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.