Portrait of an artist as a young man: Former lover reveals wealth of unseen works by Basquiat

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“People have come to me year after year asking if I might do something with the work, and I just haven’t had the time,” Adler told theGrio, going on to explain that she had a family in the interim, and has been focused on working as a supervisor at NYU’s embryology laboratory. Yes, she still lives in the space they shared decades ago, where Adler houses many drawings and other items left by the art star. But, between working full-time and raising her children, there never seemed to be time for promoting the art work.

“I’m not an artist, I don’t know the art world. I’m an embryologist,” she was quick to point out. “But I was asked again in the past year, and it just seemed like the right time, and the people who are involved are genuinely interested, and know the field,” the single mother said of her decision. Currently Ms. Adler’s team includes, among others, Basquiat’s former assistant Stephen Torton.

When asked what resemblance,  if any, these particular pieces (which include drawings on radiators,  painted sweatshirts, and postcards) bear to the more popularly understood lexicon of Basquiat’s work, she indicated that “they are very similar, but more raw.”

Living with a legend

What was it like living with a brilliant artist who indiscriminately painted on clothing, furniture and walls? Adler laughed in response to that question, explaining that she “always knew Jean was going to be big, and make an impact in the art world, but that didn’t make him any easier to live with.”

So far the buzz has been a bit overwhelming in response to the announcement that these artifacts might soon be available, Adler confessed. There are prospects for a book and movie deal in the works, and a potential gallery exhibit in Rio that would be slated for next year. Still, Adler is playing her cards close, and has not made any specific plans for an exhibition or sale. Despite the whirlwind, the attention, and what sounds like glamorous offers and opportunities, she remains steadfast in her intention.

“I’m sharing these pieces, because it meant a lot to me to do right by Jean, and share the work,” she said. “It was sitting in a lock box for years, what’s the point of that? What’s the point? They are meant to be seen. Now I’m getting the chance to show them.”

To “do right” by the artist in Adler’s assessment is to share these unseen works and pieces of Basquiat’s life with the world rather than leaving them sealed in the void of a proverbial lockbox. And surely these bits and pieces will reach thousands when the many ideas for Basquiat’s artifacts come to fruition.

An opportunity to honor Basquiat

Perhaps, then, bringing this previously secret cache of art work to the public has little do with our ability to see and appraise it in the literal sense, and more to do with honoring the legacy of its creator, the artist.

Returning to our original analogy, it would seem that some appreciation has nothing to do with hearing the fully-formed sound — but being able to honor those rebels who dare to make a sound.

Chase Quinn is a freelance writer, art critic, and budding novelist, who has worked with several leading human rights organizations in the U.S. and the U.K., promoting social and economic justice. Follow Chase on Twitter at @chasebquinn.