Catalogue de l'exposition "Keith Haring" à la galerie Laurent Strouk

G N I R A H H T I KE

G N I R A H H KEIT In Search of the Roots of Art

À LA RECHERCHE DES ORIGINES de L’art

Those in search of a simple answer to their questions will likely be disappointed.

Ceux qui sont à la recherche d’une simple réponse à leurs questions seront sûrement un peu déçus.

Keith Haring, New York 1985, photo by Gianfranco Gorgoni © Gianfranco Gorgoni

Twenty-four years have passed since the death of Keith Haring, but the complexity of his aesthetic thought has yet to be properly elucidated. Open questions and unexplored issues remain, that would otherwise help us properly define his role within the history of contemporary art.

The art of Keith Haring is primarily interpreted as the expression of a counter-culture engaged in the social and political issues of his (and our) time (drugs, racism, AIDS, the nuclear threat, youth alienation, identity politics, and the abuses of power). To be sure, historical events substantiate the critics’ insistence on these social matters as the key to understand Haring’s art. Yet such readings merely convey a simplified and partial account of the artist’s aesthetics, framing him in a collective thinking. Haring led an isolated existence, in spite of his living in the last decennial that saw artists’ collectives inspired by a shared ideal of art.

“No one working in these days – wrote Haring – gets even slightly close to my style, to my attitude, to my positions […] Right now no one could be associated to me under the name of a movement.” And this was true: while his art did come into contact with the movements and styles animating New York in the 1980s, as it drew inspiration from creative styles and behavioral patterns found within urban culture, the finished work had barely anything to do with that of his contemporaries. By way of a new language, personal, unique, ideologically motivated and rich in humanistic connotations (another exceptionality of the artist vis-à-vis his contemporaries), he pursued with coherence and tenacity his ambition for an art for everyone, one that sought response both to the intentionality of the author and in the reactions of the beholder. This concept of art is based, according to Haring, on the attempt to deconstruct objectivity (his works are purposely “untitled”) in favor of the subjectivity of the viewers, who imagine their own narratives: art-making belongs to the artists, while the work belongs to the viewer. This indeed is a political statement.

What deserves to be highlighted, however, is that Haring’s oeuvre is crucially based on his deep knowledge of artistic traditions, where past experiences and future-oriented trends meet, thereby generating images.

By assimilating the work of many artists that came before him, Haring shaped his own work process, his artistic research, and his highly personal contribution, the roots of which dig deep down into prehistory.

Haring immersed himself in the history of art, searching those painters that seemed the closest to his sensibility at once expressive, full of fantasy and strongly marked by his natural disposition towards the graphic medium.

The young artist learns from Paul Klee the poetry that enables the master to create a magical universe inhabited by fantastic forms; he studies Mark Tobey, the interpreter of the lure of Zen, the explorer of the spiritual in art, of Japanese calligraphy and Eastern cultures, which inspired paintings made up of signs resembling writing, an automatic mantra; he is fascinated by Henry Matisse, by his deployment of the line, his simplified forms and solid colorcompositions; he is entranced by Léger’s chromatic overlays and by Jackson Pollock’s action painting; he adheres to the expressive power of art brut, particularly to its great master Jean Dubuffet, from whom he seizes both the sense of the archaic and of children’s drawings. Moreover, Haring carefully looks at Robert Henri, the painter of urban realism and precursor of socially committed art in the United States.

Pride of place was given by Haring to Pierre Alechinsky, who emphasized the medium of ink on paper for his art informel and lyrical abstraction.

Haring briefly studied at the Ivy School of Professional Art in Pittsburgh and, after spending a short period of time in San Francisco, in 1978 he arrived in New York, beginning his formal studies at the School of Visual Arts.

Several important artists of the 1970s were teaching in this prestigious institution, including the pioneer of conceptual art, Joseph Kosuth the eclectic body artist Vito Acconci the process artist Keith Sonnier and the avant-garde choreographer Simone Forti. Stimulated by his teachers, for a short while Haring experiments with video and performance art. During his years in the Big Apple Haring also hangs out among milieus other than the School of Visual Arts. Notably he discovers the Beat culture (in particular William Burroughs and Brion Gysin) as well as the Zen experiments of Alan Watts and Timothy Leary, prophets of LSD and psychedelia. Haring’s innate curiosity extends beyond the art world: he shows interest in semiotics, reading Roland Barthes and Umberto Eco, and in cultural anthropology, with a particular penchant for Egyptian hieroglyphs and pre-Colombian writing. In the meantime, he mingles with the scene of post-punk and rap music, and befriends the many street artists living in the metropolis, finally discovering the world of graffiti art. This is when Haring decides to perform interventions in the public sphere.

However, his decision is not a mere act of subversion and protest, but deeply indebted to the public dimension of art in Christo and Robert Henri.

Vingt-quatre années se sont écoulées depuis la mort de Keith Haring mais la complexité de sa pensée esthétique reste encore à élucider.

Nombre de questions restées en suspens pourraient nous permettre de définir le rôle que tient Keith Haring dans l’histoire de l’art contemporain.

L’art de Keith Haring est généralement interprété comme l’expression d’une contre-culture consciente des troubles socio-politiques de son (notre) époque (la drogue, le racisme, le SIDA, la menace nucléaire, l’aliénation de la jeunesse, l’identité politique et les abus de pouvoir).

De par certains évènements historiques des critiques d’art persistent à faire des questions sociales la clé de l’œuvre de Keith Haring. Cependant, de telles interprétations n’apportent qu’une explication partielle et simplifiée de l’esthétique de l’artiste, et la restreignent à une simple pensée collective.

En dépit de collaborations avec des artistes qui partagent son idéal artistique, Haring mène une existence isolée. « Il n’y a personne parmi les artistes d’aujourd’hui qui s’approche de mon style, de mon état d’esprit ou de mes principes (…) Mais aujourd’hui il n’y a personne dans le monde que l’on puisse ranger dans un groupe avec moi pour former un mouvement », écrivait Haring.

Cela était vrai : même s’il est confronté aux mouvements et aux styles qui animent le New York des années 80, même s’il s’inspire de la créativité et des comportements de la culture urbaine, son travail artistique se distingue résolument de celui de ses contemporains. Par un langage nouveau, personnel, unique, idéologique et humaniste, il soutient avec cohérence et ténacité son projet d’un art accessible à tous qui trouve sa réponse dans l’intention de l’auteur et dans les réactions des spectateurs. Ce concept artistique repose, selon Haring, sur sa volonté d’éviter une lecture objective de l’art (ses travaux sont volontairement « sans titre ») afin de rendre sa liberté d’interprétation au spectateur : la création appartient aux artistes, mais l’œuvre appartient au spectateur. C’est un principe.

Néanmoins, l’œuvre de Keith Haring repose avant tout sur sa grande connaissance des traditions artistiques.

Ses images résultent d’un mélange d’expériences passées et de tendances futures. En assimilant le travail d’artistes qui l’ont précédé, Haring façonne son propre processus de travail, sa propre recherche artistique.

Haring s’initie seul à l’histoire de l’art, à la recherche d’artistes ayant comme lui à la fois une sensibilité expressive et pleine de fantaisie et une prédisposition au graphisme. Ainsi, Paul Klee lui apprend la poésie, ce qui lui permet de créer des mondes magiques peuplés de personnages fantastiques. Mark Tobey, interprète de « l’attrait du Zen », l’amène à explorer le spirituel dans l’Art et la calligraphie japonaise et lui inspire des peintures composées de signes s’approchant de l’écriture. Il est également fasciné par Henri Matisse, par le déploiement de sa ligne, de ses formes simples et de ses compositions colorées. Il s’enthousiasme des aplats de couleurs de Fernand Léger et de la façon de peindre de Jackson Pollock. Il adhère au pouvoir expressif de l’art brut et en particulier à celui de Jean Dubuffet de qui il saisit l’aspect archaïque et enfantin des dessins.

Mais son plus grand modèle reste Pierre Alechinsky qui privilégie la technique de l’encre sur papier pour son « art informel » et ses abstractions lyriques.

Après une brève période à San Fransisco, Haring étudie peu de temps à la Ivy School of Professionnal Art de Pittsburg. Il s’installe à New York en 1978 et étudie alors à la prestigieuse School of Visual Art. Influencé par ses professeurs dont beaucoup sont des artistes renommés (Jean Kosuth, pionnier dans l’art conceptuel, Vito Acconci, artiste corporel, Simone Forti, chorégraphe d’avant garde), il s’essaie à la vidéo et à la performance pendant une courte période.

Mais Haring s’ouvre aussi à d’autres milieux culturels : il découvre la « Beat Culture » (en particulier William Burroughs) et les « expériences zen » de Alan Watts et Timothy Leary, prophètes du LSD et du psychédélisme.

Mais la curiosité innée de Keith Haring ne se limite pas au monde de l’art. Il s’intéresse à la sémiotique, en lisant Umberto Eco et Roland Barthes, ainsi qu’à l’anthropologie avec un penchant particulier pour les hiéroglyphes égyptiens et l’écriture précolombienne.

Au même moment il fréquente des artistes de la scène post-punk et rap et se lie d’amitié avec des « street artists ». Il découvre alors la technique du graffiti et décide de réaliser des performances publiques.

Cette décision ne se traduit pas comme un acte de protestation mais comme un hommage à la dimension publique des œuvres de Christo et de Robert Henri.

L’influence de l’Histoire transparaît par ailleurs plus ou moins explicitement dans son travail.

(fig. 1)

Haring’s art consistently draws from the cultures of the past, often in a subtle way, at times more explicit.

He integrates and elaborates his sources to the point where the symbols or images he references become barely recognizable.

This happens, for instance, in the work Untitled, 1983 (fig. 1) executed for gallerist Lucio Amelio, who on the occasion of the earthquake in Irpinia commissioned works by over seventy international artists, to commemorate the catastrophic event. Haring depicts a tragically explicit scene: figures with dog-heads seen in profile occupy a large portion of the painting, surrounded by a myriad of human figures either in the process of falling or dancing on a floor of fallen bodies.

The iconography is ambiguous, at once reminiscent of Egyptian art’s composite views and the divinity Anubis, god of the Underworld, and an homage to Picasso’s masterpiece, Guernica, via the formal organization and the rendering of the heads by way of spatial alterations.

The mass of figures at the bottom of the painting, moreover, represents the destiny of those who are damned, as in Renaissance representations.

(fig. 2)

In another untitled painting made in 1983 (fig. 2) a terrifying mask is shown, out of which a grasping tongue crushes a human figure wielding a crucifix. The symbolism is twofold: one recognizes the frightening mask of the Aztec Sun-god Huitzilopochtli, who used to devour the enemies of the tribes he safeguarded. At the same time, one sees in it the echo of another figure, the Gorgon of Classical mythology, whose image appears as a protective emblem in temples on city walls. Haring also appropriates other elements from past civilizations: the Classical urn and the totem.

Using a Magic marker or liquid ink, Haring draws his continuous narrative on terracotta vases (fig. 3), inspired by the horizontal partitions of Greek and Etruscan vases. He fabricates his totems using wood first cut into shapes, incising his designs into the wood with a router and then painting them. Finally, this same ritual energy can be found in Haring’s multiple experiments with body painting, a practice that draws from archaic and primitive decoration derived from tribal civilizations.

Keith Haring entremêle toutes ses inspirations à tel point que les symboles et les images ne se distinguent presque plus.

L’œuvre Untitled, 1983 (Fig.1), commandée par le galeriste Lucio Amelio pour commémorer le tremblement de terre d’Irpinia, en constitue un parfait exemple. Dans cette œuvre, Haring dépeint une scène tragique : de grands hommes à tête de chien peints de profil dansent sur des corps et jouent avec des êtres humains beaucoup plus petits. Cette iconographie est ambiguë. Elle évoque les représentations égyptiennes du dieu des enfers Anubis et, de par sa composition, un hommage au célèbre chef-d’œuvre de Picasso, Guernica.

La masse de corps dans la partie inférieure du tableau fait écho à la représentation des « damnés » à l’époque de la Renaissance.

Dans une autre œuvre sans titre réalisée en 1983 (Fig.2), un homme tenant une croix est étouffé par une langue sortant d’un masque terrifiant. On peut distinguer dans ce tableau une double symbolique : le masque du dieu du Soleil aztèque Huitzilopochtli, qui dévore les ennemis des tribus qu’il protège et le personnage mythologique de la Gorgone, qui protège les villes et les temples grecs.

A cette période, Haring s’est également approprié deux autres éléments des civilisations anciennes : le vase et le totem.

En effet, sur des vases en terracotta (Fig.3), Haring dessine ses récits continus au « Magic Marker » ou à l’encre liquide et reprend les compositions en strates horizontales des vases grecs et étrusques. Pour réaliser ses totems, il fabrique des moulages de bois, grave ses dessins à la détoureuse puis les peint.

On retrouve également l’influence des civilisations tribales dans ses performances de body painting qu’il réalise avec des dessins aux allures primitives et archaïques.

(fig. 3)

The cultural influences and migrations typical of the life and work of Haring are partially indebted to his friendship and artistic collaborations with the writer William Burroughs, with whom he realizes in 1988 a series of silkscreens entitled Apocalypse, as well as engravings for the 1989 series of etchings, The Valley.

The free association and Socratic method denoting the literary technique known as ‘cut up’, invented by Burroughs and Brion Gysin (with whom Haring also collaborated), is reflected in Haring’s work, which never delivers a linear narrative, but rather offers a multitude of clues for investigation.

In the images that Haring painted towards the end of his life, the intensification of disquieting elements relate to his awareness that he would soon die. Many of his works concerning AIDS evolve out of the imagery of medieval frescoes depicting the Last Judgment. The sacred and spiritual dimensions play a primary role in his approach to the world. Steeped in positivist and evolutionist theories, that interpret the sacred as a category of the collective conscience, the art of Haring revolves around an identification of the sacred with the social; spirituality is a sociological rather than transcendental issue: he sees in the sacred the image of man’s life experience.

Among the many apocalyptic works painted by Haring later in the 1980s, there are two large works on canvas (Untitled 1984, Untitled 1986) (fig. 4-5) that refer to the traditions of ‘high’ art. Both display busy scenes crowded with fantastical figures and monstrous heads with gaping mouths, sharing the stage with human figures: a teeming world reminiscent of the infernal fantasies of Hieronymus Bosch and Pieter Bruegel, whose work Haring knew well and admired.

As can be seen in many works that depict angels, devils, crosses, madonnas and crucifixions – Christian mythology had a strong impact on him. The Radiant Baby or Radiant Child, which appeared for the first time in Haring’s early graffiti on the walls of underground train stations, eventually becoming the artist’s own tag or logo, explicitly refers to the idea of the sacred. The rays emitted by the Radiant Child refer indeed to spiritual light as observed in medieval and renaissance religious images. Haring describes the Radiant Baby as “the purest and most positive experience of human existence.”

(fig. 4)

L’influence culturelle caractéristique du travail et de la vie de Keith Haring est due en partie à son amitié et à ses collaborations artistiques avec l’écrivain William Burroughs, avec lequel il réalisa en 1988 une série de sérigraphies intitulées Apocalypses ainsi que les gravures pour The Valley, 1989, en collaboration avec Bryon Gysin (avec qui Haring a déjà travaillé).

On retrouve dans le travail de Haring la liberté d’association et la méthode socratique découlant de la technique du « cut-up » inventé par Burroughs.

Haring ne propose pas de lecture linéaire dans ses œuvres mais plutôt une multitude d’indices pour les décrypter.

Parmi les nombreux travaux apocalyptiques peints par Haring dans les années 80, deux grandes peintures sur toile (Untitled 1984, Untitled 1986) (Fig.4-5) font référence à la tradition du « grand art ».Toutes deux représentent des mondes grouillants d’un mélange de personnages fantastiques, de têtes monstrueuses à la bouche grande ouverte et d’êtres humains. Ces scènes évoquent les fantaisies infernales des peintres Hieronymus Bosch et Pieter Bruegel, bien connus et admirés de Keith Haring.

A la fin de sa vie, alors qu’Haring sait qu’il va mourir, les éléments terrifiants composant ses tableaux se multiplient. Beaucoup de ses peintures sur le SIDA sont inspirées de fresques médiévales représentant le Jugement Dernier.

Comme beaucoup de ses œuvres en témoignent, les dimensions spirituelle et sacrée jouent un rôle majeur dans son approche du monde.

Disciple de théories positiviste et évolutionniste, qui érigent le sacré en élément de la conscience collective, Haring se concentre sur le rôle social du sacré dans l’art; la spiritualité relève plus d’une question sociale que d’une question transcendantale : Haring voit dans ce qui est sacré le reflet de l’expérience humaine.

L’iconographie chrétienne est présente dans beaucoup de ses œuvres. En effet, les croix, les madones, les anges, les démons, et les scènes de crucifixion y apparaissent de façon récurrente.

The Radiant Baby or Radiant Child, référence explicite au sacré, qui apparaît dans ses premiers graffitis sur les encarts publicitaires du métro, devient son symbole emblématique. Les rayons qui émanent de l’enfant font référence à la lumière divine représentée dans l’iconographie religieuse médiévale. Haring décrit d’ailleurs le « Radiant baby » comme « l’expérience la plus pure et la plus positive de l’expérience humaine ».

(fig. 5)

The themes of the sacred and of the Last Judgment return in The Marriage of Heaven and Hell, a large black and white canvas backdrop (7 m. height by 13 m. width), commissioned in 1984 as the stage design for Roland Petit’s choreography at the Ballet National de Marseille (fig. 5), named after British artist and poet William Blake’s book of the same title, written between 1790 and 1793. In Haring’s painting the sacrament of marriage is consummated by jubilant angels swirling above the infernal crowd of the damned, some of whom bear on their faces and bodies “X-es”, symbols of the cross, alluding to negation and agony. At the center of the composition one hand, descending from above, puts a ring on the finger of another hand: this is the victorious event of the renovatio. The central theme reverberates with a series of subthemes, in which representational and Christian symbols mesh with one another. Consonant with Haring’s mode of expression via allusions and symbolic disguise, the composition tends towards a continuous unfolding, and the space evolves into phantasmagoria.

It preserves the unattainable fluidity of dreams, with timeless and weightless ghosts swirling in infinite space.

With his life coming to an end, Haring rethinks the boundaries of art: “How naïve of me to think that art is an island of ‘purity’ in this vast chaos of business and ‘reality.’ Art remains pure either when one makes it sincerely and before the public, without monetary transactions involved, or when one makes it for oneself only, in solitude.”

(fig.6)

Two works by Haring are significant, finally, for their focus on the celestial theme: the mural made for the city of Pisa, on the side façade of the Church of St Anthony, his last public artwork, and an altarpiece, one of his very last works. The altarpiece represents a Last Judgment (fig. 6), yet in this instance the human figures are not marked by symbols of pain but seem instead transcended by the sacrifice of Christ, represented by drips flowing from an image of the Trinity (Christ is again symbolized by a Radiant Child in the womb) accompanying humanity to salvation.

A prophetic Timothy Leary dubbed Haring “the archetypical artist of the twenty-first century, a ‘global’ century, in which national and geographical boundaries will disappear; a century that will send signals that everybody on earth will be able to read.”

Gianni Mercurio

1) Keith Haring, Diari (Milan: Mondadori, 2001), 109 2) Diari, 7 July, 1986 3) Natalie E. Phillips, “The Radiant (Christ) Child: Keith Haring and the Jesus Movement” in American Art 21, 3 (Fall 2007): 54-73 4) Diari, 211-212 5) Gianni Mercurio, editor. Keith Haring, Souvenir (Milan: Skira, 2008), 145

Les thèmes du Sacré et du Jugement dernier réapparaissent dans l’immense tableau noir et blanc intitulé The Marriage of Heaven and Hell, commandé en 1984 pour le décor de la chorégraphie de Roland Petit pour le Ballet National de Marseille (Fig.5) et titré d’après le livre du poète anglais William Blake.

Le sacrement du mariage est représenté par des anges jubilant, tourbillonnants au dessus de la foule infernale des damnés. Certains portent sur leur visage et leur corps des « X », croix symbolisant la négation et l’agonie. Au centre de la composition, une main glisse un anneau au doigt d’une autre main, c’est l’évènement victorieux de la renovatio. Du thème central découle une série de sous thèmes dans lesquels une multitude de symboles chrétiens s’entremêlent. Haring est fidèle à son mode d’expression : dans ce tableau les symboles et les allusions sont masqués, la composition se transforme et devient une fantasmagorie. On perçoit l’insaisissable fluidité d’un rêve dans lequel des fantômes intemporels tourbillonnent dans un espace infini.

Arrivant au terme de sa vie, Haring repense les frontières de l’art : « J’étais bien naïf de croire que l’art était un ilot de pureté dans ce vaste chaos d’affaires et de réalité.

L’art n’est pure que s’il est fait sincèrement et préservé de toute transaction monétaire ou s’il est fait uniquement par l’artiste, dans sa solitude ».

Deux de ses dernières œuvres sont particulièrement intéressantes pour leur thème religieux : la fresque réalisée pour la ville de Pise sur la façade de l’Eglise de Saint Antoine et un retable. Dans le Jugement Dernier (Fig.6) représenté sur le retable, les êtres humains ne sont pas marqués par la souffrance mais semblent plutôt transcendés par le sacrifice du Christ représenté par la peinture coulant de l’image de la Trinité. Celui-ci accompagne l’humanité vers le salut (Le Christ est une nouvelle fois symbolisé par un Radiant Child dans le ventre de sa mère).

Timothy Leary, en prophète, décrivait Haring comme « l’archétype de l’artiste du 21e siècle, un siècle mondial, dans lequel les frontières nationales et géographiques seront amenées à disparaître, un siècle qui enverra des messages que toute personne sur terre sera capable d’appréhender ».

Gianni Mercurio

1) Keith Haring, Diari (Milan : Mondadori, 2001), 109 2) Diari, 7 Juillet, 1986 3) Natalie E. Phillips, “The Radiant (Christ) Child: Keith Haring and the Jesus Movement” in American Art 21, 3 (automne 2007): 54-73 4) Diari, 211-212 5) Gianni Mercurio, editor. Keith Haring, Souvenir (Milan: Skira, 2008), 145

12 Untitled, 1980 Keith Haring and Jean-Michel Basquiat red and black marker on paper 38 x 50 in.

96,52 x 127 cm

14 Mickey Mouse, 1981 Acrylic on paper (2 parts) 50 x 76 in.

127 x 193 cm

15

16 Untitled, 1981 Sumi ink on paper 37,5 x 42 in.

93,98 x 106,68 cm

18

19 Untitled Subway Drawing, 1981 Chalk on paper 52 x 71 x 2,125 in.

132 x 180 x 5 cm

20 Untitled, 1981 Sumi ink on paper 37,8 x 50 in.

96,5 x 127 cm

22

23

Untitled, 1982 Paint on found wood 72 x 16 in.

182,88 x 40,64 cm

Untitled, 1982 Marker on wood 4 x 13 in.

10,16 x 33,02 cm

24 Untitled, 1981 Black and gold marker on plastic 7,4 x 10,8 in.

17,78 x 25,4 cm

26 Broadway 66 st. (Subway drawing), 1982 Chalk on paper laiddown onto canvas 38 1/2 x 39 1/3 in.

98 x 100 cm

27

28 Untitled, 1982 Sumi ink on paper 72 x 72 in.

182,8 x 182,8 cm

30 Untitled, 1982 Sumi ink on paper 76 x 72 in.

193 x 182,8 cm

34 Untitled, 1982 Acrylic and sumi ink on paper 55,11 x 43,3 in.

140 x 110 cm

36 Untitled, 1982 Enamel on metal 43 x 43 in.

109,2 x 109,2 cm

38 Untitled, 1982 Sumi ink on paper 19,7 x 27,6 in.

50 x 70 cm

40 Untitled, 1982 Fluorescent paint on chip board 21,25 x 21,25 in.

53,34 x 53,34 cm

42 Untitled, 1982 Enamel on metal 12 x 12 in.

30,48 x 30,48 cm

44 Untitled, 1982 Sumi ink on paper 19 x 27 in.

48 x 69 cm

46 Untitled, 1982 Sumi ink on paper 19,7 x 27,5 in.

50,1 x 69,8 cm

48 dĂŠtail

51 Untitled, 1982 Acrylic on wood 7,8 x 31,8 in.

20 x 81,8 cm

Untitled, 1983 Acrylic on incised wood 15,375 x 11,25 x 1,125 in.

39 x 28 x 2,5 cm

52 Untitled, 1983 Acrylic on incised wood 11 x 17 x 1,125 in.

28 x 43 x 2,5 cm

54 Untitled, 1983 Acrylic on wood, 11 x 27 x 1,125 in.

28 x 68,6 x 2,5 cm

56 Mickey Mouse, 1983 Marker ink on plexiglass 51 x 56 in.

129 x 142 cm

60 Untitled, 1983 Acrylic on paper 28,8 x 23 in.

71,12 x 58,42 cm

62 Untitled, 1983 Sumi ink on paper 10,5 x 11 in.

25,4 x 27,94 cm

64 Untitled, 1983 Vinyl paint on vinyl tarpaulin 84,6 x 85,4 in.

215,5 x 217 cm

68 Untitled, 1983 Acrylic and enamel on incised wood 35 1/2 x 41 x 2 1/5 in.

90 x 104,4 x 5,6 cm

69

70 USA, 1983 Acrylic on leather 30,3 x 28,7 in.

77,5 x 73 cm

72 Untitled, 1983 Acrylic on leather 53 x 116 in.

134,62 x 294,64 cm

74 Untitled, 1983 Sumi ink on paper 35 x 50 in.

89 x 127 cm

75

76 Untitled, 1984 Sumi ink on paper 23 x 29 in.

58,4 x 73,6 cm

78 Untitled, 1982 Sumi ink on paper 38,2 x 50 in.

97,5 x 127,5 cm

80 Untitled, 1984 Acrylic on canvas 24 x 24 in.

61 x 61 cm

82 Untitled, 1984 Acrylic on canvas 15 x 15 in.

38 x 38 cm

84 Untitled, 1984 Sumi ink on paper 21,65 x 29,52 in.

55 x 75 cm

86 Untitled, 1984 Enamel on metal 40 x 36 in 101,5 x 91,5 cm

87

88 Untitled, 1984 Acrylic on foam core 25,2 x 27,5 in.

63,5 x 68,58 cm

91 Untitled, 1984 Sumi ink on paper 50 x 38,2 in.

127 x 97,3 cm

92 USA, 1984 Acrylic on canvas 92,5 x 159 in.

235 x 403,8 cm

94 Untitled, 1984 Acrylic on canvas 35,4 x 35,4 in.

90 x 90 cm

96 Untitled, 1984 Acrylic on muslin 60 x 60 in.

152,4 x 152,4 cm

100 Sneeze (Via Picasso), 1984 Acrylic on canvas 60 x 60 in.

152,5 x 152,5 cm

101

103 Untitled (FDR NY) #25 & #26, 1984 Spray enamel on metal 40 x 204 in.

101,6 x 518,16 cm

105 Untitled (FDR NY) #3 & #4, 1984 Spray enamel on metal 40 x 204 in.

101,6 x 518,16 cm

106 Untitled, 1985 Acrylic on canvas 116 x 180 in.

295 x 457 cm

107

108 Untitled, 1985 Acrylic on canvas 48 x 48 in.

122 x 122 cm

110 dĂŠtail

112 Andy Mouse, 1985 Acrylic on canvas 48 x 48 in.

122 x 122 cm

115 Untitled, 1985 Chalk on paper 87 x 45 in.

221 x 114 cm

117 Dog, 1986 Plywood, painted, with silkscreen 49,6 x 37,7 x 1,5 in.

126 x 96 x 4 cm Édition of 15, signed and numbered

118 Dog, 1986 Plywood, painted, with silkscreen 49,6 x 37,7 x 1,5 in.

126 x 96 x 4 cm Edition of 10, signed and numbered

121 Dog, 1986 Plywood, painted, with silkscreen 49,6 x 37,7 x 1,5 in.

126 x 96 x 4 cm Edition of 10, signed and numbered

122 Untitled, 1987 Acrylic on aluminium 43 1/3 x 32 x 12 1/2 in.

110 x 81 x 54 cm

123

124 Untitled, 1982 Sumi ink on paper 23,6 x 33,4 in.

60 x 85 cm

128 Untitled, 1988 Acrylic on canvas 59,8 x 59,8 in.

152 x 152 cm

130 Untitled, 1988 Sumi ink on paper 27,6 x 39,4 in.

70 x 100 cm

132 Untitled, 1988 Sumi ink on paper 27,6 x 39,4 in.

70 x 100 cm

136 Untitled, 1988 Acrylic on canvas 60 x 60 in.

152,4 x 152,4 cm

138 Untitled, 1988 Sumi ink on paper 29,5 x 39,8 in.

75 x 101 cm

140 Figure Balancing on Dog, 1989 Brushed aluminum 80 x 68,125 x 68,125 in.

203 x 173 x 153 cm edition 4 of 5, + 1 AP

142 Untitled, 1989 Acrylic on canvas 47,2 x 47,2 in.

120 x 120 cm

BioGRAPHY Keith Haring was born on May 4, 1958 in Reading, Pennsylvania, and was raised in nearby Kutztown, Pennsylvania. He developed a love for drawing at a very early age, learning basic cartooning skills from his father and from the popular culture around him, such as Dr. Seuss and Walt Disney.

Upon graduation from high school in 1976, Haring enrolled in the Ivy School of Professional Art in Pittsburgh, a commercial arts school. He soon realized that he had little interest in becoming a commercial graphic artist and, after two semesters, dropped out.

While in Pittsburgh, Haring continued to study and work on his own and in 1978 had a solo exhibition of his work at the Pittsburgh Arts and Crafts Center.

Later that same year, Haring moved to New York City and enrolled in the School of Visual Arts (SVA). In New York, Haring found a thriving alternative art community that was developing outside the gallery and museum system, in the downtown streets, the subways and spaces in clubs and former dance halls. Here he became friends with fellow artists Kenny Scharf and Jean-Michel Basquiat, as well as the musicians, performance artists and graffiti writers that comprised the burgeoning art community. Haring was swept up in the energy and spirit of this scene and began to organize and participate in exhibitions and performances at Club 57 and other alternative venues.

In 1980, Haring found a highly effective medium that allowed him to communicate with the wider audience he desired, when he noticed the unused advertising panels covered with matte black paper in a subway station.

He began to create drawings in white chalk upon these blank paper panels throughout the subway system.

Between 1980 and 1985, Haring produced hundreds of these public drawings in rapid rhythmic lines, sometimes creating as many as forty “subway drawings” in one day.

This seamless flow of images became familiar to New York commuters, who often would stop to engage the artist when they encountered him at work. The subway became, as Haring said, a “laboratory” for working out his ideas and experimenting with his simple lines.

Between 1980 and 1989, Haring achieved international recognition and participated in numerous group and solo exhibitions. His first solo exhibition in New York.was held at the Westbeth Painters Space in 1981. In 1982, he made his Soho gallery debut with an immensely popular and highly acclaimed one-man exhibition at the Tony Shafrazi Gallery. During this period, he also participated in renowned international survey exhibitions such as Documenta 7 in Kassel; the São Paulo Biennial; and the Whitney Biennial. Haring completed numerous public projects in the first half of the 80’s as well, ranging from an animation for the Spectacolor billboard in Times Square, designing sets and backdrops for theaters and clubs, developing watch designs for Swatch and an advertising campaign for Absolut vodka; and creating murals worldwide.

In addition to being impressed by the innovation and energy of his contemporaries, Haring was also inspired by the work of Jean Dubuffet, Pierre Alechinsky, William Burroughs, Brion Gysin and Robert Henri’s manifesto The Art Spirit, which asserted the fundamental independence of the artist. With these influences Haring was able to push his own youthful impulses toward a singular kind of graphic expression based on the primacy of the line. Also drawn to the public and participatory nature of Christo’s work, in particular Running Fence, and by Andy Warhol’s unique fusion of art and life, Haring was determined to devote his career to creating a truly public art.

In April 1986, Haring opened the Pop Shop, a retail store in Soho selling T-shirts, toys, posters, buttons and magnets bearing his images. Haring considered the shop to be an extension of his work and painted the entire interior of the store in an abstract black on white mural, creating a striking and unique retail environment.

The shop was intended to allow people greater access to his work, which was now readily available on products at a low cost. The shop received criticism from many in the art world, however Haring remained committed to his desire to make his artwork available to as wide an audience as possible, and received strong support for his project from friends, fans and mentors including Andy Warhol.

As a student at SVA, Haring experimented with performance, video, installation and collage, while always maintaining a strong commitment to drawing.

Throughout his career, Haring devoted much of his time to public works, which often carried social messages.

He produced more than 50 public artworks between 1982

and 1989, in dozens of cities around the world, many of which were created for charities, hospitals, children’s day care centers and orphanages. The now famous Crack is Wack mural of 1986 has become a landmark along New York’s FDR Drive. Other projects include; a mural created for the 100th anniversary of the Statue of Liberty in 1986, on which Haring worked with 900 children; a mural on the exterior of Necker Children’s Hospital in Paris, France in 1987; and a mural painted on the western side of the Berlin Wall three years before its fall. Haring also held drawing workshops for children in schools and museums in New York, Amsterdam, London, Tokyo and Bordeaux, and produced imagery for many literacy programs and other public service campaigns.

Haring was diagnosed with AIDS in 1988. In 1989, he established the Keith Haring Foundation, its mandate being to provide funding and imagery to AIDS organizations and children’s programs, and to expand the audience for Haring’s work through exhibitions, publications and the licensing of his images. Haring enlisted his imagery during the last years of his life to speak about his own illness and generate activism and awareness about AIDS. During a brief but intense career that spanned the 1980s, Haring’s work was featured in over 100 solo and group exhibitions. In 1986 alone, he was the subject of more than 40 newspaper and magazine articles. He was highly sought after to participate in collaborative projects ,and worked with artists and performers as diverse as Madonna, Grace Jones, Bill T. Jones, William Burroughs, Timothy Leary, Jenny Holzer, Yoko Ono and Andy Warhol.

By expressing universal concepts of birth, death, love, sex and war, using a primacy of line and directness of message, Haring was able to attract a wide audience and assure the accessibility and staying power of his imagery, which has become a universally recognized visual language of the 20th century.

Keith Haring died of AIDS related complications at the age of 31 on February 16, 1990. A memorial service was held on May 4, 1990 at the Cathedral of St. John the Divine in New York City, with over 1,000 people in attendance.

Since his death, Haring has been the subject of several international retrospectives. The work of Keith Haring can be seen today in the exhibitions and collections of major museums around the world.

Past One Person Exhibitions 2014 Keith Haring -Gladstone Gallery, New York 2013 Keith Haring: Languages -Fales Library, New York University, NY Keith Haring and the Pop World: Retrospect -Nakamura Museum, Yamanashi, Japan Keith Haring: The Political Line -Musee d’Art Moderne de la Ville de Paris, Paris, France Keith Haring: The Political Line/Grands Formats -Le CENTQUATRE, Paris, France 2012 Keith Haring -Gladstone Gallery, Brussels, Belgium Murale di Milwaukee -Sala dei Porti, nel percorso di visita degli Appartamenti settecenteschi di Palazzo Reale, Caserta, Italy Murale di Milwaukee -Museuo Archeologico Nazionale d’ Abruzzo, Abruzzo, Italy Love Pop! -Itami City Museum of Art, Itami City, Hyogo, Japan Keith Haring: 1978-1982 –The Brooklyn Museum, Brooklyn, New York, United States Keith Haring: Posters –Lehigh University Galleries, Rauch Business Center Gallery, Bethlehem, Pennsylvania Keith Haring –Galeria de Art del Centro de Extension de la Pontifica Universidad Catholica de Chile, Santiago, Chile Keith Haring Blueprints –Pace Prints Chelsea, New York, New York, United States Keith Haring Extra Large -Chiesa di San Francesco, Udine, Italy Pisa Mural Restoration Commemoration -Pisa, Italy 2011 Keith Haring 1978-1982 –Contemporary Arts Center, Cincinnati, Ohio, United States The Hieroglyphics of Keith Haring –Musee en Herbe, Paris, France Keith Haring –Gladstone Gallery, New York, New York, United States Keith Haring –Pace Prints, New York, New York, United States

Keith Haring: Subway Drawings –Arcadia University, Glenside, Pennsylvania, United States 2010 Keith Haring: A New Dimension –Grounds for Sculpture, Hamilton, New Jersey, United States Keith Haring 1978-1982 –Kunsthalle Wien, Vienna, Austria The Keith Haring Show –SOMA Museum of Arts, Seoul, Korea Keith Haring: 20th Anniversary –Tony Shafrazi Gallery, New York, New York, United States Keith Haring –Van de Weghe Fine Art, New York, New York, United States Keith Haring Editions on Paper –Caixa Cultural, Sao Paulo, Brazil Keith Haring Editions on Paper –Caixa Cultural, Rio de Janeiro, Brazil Keith Haring: Pop Art Superstar –Lotte Art Center, Busan, South Korea Keith Haring: Pop Art Superstar –Sangrok Museum Gwangju Museum of Art, Gwangju, South Korea One Person Show –Institut dArt Contemporain in Villeurbanne, France 2009 Keith Haring –Bentley Gallery, Scottsdale, Arizona, United States Keith Haring –Vecchiato Gallery, Milan, Italy Keith Haring –Vecchiato Gallery, Padua, Italy Keith Haring (View Selected Work) –Kunsthalle Weishaupt, Ulm, Germany The Keith Haring Show –Musee des Beaux-Arts, Mons, Belgium Keith Haring: Print Retrospective 1982 – 1990 –Collins C. Diboll Art Gallery of Loyola University, New Orleans, Louisiana, United States 2008 Keith Haring Retrospective –Museum of Contemporary Art, Lyon, France One Person Show –Ludwigmuseum, Budapest, Hungary Keith Haring – Drawings, Paintings and Sculptures –Skarstedt Gallery, New York City, New York, United States Keith Haring Houston Street & Bowery Mural Re-creation –Deitch Projects, New York, New York, United States The Ten Commandments –Deitch Projects, Long Island City, Queens, New York, United States

Against All Odds: Keith Haring in the Rubell Family Collection –Palm Springs Art Museum, Palm Springs, California, United States Keith Haring: Two Sculptures –UNAIDS, Geneva, Switzerland Keith Haring –Galerie Laurent Strouk, Paris, France 2007 Complete Editions on Paper –Fundacion Caixa Galicia, Ferrol, Spain Keith Haring: The Milwaukee Mural –Serrone della Villa Reale, Monza, Italy Keith Haring: Life as a Drawing –Ludwigmuseum, Koblenz, Germany Keith Haring: Works from the Navarra Collection –Galerie de Independence and Parc Heintz Fondation, Dexia, Luxembourg Keith Haring: Editions on Paper –Egon Schiele Centrum, Cesky Krumlov, Czech Republic Keith Haring – Untitled (Acrobats), 1986 –Katonah Museum of Art, South Lawn, Katonah, New York, United States 2006 Keith Haring: Journey of the Radiant Baby –Reading Public Museum, Reading, Pennsylvania, United States Editions on Paper –University of Valencia, Valencia, Spain Keith Haring: Art and Commerce –Tampa Museum of Art, Tampa, Florida, United States Keith Haring: Paintings, Sculpture, Objects and Drawings –Tony Shafrazi Gallery, New York, New York, United States Against All Odds –Rubell Family Collection, Miami, Florida, United States Keith Haring: POP Haring – Symbols and Icons Editions on paper from the Estate of Keith Haring –Singapore Tyler Print Institute, Singapore Complete Editions on Paper –Centro Cultural Montehermoso Depsito de Aguas, Vitoria, Spain –Fundacion Caixa Galicia, Ferrol, Spain Keith Haring: Monumental Sculptures –Poppy & Pierre Salinger Foundation, Le Thor, France Keith Haring Drawings –Alona Kagan Gallery, New York, New York, United States Keith Haring – Early Drawings –Baltic Centre for Contemporary Art, Gateshead, United Kingdom Keith Haring –Galerie Jerome de Noirmont, Paris, France

Keith Haring Prints –Memo-art Galeria, Budapest, Hungary 2005 Keith Haring Sculptures –Deitch Projects, New York, New York, United States Keith Haring –Alpen-Adria Galerie, Klagenfurt, Austria Keith Haring –Ben Brown Fine Arts, London, England One Person Show –Galleria Salvatore Ala, Milan, Italy Keith Haring: Urban Memory –Fundacion ICO, Madrid, Spain Five Keith Haring Sculptures –Somerset House, London, England Three Keith Haring Sculptures –Lever House, New York, New York, United States The Keith Haring Show –La Triennale di Milano, Milan, Italy L’Art a la Plage #4: Keith Haring –Galerie Enrico Navarra in cooperation with Galerie Jerome de Noirmont, St Tropez, France Editions on Paper –Fundacion Canal, Madrid, Spain Keith Haring: Coloring Book Drawings –Briggs-Robinson Gallery, New York, New York, United States 2004 Keith Haring –Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil –Culturgest, Lisbon, Portugal –Alte Rathaus, Prien am Chiemsee, Germany The Characters of Keith Haring –Children’s Museum of the Arts, New York, New York, United States Photos from the Archives: the Artist at Work –Pop Shop, New York, New York, United States Keith Haring: New Wave Aztec –Solomon R. Guggenheim Museum, New York, New York, United States One Person Show –Alona Kagan Gallery, New York, New York, United States 2003 Keith Haring: Short Message. Posters 1982-1990 –Museum fur Kunst und Gewerbe, Hamburg, Germany –Kunstmuseum, Heidenheim, Germany –Kunsthaus, Kaufbeuren, Germany Pop Figuration –Deitch Projects, New York, New York, United States One Person Show –Tony Shafrazi Gallery, New York, New York, United States

Four Sculptures –American Academy, Rome, Italy Two Sculptures –Parco della Musica, Rome, Italy Haring Drawings –Culturgest, Porto, Portugal One Person Show –Kagan-Martos Gallery, New York, New York, United States Keith Haring –Centro Cutural Banco do Brasil, Sao Paulo, Brazil –Centro Cutural Banco do Brasil, Brasilia, Brazil 2002 One Person Show –Arario Gallery, Seoul, Korea Keith Haring: Heaven and Hell –Museum Boijmans van Beuningen, Rotterdam, Holland Keith Haring: Tarps –Van de Weghe Gallery, New York, New York, United States Sex Show –Galerie Jerome de Noirmont, Paris, France Keith Haring: Short Message. Posters 1982-1990 –Versicherungskammer Bayern, Munich, Germany 2001 Keith Haring Sculptures –Rome, Italy The 10 Commandments –Wapping Power Station, London, England One Person Show –Castello Ursino, Catania, Sicily, Italy Keith Haring: Heaven and Hell –Museum fur Neue Kunst/ZKM, Karlsruhe, Germany One Person Show –National Gallery of the Cayman Islands, Georgetown, Grand Cayman Paradise Garage –Deitch Projects, New York, New York, United States 2000 Keith Haring: the SVA Years –School of Visual Arts, New York, New York, United States Keith Haring –Isetan Museum, Tokyo, Japan –Sapporo City Museum of Modern Art, Hokkaido, Japan –Niitsu City Museum, Niigata, Japan –Amos Anderson Museum, Helsinki, Finland Keith Haring: Sculptures on the Kurfürstendamm –Berlin Ludwig Forum, Aachen, Germany One Person Show –Chiostro del Bramante, Rome, Italy Keith Haring Sculptures –Rome, Italy

1999 Keith Haring –Eki Museum, Kyoto, Japan –Kurashiki City Museum, Kurashiki, Japan –Iwaki City Museum, Iwaki, Japan –Isetan Museum, Tokyo, Japan Keith Haring Sculptures –Pacific Design Center, Los Angeles, California, United States –Museum of Science and Industry, Chicago, Illinois, United States Keith Haring: A Retrospective –City Gallery, Wellington, New Zealand One Person Show –Galerie Jerome de Noirmont, Paris, France Keith Haring –Musee Maillol, Paris, France One Person Show –Katonah Art Museum, Katonah, New York, United States One Person Show –Peter Gwyther Gallery, London, England One Person Show –Casino Knokke, Knokke, Belgium One Person Show –Museum of Contemporary Art, Scottsdale, Arizona, United States One Person Show –Deitch Projects, New York, New York, United States Keith Haring in Pisa (View Selected Works) –Palazzo Lanfranchi, Pisa, Italy 1998 One Person Show –Wetterling Gallery, Stockholm, Sweden One Person Show –Wetterling Teo Gallery, Singapore Keith Haring: A Retrospective –Museum of Contemporary Art, Miami, Florida, United States –San Francisco Museum of Modern Art, San Francisco, California, United States –Musee des Beaux-Arts, Montreal, Canada Complete Editions on Paper –Museum Moderner Kunst, Passau, Germany –Quartier 206, Berlin, Germany One Person Show –Dorothy Blau Gallery, Miami, Florida, United States Keith Haring in San Francisco –San Francisco, California, United States Keith Haring in West Hollywood –West Hollywood, California, United States One Person Show –Tasende Gallery, Los Angeles, California, United States

1997 Complete Editions on Paper –Kunsthalle, Cologne, Germany –Historisches Museum der Pfalz-Speyer, Speyer, Germany –Kunsthalle, Dresden, Germany Keith Haring: A Retrospective –Whitney Museum of American Art, New York City, New York, United States –Art Gallery of Ontario, Toronto, Canada Keith Haring on Park Avenue –New York, New York, United States One Person Show –Andre Emmerich Gallery, New York, New York, United States One Person Show –Tony Shafrazi Gallery, New York, New York, United States One Person Show –Seagram Gallery, New York City, New York, United States Keith Haring: Blurred Boundaries –Lobby Gallery, 717 Fifth Avenue, New York City, New York, United States 1996 One Person Show –Andre Emmerich Gallery, New York, New York, United States Complete Editions on Paper –Museum Bochum, Leipzig, Germany –Museum der Bildenden, Leipzig, Germany The 10 Commandments –Bruderkirche and Museum Fridericianum, Kassel, Germany One Person Show –Dorothy Blau, Miami, Florida, United States Keith Haring: A Retrospective –Museum of Contemporary Art, Sydney, Australia 1995 Keith Haring Altarpiece – Palo Alto Cultural Center, Palo Alto, California, United States –Museum of Contemporary Religious Art, St. Louis, Missouri, United States Keith Haring: A Retrospective –Fundacion La Caixa, Madrid, Spain –Kunsthaus Wien, Vienna, Austria Keith Haring: Works on Paper 1989 –Andre Emmerich Gallery, New York, New York, United States One Person Show –Hans Mayer Gallery, Dusseldorf, Germany One Person Show – Galerie Krinzinger, Vienna, Austria

Keith Haring: Family and Friends Collect –Allentown Art Museum, Allentown, Pennsylvania, United States 1994 Keith Haring –Castellodi Rivoli, Turin, Italy –Malmo Konsthall, Malmo, Sweden –Deichtorhallen, Hamburg, Germany –Tel Aviv Museum, Tel Aviv, Israel Complete Editions on Paper –need venue, Hiroshima, Japan –need venue, Osaka, Japan –need venue, Nagoya, Japan –need venue, Tokyo and Fukuoka, Japan One Person Show –Tony Shafrazi Gallery, New York, New York, United States 1993 One Person Show –Queens Museum, Queens, New York, United States One Person Show – DIA Art Foundation, Bridgehampton, New York, United States Complete Editions on Paper –Galerie Littmann, Basel, Switzerland –Galerie der Stadt, Stuttgart, Germany –Aktionsforum, Munich, Germany Keith Haring: A Retrospective –Mitsukoshi Museum of Art, Tokyo, Japan One Person Show –Galerie Nikolaus Sonne, Berlin, Germany One Person Show –Musee de Louvain-la-Neuve, Louvain-la-Neuve, Belgium One Person Show –Michael Fuchs Gallery, Berlin, Germany 1992 One Person Show –Gallery 56, Budapest, Hungary One Person Show –Tabula Gallery, Tubingen, Germany One Person Show –Tony Shafrazi Gallery, New York, New York, United States 1991 One Person Show –Hete Hunermann Gallery, Dusseldorf, Germany Keith Haring: Future Primeval –University Galleries, Normal, Illinois, United States –Tampa Museum of Art, Tampa, Florida, United States –Museum of Modern Art, Ostend, Belgium Haring, Disney, Warhol –Phoenix Art Museum, Phoenix, Arizona, United States –Tacoma Art Museum, Tacoma, Washington, United States –The Corcoran Gallery of Art, Washington, D.C.,

United States –Worcester Art Museum, Worcester, Massachusetts, United States One Person Show –Dante Park, Lincoln Center, New York, New York, United States One Person Show –Chase Manhattan Bank, Soho Branch, New York, New York, United States One Person Show –Erika Meyerovich Gallery, San Francisco, California, United States One Person Show –Molinar Gallery, Scottsdale, Arizona, United States One Person Show –Steffanoni Gallery, Milan, Italy 1990 One Person Show –Galerie La Poche, Paris, France One Person Show –Charles Lucien Gallery, New York, New York, United States One Person Show –Philip Samuels Fine Art, St. Louis, Missouri, United States One Person Show –Tony Shafrazi Gallery, New York, New York, United States Keith Haring: Future Primeval –Queens Museum, Queens, New York, United States One Person Show –Galerie Nikolaus Sonne, Berlin, Germany One Person Show –Richard Nadeau Gallery, Philadelphia, Pennsylvania, United States One Person Show –Gallery 56, Geneva, Switzerland One Person Show –Tony Shafrazi Gallery, New York, New York, United States 1989 One Person Show –Gallery 121, Antwerp, Belgium One Person Show –Casa Sin Nombre, Santa Fe, New Mexico, United States One Person Show –Fay Gold Gallery, Atlanta, Georgia, United States One Person Show –Galerie Hete Hunermann, Dusseldorf, Germany 1988 One Person Show –Michael Kohn Gallery, Los Angeles, California, United States One Person Show –Hans Mayer Gallery, Dusseldorf, Germany

One Person Show –Tony Shafrazi Gallery, New York, New York, United States One Person Show –Hokin Gallery, Bay Harbor Islands, Florida, United States 1987 One Person Show –Tony Shafrazi Gallery, New York, New York, United States One Person Show –Galerie Kaj Forsblom, Helsinki, Finland One Person Show –Gallery 121, Antwerp, Belgium One Person Show –Casino Knokke, Knokke, Belgium One Person Show –Kutztown New Arts Program, Kutztown, Pennsylvania, United States One Person Show –Galerie Rivolta, Lausanne, Switzerland 1986 One Person Show –Dag Hammarskjold Plaza Sculpture Garden, New York, New York, United States Art in the Park –Whitney Museum of American Art, Stamford, Connecticut, United States One Person Show –Galerie Daniel Templon, Paris, France One Person Show –Stedelijk Museum, Amsterdam, Netherlands 1985 One Person Show –Schellmann & Kluser, Munich, West Germany One Person Show –Tony Shafrazi Gallery, New York, New York, United States One Person Show –Leo Castelli Gallery, New York, New York, United States One Person Show –Museum of Contemporary Art, Bordeaux, France 1984 One Person Show –University Museum of Iowa City, Iowa City, Iowa, United States One Person Show –Paul Maenz Gallery, Cologne, West Germany Keith Haring: Milan 1984 –Salvatore Ala Gallery, Milan, Italy One Person Show –Paradise Garage, New York, New York, United States One Person Show –Galerie Corinne Hummel, Basel, Switzerland One Person Show –Semaphore East, New York, New York, United States

1983 One Person Show –Fun Gallery, New York, New York, United States One Person Show –Galerie Watari, Tokyo, Japan One Person Show –Lucio Amelio Gallery, Naples, Italy Matrix 75 –Wadsworth Atheneum, Hartford, Connecticut, United States One Person Show –Robert Fraser Gallery, London, United Kingdom One Person Show –Tony Shafrazi Gallery, New York, New York, United States 1982 One Person Show –Rotterdam Arts Council, Rotterdam, Holland One Person Show –Tony Shafrazi Gallery, New York, New York, United States 1981 One Person Show –Hal Bromm Gallery, New York, New York, United States 1980 One Person Show –Westbeth Painters Space, New York, New York, United States One Person Show –P.S. 122, New York, New York, United States One Person Show –Club 57, New York, New York, United States 1978 One Person Show –Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania, United States

Untitled, 1982 Marker on wood 13 x 4 in.

33 x 10 cm

remerciements Laurent BENMUSSA Olivier CAZALIERES Marc FRANCL Pascal GAUDIN Sophie Guillet Reda HABOUR Frank LEVY Gérard LOPEZ Lio Malca Nicolas PACHENY Jean Pierre RAYNAUD Jean SYLVERE Eric SINGLER François SUNIER + 99 Cents Fine Arts Julia GRUEN Gianni Mercurio Enrico Navarra Doriano Navarra Chiara Navarra Aurélia Navarra-Schreyer Jose MARTOS Regan Hillman et l’équipe de la galerie Laurent Strouk : Marie Laborde Claire JEANNIN Christophe Leflot Marlon Boncompain

Keith Haring artwork ©Keith Haring Foundation

TEXTE :

Gianni Mercurio Traduction italien-anglais

Matilde Guidelli-Guidi Traduction anglais-français

Claire JEANNIN et Marie Laborde PHOTOS :

Jean-Louis BELLURGET Charles BENTON Gianfranco Gorgoni Jacques de Mélo conception graphique :

Antje WELDE / voiture14.com impression :

Agpograf - Barcelone ISBN : 9782953540505 Imprimé en Europe Achevé d’imprimer octobre 2014 Dépôt légal, octobre 2014 © droits réservés