Basquiat’s methodologies heavily drew upon semiotics which help portray cultural identity through objects that represent specific experiences or memories associated with them ,for instance:basketball players symbolizing freedom for african american youth ,or crowns illustrating power & legacy related connotations typicaly associated with royalty/monarchy making him one of few contemporary painters who’d incorporate visual language so effectively.(5) One prime example displaying Semiotic value being “Hollywood Africans”(1983)(image 3), painted onto three large canvases consisting portraits from Lenny Kravitz & Grace Jones juxtaposed against racist caricatures prepared by himself via layering different symbols including anchors & handcuffs hinting towards oppression black people endured during 70’s -80’s era while also referencing African mask sculptures typically seen within ritualistic ceremonies ,thus further emphasizing notions revolving around Black Identity Construction.(6)
Another intricate aspect within JMB’s oeuvre includes deconstructionist techniques often found alongside abjection(7)- a concept concerned primarily focused on rejecting normalcy within society due mainly towards effects caused by globalisation throughout late 20th century leading us back towards complex aspects involving identity construction.(8 )An excellent starting example being “Untitled”(1982)(image 4 )where we see multiple layers placed over each other in order form shapes reminiscent toward cubism style yet maintaining certain level abstraction thus allowing audience perceive work freely without breaking away from original intended message behind it .This influence can also be seen more vividly across several untitled portraits from 80’s featuring facial features composed out collage elements inspired traditionally found throughout West African masks showcasing traditional concepts via medium designed specifically for contemporary perspective taking shape across majority JMB works ultimately helping cement status Abstract Expressionism movement worldwide .(9 ) As well as those previously mentioned ; there were several influences credited pertaining toward Jean Michel ‘ s signature style too due partially stylization stemming out Japanese Manga animations along side quick sketchbook drawings made frequently after hours spent working day jobs bringing together contradictions between highbrow themes versus lowbrow aesthetics creating unique manifestations resulting each individual piece simultaneously affecting audience differently regardless viewpoint or political opinion held regarding decisionmaking processes involved regarding process itself .(10 ).

By embracing motifs derived from both classic European painting tradition while adapting it according various personal preference allows Jean Michel leave indelible mark world Art History even long after passing away tragically 1989 aged 28 years old considering vast amount impact left behind connecting generations forward since then whether directly indirectly impacting wider public understanding notion visual communication allows devotees existing fans alike keep engaging actively meaningful manner otherwise not possible without presence body substantive work available today reminding everyone about greatness achieved lifetime leaving testament ideas surrounding countercultural lifestyle purposed millennials downward postmodernity shaping new ways viewing encountering artistic output bringing closer narrative discourse arranged around current events topics ongoing conversations come next generation influenced equally powerfully collective memory located beyond physical boundaries.”

Image 1 : Irony Of Negro Policeman – 1981 https://www.artsy.net/artwork/jean-michel-basquiat-irony-of-a negro policeman
Image 2 : Boy And Dog In A Johnnypump – 1982 https://www.metmuseum.org/art/collection /search/424805?sortBy=Relevance&when=A.D+1950%E2%80%93A.D+2000&ft=*&offset =0&rpp=20&pos=1
Image 3: Hollywood Africans – 1983 https://www1labocaencarnada org/wpfbfiles_uploads_portadas/*Hollywood%20Africanspng*
Image 4: Untitled – 1982 http://pinakothekdermoderne de//en//bilderwerke//basquitnbsjeanmicheltitel unbekannthtml
Image 5: Dustheads– 1983 https://francishuyghe com/-works#gridsq86850f5569v3032cab51d58e

In conclusion Jean Michel Basquaits influence still remains evident globally his contribution helping bridge gap between Fine Art Street Culture further proving how Contemporary Artists like himself could transcend barriers genre producing something entirely their own transcending physical borders allowing millions explore meaning metaphorical connections related modern struggles similar societies face today changing opinions opinions past generations instilling newfound confidence beginning inevitable creative journey reshape preconceived norms widely accepted conventions paving way bright future ahead anyone daring enough venture outside defined boundaries open themselves new possibilities just same way did himself until very end defining limits only set imagination while constantly exploring uncharted territories forever commemoration namesake legend passed leaving lasting legacy respected remembered admirers decades come knowing limits theorised pushed onwards outwards ever grateful know life touched many countless lives countless ways without parallel entire history humanity doing now belongs ages immortalising name Pop Art movement because contributions invaluable keeping flame alive following footsteps establishing foundations assist arrive destination never  before explored”