Authors: Keith Haring

Keith Haring Journals (52 page)

BOOK: Keith Haring Journals

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155
Untitled (Andy Mouse)
, 1985. Acrylic on canvas, 27.74 in. diameter.

157
Pop Shop billboard, New York City, 1988.

161
Juan Rivera and Keith Haring, New York City, 1986.

162
Stop AIDS
, 1989. Ink on paper approx. 33 × 23 in.

164
Untitled
, 1982. Sumi ink on paper, 40 × 52 in.

165
Michael Stewart—USA for Africa
, 1985. Acrylic and enamel on canvas, 120 × 144 in.

167
Untitled
, 1989. Gouache and ink on paper, 50 × 38 in.

171
Necker Hospital, Paris, France, 1987.

174
Luna Luna
, Hamburg, Germany, 1987.

178
From
Bad Boys,
1986. Silkscreen, 20 × 26 in.

179
Schneider Children’s Hospital, New Hyde Park, New York, 1987.

181
Jets
, 1988. Ink on paper, 14 × 9 in.

186
Self-portrait
, 1985. Acrylic on canvas, 48 × 48 in.

189
Untitled
, 1987. Sumi ink on paper, 31 × 43 in.

191
Untitled
, 1987. Acrylic on canvas, 144 × 456 in.

195
Baby furniture for Madison Arman, 1987.

199
Free South Africa
. Offset lithograph poster, 48 × 48 in.

202
Lucky Strike
, 1987. Sumi ink on paper, 39 × 27.5 in.

206
From
The Story of Jason,
1987. Red and black sumi ink and photographs on Japanese paper, 22.5 × 30.25 in.

211
Berlin Wall mural, Berlin, Germany, 1986.

217
Casino Knokke mural, Knokke, Belgium, 1987.

220
Safe Sex
, 1987. Ink on paper, 14 × 17 in.

222
Knokke, Belgium, 1987.

225
Shooting with William Burroughs, Lawrence, Kansas, 1987. Photographer unknown.

228
Collage for AIDS T-shirt, 1987.

231
Mural, Cranbrook Academy of Art Museum, Bloomfield Hills, Michigan, 1987.

240
Jean Tinguely and Keith Haring, Montreux, Switzerland, 1986.

244
Carmine Street pool mural, New York City, 1987.

255
Untitled
, 1989. Gouache and ink on paper, 25 × 28.5 in.

259
Pop Shop Tokyo
, 1987. Ink on paper, 21.25 × 21.25 in.

260
Untitled
, 1988. Sumi ink on paper, 31 × 21.5 in.

272
Untitled #8
, 1988. Acrylic on canvas, 60 × 60 in.

280
Pop Shop Tokyo, 1988.

290
Fist
, 1988. Ink on paper, 7.5 × 5 in.

296
Untitled
, 1984. Gouache and sumi ink on paper, 72 × 37.5 in.

312
Untitled (for James Ensor)
, 1989. Acrylic on canvas, diptych, 36 × 36 in. each.

321
Untitled
, 1989. Gouache and ink on paper, 25 × 28.5 in.

324
Gil Vazquez and Keith Haring, New York City, 1989.

325
Madison Arman and Keith Haring, Monte Carlo, Monaco, 1988.

328
AIDS mural, “Barrio de Chino,” Barcelona, Spain, 1989.

334
Untitled
, 1989. Acrylic on canvas, 40 × 40 in.

353
Outline of mural on the Church of Sant’Antonio, Pisa, Italy, 1989.

355
Matador
, 1989. Acrylic, enamel, and metallic paint on canvas, 72 × 96 in.

357
Blimp, Paris, France, 1989.

362
Untitled
, 1989. Sumi ink on board, 10.75 × 9.5 in.

368
Hee! Hee! Hee!
, 1985. Sumi ink on paper, 22 × 29 in.

NOTES TO THE INTRODUCTION

1
Robert Hunter,
A Box of Rain
(New York: Penguin, 1990), p. 28.

2
David Sheff, “Keith Haring,”
Rolling Stone
(August 10, 1989), p. 59.

3
Interview with Erwin Gruber in Düsseldorf, late November 1994.

4
Marguerite Yourcenar,
That Mighty Sculptor: Time
(New York: Farrar Straus & Giroux, 1992), p. 39.

5
Andy Warhol,
The Andy Warhol Diaries
, ed. Pat Hackett (New York: Warner, 1989).

6
Jonathan Fineberg,
Art Since 1940: Strategies of Being
(New York: Prentice-Hall, 1995), p. 448.

7
Bruce O. Kurtz, “Haring’s Place in Homoerotic American Art,” in
Keith Haring
, ed. Germano Celant (Munich: Prestel Verlag, 1992), p. 19.

8
Peter Belsito,
Notes from the Pop Underground
(Berkeley: The Last Gasp of San Francisco, 1985), p. 105.

9
Quoted in Robert Farris Thompson, “Requiem for the Degas of the B-boys,”
Artforum
(May 1990).

10
Celant, ed., op. cit., plate 14.

11
In conversation with the author, late November 1994.

12
Harold Bloom,
The Western Canon
(New York: Harcourt Brace & Co., 1994), p. 20.

13
William Rubin,
Frank Stella, 1970-1987
(New York: The Museum of Modern Art, 1987), p. 48.

14
Ph. Huisman and M. G. Dortu,
Lautrec par Lautrec
(Lausanne, Switzerland: Edita, 1964), p. 263.

15
Quoted in a review by Robert Farris Thompson of John Gruen’s
Keith Haring: The Authorized Biography, Artforum
(December 1992), p. 87.

16
Fineberg, op. cit., p. 161.

17
Ibid.

18
Serge Faucherau,
Fernand Léger: A Painter in the City
(New York: Rizzoli, 1994), p. 23.

19
Ibid., plates 100, 112, 125.

20
John Gruen,
Keith Haring: The Authorized Biography
(New York: Simon & Schuster, 1991), p. 234.

21
Celant, ed., op. cit., plates 143 - 46.

22
Ibid., plate 180.

23
Dubuffet
(Matigny, Switzerland: Fondation Pierre Giannada, 1993), plate 100.

24
Cf. Lowery Sims, ed.,
Stuart Davis
(New York: Metropolitan Museum of Art, 1992), p. 165.

25
From a conversation with Keith Haring in New Haven, Connecticut, 1987. Cf. William Rubin,
Pablo Picasso: A Retrospective
(New York: The Museum of Modern Art, 1980), p. 148.

26
From a conversation with Monique Nellens in Knokke, Belgium, late November 1994. I am grateful to her for a tour of the Dragon and the Nellenses’ collection of Haring’s works of the summer of 1987.

27
Celant, ed., op. cit., back cover.

28
Bonnie Nadell and John Small,
Break Dance
(Philadelphia: Running Press, 1984), p. 59.

29
Ibid., p. 58.

30
Quoted in Robert Farris Thompson, “Requiem . . . ,”
Artforum
(May 1990).

31
Ibid.

32
Ibid.

33
Art in Transit: Subway Drawings by Keith Haring
(New York: Harmony Books, 1984). This book has no pagination, but the electric boogie figure illuminating a light bulb, approximately in the middle of the volume, is not difficult to find. A frieze of radiant babies appears at his feet, a comment on the essential optimism of this choreographic style.

34
Thompson, “Requiem. . . .”

35
Ibid., illustration in review.

36
Keith Haring 1988
(Los Angeles: Martin Lawrence, 1988), p. 17.

37
Ibid., p. 25.

38
Ibid., p. 27.

39
Cf. Rosalind E. Krauss,
The Optical Unconscious
(Cambridge, Mass.: MIT Press, 1993), p. 283.

40
Keith Haring 1988
, p. 23.

41
Ibid., p. 29.

42
Ibid., p. 31.

43
Mr. Fresh and the Supreme Rockers,
Breakdancing
(New York: Avon, 1984), p. 63.

44
Celant, ed., op cit., plate 172.

45
From a filmed interview with Keith Haring conducted by Robert Farris Thompson for the BBC in Haring’s studio, November 1988.