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Keith HaringKeith Haring INTERNATIONAL VOLUNTEER DAY Lithograph, Signed Edition1988
1988
$12,500
£9,658.42
€11,166.04
CA$17,663.40
A$19,810.68
CHF 10,374.55
MX$240,719.11
NOK 131,739.38
SEK 124,898.21
DKK 83,348.66
About the Item
Artist/Designer; Manufacturer: Keith Haring (American, 1958-1990)
Marking(s); notes: signed; ed. 280/1000; 1988
Materials: lithograph
Dimensions (H, W, D): 11.25"h, 8.5"w; 21.5"h, 17.5"w frame
Additional Information: "United Nations International Volunteer Day" was printed by Emiliano Sorini and published by the World Federation of United Nations Associations.
Keith Haring (1958–1990) was a pivotal figure in the 1980s New York art scene, renowned for his dynamic and accessible visual language that bridged street culture and fine art. In 1988, Haring was commissioned by the World Federation of United Nations Associations to create a lithograph commemorating the inaugural International Volunteer Day, established to promote global volunteerism and community development.
This lithograph, measuring 11.25 inches in height and 8.5 inches in width (21.5 inches by 17.5 inches framed), was printed by Emiliano Sorini, whose blind stamp is present on the piece. The artwork features Haring's signature bold lines and vibrant colors, depicting two stylized figures with interlocking arms, symbolizing unity and collective effort. This piece is hand-signed and numbered 280/1000, reflecting its limited edition status. Comparable works have been held in high regard, with similar pieces fetching notable results at auction. This lithograph not only embodies Haring's commitment to social causes but also serves as a testament to his enduring influence in contemporary art.
- Creator:Keith Haring (1958-1990, American)
- Creation Year:1988
- Dimensions:Height: 11.25 in (28.58 cm)Width: 8.5 in (21.59 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:very good, not examined outside frame (condition of art only).
- Gallery Location:Lake Worth Beach, FL
- Reference Number:1stDibs: LU2698216065172
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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