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This beautiful and elegant Limoges porcelain Basquiat decorative porcelain plate displays one of his Untitled works produced in 1982, rendered in his graffiti signature artistic style. Like Andy Warhol and other Pop Artists, Basquiat eloquently critiqued the elitist pedestal of art through his popular culture references and immediately recognizable imagery. Basquiat also presented challenges to the institution of Art, along with the graffiti artist Keith Haring, who both served as intermediary artists attempting to bridge the academically-trained artistic production with that of the intuitive and non-traditional graffiti art. Born a naturally gifted child for the arts, Jean-Michel Basquiat impressed those around him with his early attempts at creation and found that his art was encouraged universally. Basquiat and his friend, Al Diaz, made names for themselves spray painting graffiti on buildings in Lower Manhattan, under the group-tag of SAMO (Same Old Shit) in 1976. Just two years later, in December of 1978, The Village Voice published an article about their collaborative graffiti (which, after the fame of being recognized, caused the two to split in 1979, ending with the words, “SAMO IS DEAD” inscribed on many buildings). Another masterpiece, Irony of Negro Policeman, created in 1981, is Jean-Michel Basquiat’s attempt to show how white culture controls and influences the minds of African-Americans. With the intention to show how, essentially, brainwashed African-Americans have become with the institutionalized, corrupt forms of power in America even years after Jim Crow had ended, Basquiat’s commentary gave the piece a reverberating force of will that truly withered the concept of the ‘black policeman’ – that is to say, an African-American being a tool of the white establishment. More details on Jean-Michel Basquiat Decorative Porcelain Plate - Untitled (1982):