Basquiat Keith Haring Roy Lichtenstein The Paris Review

Jean-Michel Basquiat, Keith Haring: The Paris Review 1982-1990 (set of 2): Vintage editions of The Paris Review, with one uniquely featuring brilliant Keith Haring 1982 cover art &...

Roy Lichtenstein The Paris Review: 1992 The Paris Review book, featuring an interior spread of Roy Lichtenstein's "__" (1992). Imagery features 8 detailed segments of this esteemed 1...

Keith Haring The Paris Review: 1982 The Paris Review book, with original cover design by Keith Haring. Offset lithograph on double sided art book. Measures approximately: 5.5 x 9 inches; soft cover. Approximately 50pgs. Minor age related wear; in otherwise very good overall vintage condition. 1st edition, 1st printing 1982. Unsigned from an edition of unknown. Highly collectible. Related categories: Keith Haring 1982. Keith Haring book...

Keith Haring Cover Art 1982-1989: A set of 3 1980s books featuring original (offset) cover design by Keith Haring during his lifetime: Keith Haring 1982 for The Paris Review. Keith Haring 1986 for Brion Gysin The Last Museum. Keith Haring for AIDS: TRADING FEARS FOR FACTS (Hein). Medium: Set of 3 individual vintage books with offset illustrated cover art. 1982-1989. Measuring approximately: 4 x 7 inches each; soft cover books; the full edition of each; bound. Each in good to very good overall vintage condition. Minor age related wear. Each, unsigned from an edition of unknown. Highly collectible. _ Keith Haring (b. 1958 Reading, PA): Keith Haring’s first major works were his subway drawings. Haring produced a large number of these public works between 1980 and 1985, integrating his motifs outlined figures into everyday public space in a way that directly engaged its viewers. Haring's 1st solo exhibition was held at Westbeth Painters Space in 1981 and a celebrated show debuted at the historic Tony Shafrazi Gallery in New York the following year. Throughout the 1980s, Haring was committed to democratizing the art experience and along with paintings, he also created theater sets, billboards, murals, advertising campaigns and even a line of Swatch watches. In 1986 he opened the Pop Shop in SoHo, selling apparel, posters and toys bearing his drawings. This was a controversial move, as many galleries criticized Haring for “de-valuing” the art object while others, such as Andy Warhol, championed Haring’s insistence on making art accessible and affordable. Pop Shop was highly influential to contemporary crossovers of art and merchandise that are now so dominant, as in the work of Jeff Koons, Yayoi Kusama, KAWS and Takashi Murakami. In addition to this ideology of accessibility, Haring was also very socially engaged and used his striking imagery to promote awareness of various political and social campaigns. His many notable public works included a mural on the western side of the Berlin Wall, the Crack is Wack mural in New York, and a mural for the 100th anniversary of the Statue of Liberty in 1986. Haring was diagnosed with AIDS in 1988 and used his presence in the arts community to raise awareness of the crisis. In 1989, a year before his death, he established the Keith Haring Foundation, whose mission is to raise funds for AIDS organizations and children’s literacy and arts programs. Since his death in 1990, Haring has become one of the most widely-recognized and celebrated artists of the 20th century. Related categories: Keith Haring 1982. Keith Haring book...

This reference catalogues the prints of Pop artist Roy Lichtenstein, who created more than 350 graphic works over a span of 50 years. It catalogues and reproduces each of the artist'...

Basquiat: Boom for Real by Eleanor Nairne and Dieter Buchhart. 1st Ed hardcover no dust jacket as issued. Published by Prestel, Munich, 2017, for exhibitions in London and Frankfurt....

Roy Lichtenstein helped usher in the pop art movement in America in the 1960s with his large-scale paintings of comic-book panels and his deadpan renditions of consumer-product adver...

With landscape mobile, Roy Lichtenstein has designed a beautiful "art system" as a table centerpiece. Invoking Alexander Calder's standing mobiles, Lichtenstein termed this piece a "stabile." It is in fact a non-moving object representing a tall tree set in a green basin...