Abstract

This paper examines Jean-Michel Basquiat’s obsession with the marginal and the obscene - understood literally as the ob-scene. The context of a graffiti art, and particularly the glyphic character of graffiti art, allows the work to defy the ordinary logic of the picture frame in order to figure, rather than represent, indeterminate into it. Thus, Basquiat characterizes death and the dead body not in the light of a transcendent space but as prolonged into the depths of an alterity, an ob-scene in the sense of an alter-side that belongs to the scene.