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Authors: Keith Haring

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MAY 4, 1982, IN BRUSSELS AIRPORT
It has been a long time since I have written anything down. A lot of things have happened. So many things that I have been unable to write them. I probably should be keeping a daily diary, however I don’t seem to be able to ever start to write. So today is my [24th] birthday and I am sitting in an airport in Brussels waiting for a flight back to New York. The show in Rotterdam went fine and I also enjoyed Amsterdam. Drawing in the street with chalk in Amsterdam made me realize I can do it anywhere in the world (and with similar results). But, I miss New York and especially Juan [Dubose]. It’s funny, but coming here made me even more glad to be American. Everyone here seems as if they would rather be in America, even if they don’t know much about what it is really like.
In one year my art has taken me to Europe and propelled me into a kind of limelight. Everyone says it’s kind of scary. I mean, the situation. Things tend to get over-hyped and then consumed and placed into a “safe place” (history). I do admit in some ways this does frighten me, but on the other hand: what is the alternative? Elvis must be Elvis. Looking at Willem de Kooning’s ugly new paintings at the show at the Stedelijk frightens me. I would rather die than become that. However where I am now is feeling rather good. I mean in some ways it is the situation I always wanted or always dreamed of. I’m not sure where that dream came from, but it is hard to make it go away once it has started. I think the most important thing is keeping it all in perspective. Knowing that it is up to me what happens next. (And knowing when it is out of my hands.) The one thing (and in the end it was always the only thing) that I have control of is what comes out of me and into the world.
It is hard to control the thing once it has come out and entered the world. But only I can bring it to the world. The world doesn’t want these things and doesn’t need these things, but when they are here, they are here. Their importance all comes from what other people do with them. If these things are put into a situation they add something to it.
Everybody that does these things is adding to situations and adding to the world. Therein lies a kind of responsibility. That responsibility is seen differently by different people who make things in the world. It depends on the “idea of the world” that the person has. Not everyone feels a responsibility to the world. I do not fool myself into thinking that these things I make can change the world or even make a big effect in the world.
People who make wars change things. People who use “control” make things happen in the world. That is not my interest at all. In fact, my “idea of the world” is very simple. My understanding of my place in the world is (I hope) humble and unassuming. I am filled with a certain kind of doubt about my role in the world. But that does not stop me from participating in the world. It only keeps me from expecting something from the world. It seems to me the only thing to do in the world is to “do” something. The “doing” is what the world is. I only do what I always have done when I make things. I don’t know if I ever understood or will ever understand what this thing is or why I do it. But I know from other people who have always done it that it is a “real” thing to do and it seems to stay in the world after it is done. People who drew in caves thousands of years ago made things that are still in the world. The world gets bigger and bigger. People like Jesus Christ have added things to the world that also don’t go away. That is an even bigger responsibility. The things that I make are a very small addition compared to this.
Today I am 24 years old. Twenty-four years is not a very long time, and then again it is enough time. I have added many things to the world. The world is this thing around me that I made for myself and I see for myself. The world will, however, go on without me being there to see it, it just won’t be “my” world then. That is what interests me most about the situation that I am in now. I am making things in the world that won’t go away when I do. If this “success” had not happened, then maybe the world would not know these things after I go away. But now I know, as I am making these things, that they are “real” things, maybe more “real” than me, because they will stay here when I go. In the situation I am in now, I am a vehicle for these “things” I’m bringing into the world. I am not having things and making things and waiting for the world to have them. The world is waiting to have them. At 24, that is maybe a funny feeling. The things that I make are “in” the world as soon as I make them. That is also the situation I always dreamed of (I guess). So that there is a kind of reason for making these things and the “things” in some sense become more important than me. The world is waiting for the things and I am the only one who can bring them these things. There is a kind of freedom in that. There is also a kind of hysteria in that, but it depends how you see the world. I only think that I want to be the one who makes the “things.” I don’t know what I want the world to be. But only I can make these “things.” These things that are called the works of Keith Haring.
1982
Solo Exhibitions
 
 
Rotterdam Arts Council, Rotterdam, Holland
Tony Shafrazi Gallery, New York City, with LA II
 
 
 
Group Exhibitions
 
Still Modern After All These Years,
Chrysler Museum, Norfolk, Virginia
Fast,
Alexander Milliken Gallery, New York City
Young Americans,
Tony Shafrazi Gallery, New York City
Larry Gagosian Gallery, Los Angeles, California
Blum Helman Gallery, New York City
New Painting 1: Americans,
Middendorf Lane Gallery, Washington, D.C.
Art of the ’80s,
Westport Weston Arts Council, Westport, Connecticut
Wave Hill, Bronx, New York
Young Hoffman Gallery, Chicago, Illinois
The Agitated Figure,
Hall Walls, Buffalo, New York
Holly Solomon Gallery, New York City
Painting & Sculpture Today,
Indianapolis Museum of Art, Indianapolis,
Indiana
Richard Hines Gallery, Seattle, Washington
The Pressure to Paint,
Marlborough Gallery, New York City
Documenta 82,
Kassel, Germany
The U.F.O. Show,
Queens Museum, New York
Urban Kisses,
Institute of Contemporary Art, London, U.K.
Beast: Animal Imagery in Recent Painting,
P.S.I, Long Island City, New York
 
 
 
Special Projects
 
 
Spectacolor Billboard,
Times Square, New York City, a 30-second animated drawing repeating every 20 minutes for one month
Installation, Paradise Garage, New York City
Print and distribute 20,000 free posters for June 12 anti-nuclear rally, Central Park, New York City
Paint fluorescent mural on cement handball court, Houston Street at Bowery, New York City
 
 
 
Books & Catalogues
 
 
Keith Haring.
Text: Robert Pincus-Witten, Jeffrey Deitch, David Shapiro (Tony Shafrazi Gallery, New York)
Rotterdam Arts Council. Essay: Richard Flood
Marlborough Gallery. Essay: Diego Cortez
Appearances Press.
Drawings: Keith Haring
Documenta 7
1983
MAY 31, 1983
—from catalogue “Tendencias en Nueva York,” organized by Carmen Giminez. Palacio de Velazquez. Parque del Retiro, Madrid, Oct. 11-Dec. 1, 1983.
Painting is nothing new. People have been drawing since the Stone Age. In every culture people have attempted to depict their world as they see it and feel it. Images have been drawn, scratched, sprayed, carved, baked or painted in whatever materials were available to that culture at that particular time. Man-made images have always been important and necessary elements in this ritual we call “life.” They have adorned our shelters, tools, clothing, monuments, vessels, bodies, temples and the land itself. Different cultures have attributed to them greater or lesser value and designated to them different degrees of meaning and purpose. But they are always there in one form or another. It is part of mankind’s way of reaffirming and celebrating its existence.
In the last 100 years we have seen the invention of telecommunications, radio, automobiles, television, air and space travel, computers, genetic science, satellites, lasers, and on and on. In short, our experience of life has been drastically altered. The role of the image maker cannot be seen as the same as it was 100 years ago, or even 10 years ago. The rate of change is accelerating at an increasingly rapid speed and the artist has to change with it. Contemporary artists cannot ignore the existence of media and technology and at the same time cannot abandon ritual and popular culture. The image maker may be more important now than at any other time in the history of man because he possesses qualities that are uniquely human. The human imagination cannot be programmed by a computer. Our imagination is our greatest hope for survival.
1983
Solo Exhibitions
 
 
Fun Gallery, New York City, with LA II
Galerie Watari, Tokyo, Japan, with LA II
Lucio Amelio Gallery, Naples, Italy
Gallery 121, Antwerp, Belgium
Matrix 75,
Wadsworth Atheneum, Hartford, Connecticut
Robert Fraser Gallery, London, U.K., with LA II
Tony Shafrazi Gallery, New York City
 
 
 
Group Exhibitions
 
 
Morton G. Neumann Family Collection,
Kalamazoo Institute of Arts, Kalamazoo, Michigan
New York Painting Today,
Carnegie-Mellon University, Pittsburgh, Pennsylvania
Biennial 1983,
Whitney Museum of American Art, New York City
The Comic Art Show,
Whitney Museum of American Art, Downtown Branch, New York City
Back to the U.S.A.,
Kunstmuseum, Lucerne, Switzerland
Tendencias en Nueva York,
Palacio Velazques, Madrid, Spain
Bienal de São Paulo,
Brazil
Terrae Motus,
Institute of Contemporary Art, Boston, Massachusetts
Post-Graffiti Artists,
Sidney Janis Gallery, New York City
Currents,
Institute of Contemporary Art, Philadelphia, Pennsylvania
Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania, with LA II
 
 
 
 
 
Special Projects
 
 
Artist-in-residence, Montreux Jazz Festival, Switzerland
Fabric design for Vivienne Westwood, London, U.K.
Computer graphics album cover for
New York City Peech Boys
Paint Fiorucci, Milan, Italy, with LA II
Paint choreographer Bill T. Jones, London, U.K., photographed by Tweng
Kwong Chi
Paint murals, Marquette University, Milwaukee, Wisconsin
Paint building in Tokyo, Japan, with LA II
Paint mural on Avenue D, New York City
 
 
 
 
 
Books & Catalogues
 
Champions.
Essays: Tony Shafrazi
Tendencias en Nueva York
Back to the U.S.A.
Text: Klaus Honnef (Rheinisches Landesmuseum, Bonn,
und Rheinland-Verlag)
BOOK: Keith Haring Journals
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