“We meet [Warhol and Basquiat] as two speculators speculating about the heart, the soul and the art of the other person and trying to work out if it has value,” Anthony McCarten, the playwright, says
of 1983-84 Bruno Bischofberger, a Swiss art dealer, became interested in the idea of artistic partnerships. His personal collection included communal works: “I knew collaborations of painters from the 15th to 19th centuries and the[“exquisite corpse”, a term given to co-operative drawings] of the Surrealists.” He hoped to pair Andy Warhol, a famous pop artist whom he had represented for nearly two decades, and Jean-Michel Basquiat, a young client working in Neo-Expressionism.
The two men are as different as their artistic styles. Basquiat is a free spirit, charming, messy and often high on cannabis. He is a rising star—he posed for the cover ofin 1985—and prolific, too, able to produce an artwork in an hour. Warhol, by contrast, is uptight, witty and an insatiable gossip. He paints only sporadically and appears to be reaching the end of his own 15 minutes of fame as the price of his work is depreciating. Mr Bischofberger’s idea seems nonsensical.
Through these conversations, the two artists come to understand each other. Basquiat convinces Warhol to paint; Warhol explains his interest in American capitalist imagery. They create works together, such as “Olympics” and “Taxi, 45th/Broadway”: the canvases combine Warhol’s interest in motifs and bold colours with Basquiat’s sparing sensibility. The men begin to empathise with each other, too.
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