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Keith HaringSigned Keith Haring 1983 exhibition poster (Keith Haring New York 1983)1983
1983
About the Item
Signed Keith Haring 1983 exhibition poster:
Hand-signed early 1980s Keith Haring exhibition poster published on the occasion of: ‘Art of Found Objects’, Gallery Schlesinger-Boisante, New York, 5 February - 26 February, 1983.
Medium: Exhibition poster on smooth wove paper. Dimensions: 23 x 16.75 inches.
Minor signs of handling or storage wear to edges, smudging to signature; otherwise good overall vintage condition with well-preserved colors. Stored flat.
Hand signed on the lower right; from an edition of unknown.
Auction history: Christie's South Kensington June, 2013.
Excerpt from gallery:
"Keith and LA II made a work for the show which is fairly well known now. Of course, the idea of the show was art made using found objects. Keith and LA II found an old crumpled Checker cab hood and dragged it to Keith's studio to make a work for me (Keith made a point of telling me that they dragged it for blocks to make the work). The other works by Keith & LA II were a radiator cover and a fiberglass sculpture, about six feet tall, of the statue of liberty. Work by Fab Five Freddy (Fred Brathwaite, a close friend of Basquiat) was a painting on a mattress."
Exhibit Photo by: Photo by Brian Albert
Related Categories
Graffiti. Street Art. Haring. Tony Shafrazi. Pop Art. Futura 2000. Kenny Scharf. LA 2 and Keith Haring.
- Creator:Keith Haring (1958-1990, American)
- Creation Year:1983
- Dimensions:Height: 23 in (58.42 cm)Width: 16.75 in (42.55 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:NEW YORK, NY
- Reference Number:1stDibs: LU354311539122
Keith Haring
Keith Haring began experimenting with his bold, graphic lines and cartoon-inspired figures on the walls of New York City subway stations in the early 1980s. He called them his “laboratory,” places to develop a radical new aesthetic based on an ideology of creating truly democratic public art.
Haring’s paintings, prints and murals address the universal themes of death, love and sex, as well as contemporary issues he experienced personally, like the crack-cocaine and AIDS epidemics. They derive much of their impact from the powerful contrast between these serious subjects and the joyful, vibrant pictographic language he uses to express them, full of dancing figures, babies, barking dogs, hearts and rhythmic lines, as well as references to pop culture.
To make his art even more accessible, in 1986, Haring opened the Pop Shop in Soho. In a foreshadowing of today’s intermingling of art and fashion, the shop sold merchandise and novelty items featuring imagery by Haring and contemporaries like Kenny Scharf and Jean-Michel Basquiat. While his works sometimes included text, for the most part, he chose to communicate through drawing.
“Drawing is still basically the same as it has been since prehistoric times,” Haring once declared. “It lives through magic.”
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