Per Capita
by Jean-Michel Basquiat
Year: 1982-2001
Medium: Screen Print on Lenox Museum Board
Size: 40″ X 40″ in
Edition of 85
A compelling example of Jean-Michel Basquiat’s enduring cultural impact, Per Capita (1982–2001) is a screenprint on Lenox Museum Board measuring 40 × 40 inches, issued in a limited edition of 85. The work reflects Basquiat’s incisive exploration of society, language, and identity through his signature Neo-Expressionist vocabulary. Its museum-quality format, scarce edition, and recognised significance make it a highly desirable acquisition for collectors of important contemporary art.
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Per Capita is a significant work by Jean-Michel Basquiat that reflects the artist’s deep engagement with economics, race, history, and systems of power. Created in 1981, the work originated from Basquiat’s studio practice and does not have a street graffiti version. Although Basquiat first gained recognition through his SAMO graffiti writings in New York, Per Capita belongs to his breakthrough gallery period, when he began transforming urban language into complex visual narratives.
The title, referencing a measurement used in economics, reveals Basquiat’s interest in social structures and inequality. Through fragmented text, symbolic imagery, and expressive marks, the work examines value, identity, and the ways society measures human worth. His use of crowns, anatomy, and coded language creates a layered conversation about cultural recognition, financial systems, and the experience of being seen or overlooked.
Collectors highly value Per Capita for its historical importance, rarity, and connection to Basquiat’s most influential early period. Works from 1981 are especially sought after, representing the moment when Basquiat emerged as a defining voice in contemporary art.
At ArtLife Gallery, we view Per Capita as a cornerstone of Basquiat’s intellectual and visual development. Related to works such as Untitled (1981), Hollywood Africans, Charles the First, and Flexible, it demonstrates his unmatched ability to combine street culture, poetry, and social commentary into enduring fine art.
More Jean-Michel Basquiat Works to Explore
Per Capita
by Jean-Michel Basquiat
Year: 1982-2001
Medium: Screen Print on Lenox Museum Board
Size: 40″ X 40″ in
Edition of 85
A compelling example of Jean-Michel Basquiat’s enduring cultural impact, Per Capita (1982–2001) is a screenprint on Lenox Museum Board measuring 40 × 40 inches, issued in a limited edition of 85. The work reflects Basquiat’s incisive exploration of society, language, and identity through his signature Neo-Expressionist vocabulary. Its museum-quality format, scarce edition, and recognised significance make it a highly desirable acquisition for collectors of important contemporary art.
Per Capita is a significant work by Jean-Michel Basquiat that reflects the artist’s deep engagement with economics, race, history, and systems of power. Created in 1981, the work originated from Basquiat’s studio practice and does not have a street graffiti version. Although Basquiat first gained recognition through his SAMO graffiti writings in New York, Per Capita belongs to his breakthrough gallery period, when he began transforming urban language into complex visual narratives.
The title, referencing a measurement used in economics, reveals Basquiat’s interest in social structures and inequality. Through fragmented text, symbolic imagery, and expressive marks, the work examines value, identity, and the ways society measures human worth. His use of crowns, anatomy, and coded language creates a layered conversation about cultural recognition, financial systems, and the experience of being seen or overlooked.
Collectors highly value Per Capita for its historical importance, rarity, and connection to Basquiat’s most influential early period. Works from 1981 are especially sought after, representing the moment when Basquiat emerged as a defining voice in contemporary art.
At ArtLife Gallery, we view Per Capita as a cornerstone of Basquiat’s intellectual and visual development. Related to works such as Untitled (1981), Hollywood Africans, Charles the First, and Flexible, it demonstrates his unmatched ability to combine street culture, poetry, and social commentary into enduring fine art.