AN INTERVIEW WITH FRED HOFFMAN ON HIS JEAN-MICHEL BASQUIAT EXHIBITION CO-CURATED WITH LARRY GAGOSIAN AT GAGOSIAN BEVERLY HILLS
Fred Hoffman and Jean-Michel Basquiat, New City Editions, Venice, California, 1983. Stills from Tamra Davis, The Radiant Child (2010). Photography by Tamra Davis.
In the Gagosian Beverly Hills exhibition, "Made on Market Street," a captivating exploration of Jean-Michel Basquiat's Los Angeles sojourn unfolds, showcasing a pivotal moment in his artistic journey. Meticulously curated by Fred Hoffman in collaboration with Larry Gagosian, this showcase spans the intensely creative period between November 1982 and May 1984—a time when Basquiat, a New York art scene icon, was drawn into the vibrant and eclectic cultural landscape of Los Angeles. Presenting nearly thirty of his works, including several landmark pieces, the exhibition narrates a story of artistic evolution, innovation, and the profound influence of Los Angeles on Basquiat's work.
Larry Gagosian and Jean-Michel Basquiat c. 1982. Courtesy Gagosian.
I am particularly excited about my forthcoming interview with Fred Hoffman, the curator whose intimate collaboration with Basquiat at his Venice, LA, printshop gave him unique insights into the artist's creative process. Hoffman's deep connection to Basquiat and his extraordinary curatorial acumen promise to shed new light on this influential period. During our conversation, we delve into topics beyond Basquiat's artistry, including his interactions with key figures of the era, such as Madonna, George Condo, and collector Douglas S. Cramer. These discussions aim to paint a fuller picture of Basquiat's social and creative milieu in Los Angeles, highlighting the relationships and encounters that further enriched his artistic output and legacy.
JEAN-MICHEL BASQUIAT, Made on Market Street, 2024, installation view. Artwork © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photography by Jeff McLane. Courtesy Gagosian.
INTERVIEW
AMADOUR: "Made on Market Street" is the first exhibition focused on Jean-Michel Basquiat's work made in Los Angeles. Where did the impetus start for this exhibition with Larry Gagosian, and what was the involvement like?
FRED HOFFMAN: I've been working off and on with Larry for 42 years. We started working together when Larry brought Jean-Michel back to Los Angeles to live in and work in his new Venice townhouse and make paintings that would be exhibited at Gagosian Gallery in March of 1983. Larry brought him out here in November of '82, and at that time, Jean-Michel also had the idea to produce a very ambitious work in the silkscreen medium. Larry knew of my involvement with printmaking as I had started a new print publishing business in Venice called New City Editions, working with certain local artists. And Jean-Michel and I connected around this time. We hit it off immediately and started working on this first production, which was eventually realized and exhibited in the '83 show. I subsequently produced six other editions with Jean-Michel, which turned out to be the only editions he made during his lifetime, with one exception being an earlier piece he had made in New York. And then Jean-Michel went back to New York after the '83 show opened. He asked me if I could get him his studio. He returned in the fall of '83 and worked again in Venice, a couple of doors down. We found a warehouse on Market Street where he worked from late summer, early fall through the following May. I also worked actively with him on producing different bodies of work that he made in the second studio. So ever since then, Larry and I have commiserated about the underappreciation and underrecognition of the body of work that Jean-Michel made in Southern California. At the same time, being foremost advocates for Basquiat, we were a little bit bummed and dissatisfied that the world at large hadn't adequately recognized the part that Southern California, specifically Venice, California, played in Jean Michel's artistic production.
AMADOUR: It goes without saying how crucial of a place Los Angeles is to Jean-Michel Basquiat's artistic growth.
FRED HOFFMAN: In conjunction with the "Jean-Michel Basquiat: King Pleasure" exhibition, which Jean-Michel's estate put on last summer, Larry and I and the two Basquiat sisters and Tamra Davis, who made the movie Jean-Michel Basquiat: The Radiant Child made an evening conversation on the subject of Jean-Michel in Southern California. I helped them contextualize the LA version of "King Pleasure" to reflect the places that were part of his Southern California experience and helped them create a timeline.
AMADOUR: Last year, I spoke with George Condo on his show "People Are Strange," which opened at Hauser and Wirth in West Hollywood, and he brought up Jean-Michel Basquiat and how they would go to the Tail O' the Pup and all sorts of different adventures. What he shared with me was my first clue about the places that were meaningful to Jean-Michel Basquiat at the time, specifically around La Cienega Boulevard. This show is happening during the Academy Awards, known as the "Oscars Show" at Gagosian.
FRED HOFFMAN: Well, I mean, that was Larry's idea. When Larry approached me about doing this show, he said he wanted to open it on the Thursday before Oscars Sunday. And I said that was too fast because we started working on this last September. And I knew much pressure would fall on me to make it happen. I tried to discourage him slightly, and he said, "No, I'm dead set. I wanted to open then, and we're going to do a book, and I want the book available." It was like, we're going to put all our effort forward. And I said, "Okay, I'm along for the ride." Historically, Larry has done some considerable high-visibility shows in conjunction with the time of the Oscars. This isn't the first time he's done this, but this one has extra meaning because of the specific subject matter, which ties into Larry's history and roots in West Hollywood and his origins with Jean-Michel. And then, even getting more specific, one of the highlights of the show is a painting called Hollywood Africans (1983), which is, in a way, Jean-Michel's shoutout to the entertainment industry and celebrities where he depicts himself and his buddies as new black entertainment celebrities, like putting their footprints in at the Grauman's Chinese Theater. Another highlight is Museum Security (Broadway Meltdown) (1983).
JEAN-MICHEL BASQUIAT, Hollywood Africans, 1983, Acrylic and oil stick on canvas, 84 1/8 x 84 inches (213.5 x 213.4 cm). Whitney Museum of American Art, New York; gift of Douglas S. Cramer. © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photography by © Whitney Museum of American Art/Licensed by Scala/Art Resource, NY. Courtesy Gagosian.
AMADOUR: Yeah, I love that painting. It is vibrant and has many unique words, but I didn't realize that's what it was. When Jean-Michel Basquiat was here, did he talk about movies he liked or anything specific?
FRED HOFFMAN: Well, you know, Tamra Davis would be much better equipped to talk to you about Basquiat and movies. Basquiat had a tremendous interest in film and a tremendous appreciation and understanding of cinema's history. And he and Tamra went to countless movies together when they were out here. Do you know I wrote a book called The Art of Jean-Michel Basquiat?
AMADOUR: Yes, I do!
FRED HOFFMAN: Okay. I've done a lot of interpretive work, and iconographic studies are a big focus of my writing. The painting Museum Security (Broadway Meltdown) (1983), contains several indirect references. There's the use of the word "orapo," which, after thinking about it for weeks on end, I realized was Jean-Michel's way of referencing the movie Black Orpheus (1959), which is a very famous movie based on a Greek tragedy myth of Orfeu and Eurydice, he references the film as a way of alluding to his ill-fated relationship with Madonna.
AMADOUR: That's pretty legendary. So, let's take a step back. How did you get into silk screening? Did you study it in school?
FRED HOFFMAN: I have a PhD in the History of Art, and my background is as an academic. I was a university professor, and then I jumped ship after a few university appointments and decided to focus exclusively on contemporary art. I worked at the La Louvre Gallery and brought many strong artists to that gallery.
AMADOUR: Did you work with David Hockney over there?
FRED HOFFMAN: David? A little bit. However, I mainly worked with some artists they did not represent, and I represented people like Mike Kelley and Chris Burden. Anyway, I then decided to leave the LA Louver Gallery, and I started silkscreening with a person I knew in Venice who was a printmaker. I was more involved with artist relations, bringing the artist, and then whatever we made, getting it out to the world. I needed to gain more technical skills in printmaking or silk screening. In response to Jean Michel's interest in making a significant monumental work in silkscreen, my partner and I brought forth a team of people to realize it.
AMADOUR: That's so cool. Today, I'm going to the studio of artist Chuck Arnoldi with Henry Vincent.
FRED HOFFMAN: Oh? It has been a long time since I have heard Henry's name.
AMADOUR: They're both good friends and mentors. Chuck's studio is in Venice, so it's excellent to intertwine all these histories.
FRED HOFFMAN: I worked a lot with Chuck while working with Jean-Michel. I made the most ambitious monotype with Chuck and made edition prints and unique monotypes over the 1980s.
AMADOUR: Wow. Yeah, Chuck's studio is unreal. It's a fantastic space with a creative energy that is very welcoming.
FRED HOFFMAN: Say hello to him for me; he probably doesn't even know about this show!
AMADOUR: I will. <laugh> This exhibition is a blockbuster show of Jean-Michel Basquiat's works.
FRED HOFFMAN: It's definitely like a museum.
AMADOUR: How did you select the works and get the artwork loans for this show?
FRED HOFFMAN: I started the checklist, and Larry and I went back and forth. There were specific works on the checklist that we said we have or are must-haves. The checklist was more ambitious than what we were able to realize. We don't have any room for any more work anyway. <laugh> I understood that different bodies of work had to be in the show. A few bodies of work are less well identified with Jean-Michel and Venice than others. There's a self-portrait of Jean-Michel on two doors, which was not made on Market Street. It was produced by print studio New City Editions a few blocks away, which he gave to his very good friend during his lifetime, a fellow named Matt Dike, who went on to have a very acclaimed career as a record producer—one of the key record producers of Hip Hop music in the United States. Jean-Michel and Matt became fast friends. Matt was a studio assistant working for Larry, and he worked with Jean-Michel in the studio just before he had his music producer career going. And Jean-Michel gave that work to him. That is a work that, after Matt died several years ago, I was involved with the family to sell at Phillips Auction House in 2019. That piece is coming back here. We made the list and contacted several institutions but had a certain amount of resistance. Four works in The Broad Collection were made in Venice, and initially, I asked for all four, but they said that was a little too much. I was wondering if we could revise our request. And then we agreed on two, and then it was a done deal. The Whitney Museum was a bit difficult because Hollywood Africans (1983), work in the 1983 show painted in Venice, bought by Douglas Cramer, was gifted a few years after he bought it to Whitney.
AMADOUR: No way. Douglas Cramer was one of the greatest art collectors. So cool.
FRED HOFFMAN: Anyway, that painting is highly sought after. The new director of the Whitney told us it is the most requested piece in the museum's collection.
AMADOUR: Wow!
JEAN-MICHEL BASQUIAT, Made on Market Street, 2024, installation view. Artwork © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photography by Jeff McLane. Courtesy Gagosian.
FRED HOFFMAN: We had to pull a few strings to get that one. A couple of European collectors have more than one piece by Basquiat that was made in LA, and those were not difficult but more drawn out in negotiations about what we could get. So there were a few works that we had hoped to show that we still needed to get, but only a few.
AMADOUR: Who were the significant collectors of Basquiat early on in Los Angeles?
FRED HOFFMAN: Douglas Kramer was a great collector and a friend, and he was a great supporter of contemporary art from the sixties through the late eighties. He had some major works in his collection. Eli and Edythe Broad were the foremost West Coast collectors of Basquiat. The Broad Foundation has 13 works by Basquiat, all of which were acquired from 1982 through 1984 with Larry. Scott D.F. Spiegel, a TV producer at ABC, was a very early collector. He hung around with Larry and me and bought one of Basquiat's great paintings in Basquiat's first show with Larry. He passed away in the early nineties and gifted that painting to the Museum of Contemporary Art (MOCA), one of the highlights of MOCA's contemporary art collection, Six Crimee (1982). It's one of the most important Basquiat works in an American museum collection. There was another man named Stephane Janssen, who's no longer alive, who was also active and collected several important early Basquiat works, including Versus Medici (1982). Early on, there weren't any notable collectors in Europe. Still, several European museums quickly figured out how important Basquiat was, and they hold more Basquiat works than America does.
AMADOUR: That's wild. I saw the Jean-Michel Basquiat exhibition at the Fondation Louis Vuitton in Paris. It was an incredible show.
FRED HOFFMAN: Yeah, a great show.
AMADOUR: What was your first impression of Basquiat's work?
FRED HOFFMAN: It was overwhelming, just so strong, so fresh, so complex. It was full of historical art references but took art history into areas yet to be explored. I thought that I was in front of a prominent new voice who understood completely the history of contemporary art and was able to add to it the whole dimension of his specific voice, which was tied up to a great degree with questions of his own identity, the identity of a young Black man in a white art world as well as the whole question of expression and liberation of Black culture. I'm of a very different generation than Jean-Michel. When I was working with him, I was already in my mid-forties, and Jean-Michel was 21. So, there's a difference there.
AMADOUR: Where did Basquiat hang out during his time in LA?
FRED HOFFMAN: I went with him to places he liked and took him to several restaurants that I found good in the early eighties, especially Italian restaurants, especially Il Giardino in Beverly Hills. We went to Maxfields's; he loved to go shopping. He hung out with Tamara and Matt a lot out of the studio.
AMADOUR: Are those establishments still around in LA?
FRED HOFFMAN: No, most of the ones I'm considering are not. I mean, he loved Mr. Chow's. He went there with Larry several times, and then he became friends with Michael and Tina Chow and went there alone. That was his favorite restaurant. I took him to Musso & Frank's too. There's a restaurant in Venice where we all hung out called the West Beach Cafe. It's, you know, characterized in the, in, in the book. It had a unique feature in that it presented art shows. I curated art shows, primarily one-person exhibitions, every other month for several years. In the 1980s, Jean-Michel had a significant show at the West Beach Cafe. I showed Keith Haring, David Salle, and Robert Therrien. So he hung out there, and many of the Venice artists also hung out there. It was our watering hole. So he engaged with certain Venice artists but wasn't socially tied in with them. George Condo worked on some of my silk screen productions early on for a very short period and was one of his younger friends.
AMADOUR: The cool thing about this show is that so many people will get to know Basquiat in terms of Southern California, as you said, but also realize that Basquiat was in plain sight in LA everywhere when he was here. Everyone usually thinks of him as so New York. But I love that there's so much intertwined history in LA.
FRED HOFFMAN: I don't know about this in plain sight. He was looking for a more relaxed environment in which to work. A lot of pressure was building on him, even from an early time in New York. And so LA provided, in a way, an escape; he was a young man and very adventurous and inquisitive. He was just a consumer, whether street culture or fine fashion. He did spend a tremendous amount of time in the studio. So, you know, that is not in plain sight. That's, you know, you know, you know, long, quiet, uninterrupted periods where he is just grinding away, making paintings.
JEAN-MICHEL BASQUIAT, Made on Market Street, 2024, installation view. Artwork © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photography by Jeff McLane. Courtesy Gagosian.
AMADOUR: As a final question, what do you hope viewers learn and take home from this body of work?
FRED HOFFMAN: First of all, the show is of high quality. Every work in the show is an essential work by Jean-Michel Basquiat. So it gives an excellent opportunity to experience a consistently high level of works by the artist, all museum quality and presented as if it is no different than a museum. I also think it can take you deeper into Jean-Michel's vision, and the subjects he was concerned with as a young black man are clearly expressed in different bodies of work in the show. It gives you a greater understanding of how Jean-Michel was taking the whole tradition of modernism further, especially regarding the work of artists such as Pablo Picasso and Robert Rauschenberg.
AMADOUR: You're hitting some heavy hitters in this show, and you and Larry should be proud. I enjoyed this conversation and learned so much.
FRED HOFFMAN: I appreciate it too. My pleasure.