Online sales will end at 3:00 on February 27. Tickets will still be available at the door. Doors open at 7:30.
How did New York City, the era, the people, and the movements that surrounded Jean-Michel Basquiat, a teenager of Haitian and Puerto Rican decent, form an artist who came to define late 20th century art? In the late ‘70s and early ‘80s, success and power in the world of art were very different than they are today. Boom For Real tells Jean-Michel Basquiat’s— and New York City’s— story before that era ended and the art-world changed. Today, the highest price paid for the work of an American Artist in an auction was for a painting by Jean-Michel Basquiat, who died in 1988 at the age of 27. USA, 2017, 78 minutes, documentary.
Stay for a discussion with Rockland artists Brett De Palma and Bill Batson. Brett De Palma was a 2013 recipient of the Rockland County Executive’s Visual Artist Award and a friend of Basquiat’s, and Nyack Sketch Log’s Bill Batson received the County Executive’s Mary Grant Patron of the Arts Award in 2013.
Community Partner: Rockland Center for the Arts
Members of Rockland Center for the Arts receive the Rivertown Film member ticket discount, online or at the door.
“Near the end of the movie, one of Basquiat’s friends refers to him as ‘a true investigator.’ In Ms. Driver, the artist finds a kindred spirit, a fellow investigator who pays him proper and enthralling tribute.” (NYTimes Critic’s Pick) – Glenn Kenny, The New York Times
“Boom for Real pinpoints the moment when the graffiti world pivoted, without knowing it, into the art world.” – Owen Gleiberman, Variety
“Boom for Real: The Late Teenage Years of Jean-Michel Basquiat more than does justice to its acknowledged subject, partly by refusing to divorce him from his context.” – John Defore, Hollywood Reporter
“‘Boom for real’ was a favorite phrase of Jean-Michel Basquiat. The late artist, musician, poet and DJ applied it to anything he was enthusiastic about, which makes it an apt title for a documentary about the streets, artists and haunts of late 1970s New York that shaped his artistic practice.” – Nathalie Atkinson, The Globe And Mail
