Keith Haring: The Authorized Biography by John GruenKeith Harings talent was first recognized on subway platforms, where his trademark chalk-drawn figures could be seen for the price of a token. By the time of his death in 1990 at the age of thirty-one, Harings career had moved from underground New York to the most prestigious galleries and museums in the world.
Here Keith Harings story is told by those who knew him—and by the artist himself. He candidly reflects on all aspects of his life, including his approach to art, being gay, and how he came to terms with AIDS. John Gruen masterfully combines Harings own words with the observations of those who knew him best, including art dealer Leo Castelli; Madonna; artists Roy Lichtenstein, Francesco Clemente, and Kenny Scharf; Claude Picasso; Timothy Leary; and William Burroughs, among others. Haring emerges as both a courageous and enigmatic personality—a champion of art for all people.
Keith Haring was born and grew up in Reading, Pennsylvania with his parents and three younger sisters. Haring entered the Ivy School of Professional Art in Pittsburg at age 17 and studied there for two years. He then tired of the commercial art genre and went on to study fine arts in New York City. Here at the School of Visual Arts he was inspired by graffiti art for the first time. These renderings were more akin to Pop art than Street Art. Perhaps they could best be described as Pop Art on the street.
Keith Haring, an artist whose graphic talents made him one of the stars of the youthful 's art scene and whose images could be found as often on T-shirts as in museums, died of AIDS yesterday at his home in Manhattan. He was 31 years old. During his brief but meteoric career, Mr. Haring invented a cartoonish universe inhabited by crawling children, barking dogs and dancing figures, all set in motion by staccatolike lines. This universe was first mapped in the New York City subway system, where the young artist, still a student at the School of Visual Arts, was inspired by what he considered the beauty and immediacy of graffiti. But Mr.
He moved to New York City in and began using the city as his canvas, making chalk drawings in subway stations. His art was eventually seen everywhere from public murals and nightclubs to galleries and museums around the world. These graffiti drawings attracted the attention of.
stephen sondheim finishing the hat
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But a lot of times the work is ambiguous enough that it can interpreted by whoever. I think that in a way some [critics] are insulted because I didn't need them. Even [with] the subway drawings I didn't go through any of the 'proper channels' and succeeded in going directly to the public and finding my own audience I bypassed them and found my public without them. They didn't have the chance to take credit for what I did. They think that they have the role of finding the artist