Joe Michel Basquiat, Rene Ricard, Jesse Thorn discussed on Bullseye with Jesse Thorn
So start coming through the episodes. Let's say starting at episode one. Oh, one on. Yeah. The early episodes are pretty problematic. So there's no clues in those episodes. No, no. Not at all. The better ones. The good ones clues a whole listen to every episode repeatedly in sequence laugh, if you must but mainly get all the great clues my brother. My brother made it's an advice show kind of, but a treasure hunt mainly anywhere you find podcasts or treasure maps, my brother. My brother made the hunt is on. You're listening to bulls eye. I'm Jesse thorn. My guests Sarah driver is an artist. And filmmaker when we talked in two thousand eighteen she had just directed a new documentary about the artist. Joe Michel Basquiat? It's called boom for real. It can be really difficult to describe what is special about show, Michelle boss cots, art, especially as visual, art. And there are a lot of folks in the movie who. Just kind of say, well, I saw it and I knew it was it. You spent so much time in making this film with the works. What do you think is compelling or moving about these paintings? Well, I think, you know, I just love his use of words in his love of words and, and his painting is so full of the so vibrant and it just it's just full of energy. And I think that's why people are so drawn to it now. And it's so, you know, like so many great artists who almost have a profit, like kind of demeanor in terms of you know what they're what he said thirty years ago is totally relevant now. And it totally as important now as it was thirty years ago, and maybe that's just because things haven't changed that much. Or maybe it's because he was very he was absorbing so much and his output was so great who's incredibly prolific. And. You know, I think I think that I love reading his words, I love reading his absurdist play that he had left it Alexis his house, which is parts of it are read in the in the film. You know, I think that Rene Ricard said it very well in the art form article, when he called him Meridian child because he radiated he had a kind of light that came out of him that was extraordinary. But he was also just this kid that, would, you know, we you'd see everywhere one, a great voice in the movie is leaking Yoenis, who's a probably the most eminent graffiti writer of the first great generation of graffiti writers. And he was he had this relationship with Bosc yacht through, you know, they're kind of parallel careers. And what I love is, is the way that he talks about the completely different perspective that bus Kiat had on the some of the same tech. Sneaks that the graph writers were using, let's take a listen to him talking about that in the movie it was strange to me because it had nothing to do with style. He's like the anti style..