10 Facts About Jean-Michel Basquiat's Jawbone Of An Ass

Basquiat appointed his piece a title referencing Judges 15:16, in which the biblical figure Samson said, “With the jawbone of a donkey, heaps upon heaps, with the jawbone of a donkey have I struck down a thousand men.” Evoking imagery of defeating one's enemies, Basquiat highlights themes of strength, struggle and unconventional tools of power. Consistent narratives throughout his oeuvre, Basquiat’s examination of resistance under oppression could be referencing the artist’s own battles as a black artist within an oppressively white art scene, or the broader societal oppression of African Americans in 1980s America.

When he was eight years old, Basquiat was involved in a car accident, and as a result, he spent some time in hospital. During his stay, his mother gifted him a copy of Gray’s Anatomy (1858). This medical encyclopaedia began the young Basquiat’s obsession with the anatomical form, and references to the human body were consistently reproduced in his later artistic works. The anatomical title of Jawbone Of An Ass reflects Basquiat’s sustained fascination with anatomical elements.

Basquiat’s work references historical figures of antiquity, including Cleopatra, Scipio, Achilles, Hannibal and Virgil. He also mentions ancient cities of historical significance, such as Carthage and Pompeii. This lexical puzzle of many cultural references not only reinforces Basquiat’s extensive cross-cultural knowledge, but presents a cyclical view of history. His use of figures associated with death and violence suggests conflict and catastrophe is inevitable.

Basquiat’s inclusion of roman numerals at the bottom of his piece reinforce its classical themes, and is consistent with Basquiat’s collage technique of text, figures, and imagery. Basquiat’s technique of layering creates complex works, designed to encourage the viewer to engage with his art and decipher his intended meaning.

Basquiat's crown motif is one of the most iconic and recurrent symbols in his body of work, and serves as a symbol of power, respect, and legitimacy. It can be interpreted as Basquiat's assertion of his own worth and genius, a declaration of his place in the art world despite societal marginalisation. By using the crown, Basquiat challenges traditional narratives and asserts a new hierarchy that celebrates the contributions and significance of black artists and historical figures.

Basquiat's distinctive Neo-Expressionism is characterised by his fusion of street art with fine art. His work features bold lines, vivid colours, and a chaotic yet deliberate use of text and imagery, often incorporating symbols, words, and figures that reflect his thoughts on race, identity, and social issues. This unique style emerged from his early days as a graffiti artist in New York City, where he used the pseudonym SAMO©, and it continued to define his art, bridging the gap between the urban street culture and the high art world.

Basquiat was known for crossing out and obliterating text within his artwork, as he believed this only drew more attention to the words he wanted his viewer to digest. Having the title Jawbone of an asbestos offers a parallel between the jawbone of an ass as Samson’s powerful weapon, and asbestos as a weapon of corporate greed, in reference to the Johns-Manville asbestos scandal.

Not only does Basquiat’s Jawbone Of An Ass contain allusions to the world of antiquity, he also includes references to significant moments in American history. Basquiat’s work often explored themes of racism, colonisation and oppression, and Jawbone Of An Ass is not different. The Louisiana Purchase was a significant land acquisition made by the United States in 1803, which effectively doubled the size of the nation. This resulted in contentious debates about the expansion of slavery into new states, with the new territory destined to become a place of suffering and exploitation for the thousands of slaves forced to work there.

Basquiat's Jawbone of an Ass has been exhibited in several prestigious galleries and museums worldwide, reflecting its significance in the contemporary art scene. Some notable exhibitions include Whitney Museum of American Art in New York and Fondation Louis Vuitton in Paris.

Ambiguously abstract figures surround the text dominating Jawbone Of An Ass, and appear to watch, fascinated, the events mentioned by Basquiat. In the bottom right hand corner, a pair, appearing to throw pouches, mimic not only the violence of the figures and conflict referenced, but also evoke Basquiat’s consistent fascination with boxing, documented in works such as Boxer Rebellion (1982).