BY MARK ANDERSON
Jean-Michel Basquiat, known to many as SAMO, is an icon whose influence reverberates through the art world and beyond. His unique blend of street art aesthetics, profound socio-political commentary, and childlike yet intellectual style captivated audiences during his short but impactful career. Recently, Tom Zatar Kay, a lifelong friend of Basquiat and a pivotal figure in the late ’70s and ’80s New York City art scene, shared exclusive insights in an interview with The World Art News, promoting his book, JEAN-MICHEL BASQUIAT “THE KING”: My Friend SAMO – Late 1970-80s.
Kay first met Basquiat in late 1978, amid the vibrant, chaotic energy of Manhattan’s Lower East Side. Their bond was immediate, forged through shared passions for art, poetry, and the city’s electric atmosphere. “It was great fun,” Kay recalls, emphasizing the serendipitous nature of their connection in a community where “everyone knew everyone.” This deep friendship put Kay in a unique position to witness Basquiat’s meteoric rise firsthand.
In his book, Kay sheds light on Basquiat beyond the rebellious public image—the young artist whose canvases bore scrawled words and crowned figures. Through stories of shared moments, such as their conversations in a car exchanging dreams and encouragement while smoking joints, readers see a warmer, more personal side of Basquiat. A standout memory for Kay was telling Basquiat, “You are going to make it big,” and celebrating that reality at Basquiat’s Whitney Bicentennial debut two years later.
Describing Basquiat’s character, Kay captures a mix of innocence and fierce drive. He recounts moments that highlight Basquiat’s blend of deep contemplation and spontaneous humor, showcasing a multidimensional figure with a passion for truth. Central to Basquiat’s art was his poetic use of language and symbolism. Kay remembers discussing the meanings behind the artist’s cryptic phrases and the raw energy infused in his work. “We were having a great time together laughing about how funny his letters were in his Big Art,” Kay shares, revealing the joy Basquiat found in challenging viewers to think critically.
Kay also touches on Basquiat’s willingness to confront uncomfortable realities. Through recurring motifs like the skull, Basquiat addressed life’s impermanence and the certainty of death—a “voodoo magical check on reality,” as Kay describes it. This theme underscores Basquiat’s belief that art should express the raw truths of human existence.
Despite fame, Basquiat remained empathetic and generous, traits that Kay highlights with anecdotes of his support for friends and those in need. “Once SAMO made it, he helped all of his old friends and loved helping total bums by giving them money,” Kay recalls, linking this kindness to Basquiat’s own experiences of hardship, including periods of homelessness.
Kay posits that Basquiat may have been neurodivergent, potentially on the autism spectrum. He notes Basquiat’s early literacy, obsessive dedication to art, and fluid use of multiple languages as signs of a uniquely gifted mind. “He showed many of the traits, such as being socially awkward and always having to create,” Kay observes, emphasizing how these characteristics fueled Basquiat’s relentless energy and distinct style.
Basquiat’s life, though marked by struggles with addiction that ended in his untimely death at 27, is seen by Kay as more than a cautionary tale. His art, still powerful and relevant today, serves as a call to question, resist, and reflect. Kay underscores that Basquiat’s fearless approach is a lesson: “Create your own art, speak your truth, don’t be a bigot, don’t hate, love. Be punk and fearless, be kind, have compassion, don’t pass judgment.”
Through Kay’s memories, Basquiat is not just an artistic prodigy but a revolutionary thinker and deeply human figure. His balance of childlike wonder and profound insight left a lasting impact on those who knew him and on the world. To Kay, Basquiat was “a positive evolutionary force of nature” whose legacy continues to inspire new generations.
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