Human Interest: Portraits from the Whitney’s Collection

Apr 2, 2016–Apr 2, 2017

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Self-Conscious

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Since the 1970s, artists have increasingly used self-portraiture to explore multiple invented personas as well as darker psychological states. Searching for their own place in a society that prizes youth, fame, and self-exposure, many have adopted strategies from popular culture but often with a twist. Kalup Linzy stars in an imaginary soap opera about the art world, while Jean-Michel Basquiat places himself and his friends along the troubled continuum of African American performers in Hollywood. Other artists confound the air of heroism traditionally associated with the artist’s image, casting themselves as antiheroes shrouded in anxiety and self-doubt. Charles Ray turns himself into the diminutive prisoner of his own art, and Rudolf Stingel depicts himself on a grand scale overcome by melancholy and inertia. In a culture in which the fashion industry, cosmetic surgery, and digital editing have made physical appearance more malleable, the artists whose work is featured in this section testify to a widespread sense of uncertainty in the self and how it might be portrayed.


Below is a selection of works from Self-Conscious.

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HOLLYWOOD AFRICANS, 1983

Jean-Michel Basquiat, Hollywood Africans, 1983

In Human Interest and America Is Hard to See

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Jean-Michel Basquiat, Hollywood Africans, 1983

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Thelma Golden: Hollywood Africans is somewhat of a typical Basquiat painting, because the first thing you see is that it’s covered with words. And the words have a hierarchy: some of them are circled, some of them are crossed out, some of them are highlighted in different colors, but really the most important thing is you see the words.

Adam Weinberg: Thelma Golden is director and chief curator of the Studio Museum in Harlem.

Thelma Golden: At the core of this painting is a self-portrait of Basquiat himself and his two friends, Toxic and Ramellzee, who were also artists of that era who had traveled with him to L.A., so in many ways, the painting is a document of this trip that they made out to California, encountering out there both the art world as well as the music world, that they were hanging out in. I think it’s obvious to look at Hollywood Africans as a critique of the way in which black people have been portrayed in Hollywood film.

But I think, given when this painting was made in 1983, Basquiat was making a more complicated comment about the ideas of freedom and ownership as it related to the Hollywood arena. I often think of this painting, Hollywood Africans, as referring not just to those portrayals of Africa, the stereotypes of Africa in films like Tarzan and the way in which Africans were portrayed, but more a contemporary comment about the role of black people in the film world, right? That they are stars, but yet still, culture defines the way in which they’re understood. So it, to me, seems often like he wasn’t just making a comment about the past, but he was really making—not a comment or a critique—but a statement about the present.

At the center of Hollywood Africans is a portrait of Jean-Michel Basquiat with the rap musician Rammellzee and the painter Toxic, friends who traveled with the artist to Los Angeles, where he made this painting. Near Basquiat’s image at the far right are other modes of self-representation: the digits of his birthdate (12, 22, and 60) and the descriptive title “SELF PORTRAIT AS A HEEL #3.” The artist combines these personal references with phrases alluding to mass media’s long history of stereotyping African Americans, including “Sugar Cane,” “Gangsterism,” and “What is Bwana?” By intermingling the autobiographical and the historical, Basquiat places his own reception in Los Angeles within the broader continuum of Hollywood’s exoticizing and often derogatory depictions of people of African descent.

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Maya Man, A Realistic Day In My Life Living In New York City

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