might lie in the name itself. Philistine means someone who is hostile towards or uncultured about people or the arts. Basquiat places a white individual on the left seemingly interacting with the black person in the middle. The direction of the painting moves from the white figure into the black one, though the middle figure is stabbing the white figure going against the general motion. Its hard to determine whether Basquiat intends the black figure to symbolize the Philistine quality or to serve as symbolic revenge, thrusting through the heart of hatred. The contrasting colors and streaking paints help intensify the emotion and anger stemming from his social commentary. It's clear Basquiat is hurting, bothered by the profound issues and power dynamics surrounding him. The head with the halo on the right might be him, since the angel means well but is tormented by something greater shown through the raining cloud above.


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CrAcK iS WaCk: Keith Haring

Crack is Wack
Keith Haring, Crack is Wack, 1986
CrAcK iS WaCk
By SAI GONDI

Boy, 1980's New York was quite the experience for any spectator roaming the concrete jungles. Traditional art lost some of the glamour it formally possessed within the public. It seemed people craved something fresh, something extraordinary to rally around and appreciate. 80's New York street culture was the perfect example of this, bringing the art directly to the people. Some might say delinquents, others visionaries. Regardless, graffiti and abstract street work became the eye opening splinter in the art world.

During a confusing time of diseases, pseudo wars, and drugs, artists took the subways and alleys to beautifully loiter the city with their messages and ideas. Art transformed into a platform to confront relevant social issues such as AIDS, race, and sexuality. The subjects became deeper while equally works became increasingly abstract. Keith Haring became of the most notable, respected artists during this revolution. His trademark cartoon humans helped him demonstrate an array of pressing issues including war and drug abuse. Throughout New York, his works sprung up on walls, handball courts, subways, and more. Haring's distinct style and blunt expression made him easily identifiable to any viewer. He befriending many artists during this period including Jean-Michael Basquiat and Futura 2000. Aside from crack, one of Haring's other popular subjects were AIDS, which he eventually died from at the age of 31. 

Crack is Wack was one of Haring's more popular works. Created in 1986. the mural was illegally created though now is protected by the city. Haring depicts his signature figures flailing and suffering as a result of abusing the drug, while the focus centers on a skeleton laying across the work. The skeleton signifies the extremely harmful consequences resulting from crack. In one hand, it holds the classic pipe used to consume the drug, while in the other there is a zero dollar bill caught on fire. This symbolizes people's savings burning up over an addictive product. Haring does not use as much color as his fellow New York artists during this time, however he still creates a powerful work shedding light on a pressing issue. 
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