13 rue de Picardie 75003 Paris
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13 rue de Picardie 75003 Paris /+33 1 44 78 23 68 / +33 6 86 71 19 68 / info@djtfa-paris.com / www.djtfa -paris.com
« Keith Haring and Friends »
Exhibition from June 28 th to July 31 st , 2013
And from September 3 rd
to September 21 st , 2013* *during August, by special appointment only © Keith Haring Foundation - Radiant Baby from Icons series, 1990 13 rue de Picardie 75003 Paris /+33 1 44 78 23 68 / +33 6 86 71 19 68 / info@djtfa-paris.com / www.djtfa -paris.com
After a first Keith Haring exhibition in 2011, Taglialatella Gallery honors for the second time the father of the "Radiant Baby", one of its leading artists, with a new exhibition entitled "Keith Haring & Friends."
This exhibition is organized concomitantly to the current major retrospective of the artist at the Museum of Modern Art in Paris based on the political aspect of his artistic approach.
The gallery endeavors to immerse the spectator into the world of the 80s in New York City and to gather around the work of Keith Haring some artworks of his contemporaries and friends such as Andy Warhol, Jean- Michel Basquiat or Kenny Scharf.
© Keith Haring Foundation - Growing #3, 1988
© Keith Haring Foundation - Growing #3, 1988
The will is to spotlight the accessible dimension of his approach with the presentation of his subway drawings, limited edition prints and drawings, all representative of his pop world, and to highlight points of mutual interest with his contemporaries. Indeed, all these artists and friends, driven by a boundless energy and an insatiable curiosity, have spread out their works in the New York of the 1980s and created, in the line of their “spiritual father” Andy Warhol, a connection between the world of contemporary art and the one of popular culture, especially through gathering places and graffiti.
13 rue de Picardie 75003 Paris /+33 1 44 78 23 68 / +33 6 86 71 19 68 / info@djtfa-paris.com / www.djtfa -paris.com
« Art is for everybody »
© Keith Haring Foundation, Untitled (Serpent), 1982 Keith Haring paints, draws and sculpts with untraditional materials. His first concern is to make art accessible by the expression, by the media and by the means used. He specifically takes possession of the vacant advertising spaces in the subway stations with his famous Subway Drawings.
Keith Haring, Journals op. cit. p.17
New York under the pseudonym "Samo" and Scharf covered the street walls with psychedelic characters. Together, they gave a new impetus to the world of modern and contemporary art.
These young artists made their entry in the late 1970’s and early 1980’s in the art world through the streets and clubs, not through galleries. Their major model was Andy Warhol.
Indeed, in 1978-1979, the war against graffiti had not really started. This art was free to flourish and the movement peaked with street artists endowed with an incredible mastery of spray paint drawing and a real flow of line. The same black line that has obsessed Haring since his early childhood.
The common point between all these artists: a special relation with the media, street signs and with everyday culture. They were able to appropriate these popular codes to include them in their respective Art.
© Keith Haring Foundation, Ladderman, 1985
13 rue de Picardie 75003 Paris /+33 1 44 78 23 68 / +33 6 86 71 19 68 / info@djtfa-paris.com / www.djtfa -paris.com
Friends
First, there is the master, Andy Warhol. Starting as a commercial artist, Warhol has reinvented himself as an artist of media images skillfully raised to the rank of works of art. Keith Haring and Andy Warhol met in 1983 at the opening of the "Shadow" exhibition held at the Dia Foundation. Warhol gave him a copy of an issue of the Interview magazine, of which he was the manager. The act is symbolic because later Haring often used the pages of the magazine to make his own drawings, a type of paper that guarantees accessibility, the most worshiped concept of the artist. Thereafter, the two artists were officially presented at the Factory by Christopher Makos - an American photographer, a student of Man Ray, who worked with Warhol. Warhol became Keith Haring’s mentor and a close friend.
Both, Keith Haring and Kenny Scharf attended the School of Visual Arts in New York. The work of Kenny Scharf is often and deliberately vulgar and childish. The artist reveals in excess, adding more and more elements to the work, creating layer after layer. There are no real issues, no fuss, just an irresistible cheerfulness, picture after picture. However, even if his works incorporate images of advertising, Kenny Scharf is constantly changing in a visual language that expresses a world increasingly singular, with its own rules and its own syntax.
Keith Haring met Basquiat at the end of his studies at the School of Visual Arts. When a graffiti signed "SAMO" began to appear in the streets of New York for almost a year, people had no idea of who this artist was. Haring began to pay attention to this singular work he saw within the itinerary he followed daily in NYC. It was the first time he saw what he called a "linear graffiti" that is to say, a graffiti made not for the pleasure of writing a signature or to denote a formal research, but in the wish to reveal ideas through poems written in the street. For Haring, these poems stopped you in the street and made you think.
Keith Haring, Journals Pop Shop III (D), 1989
Barking Dog (Icons series), 1990 13 rue de Picardie 75003 Paris /+33 1 44 78 23 68 / +33 6 86 71 19 68 / info@djtfa-paris.com / www.djtfa -paris.com
Keith Haring died of AIDS in 1990 leaving behind him a huge work, the result of ten years of short but intensive creation. By combining universal ideas and committed themes with an expressive and colorful style, Haring was able to attract a wide audience and ensure both the sustainability and the accessibility of his art. His dynamic works have become a unique dimension of contemporary culture.
Keith Haring, Kenny Scharf and Jean-Michel Basquiat grew up with comics and cartoons. Haring and Basquiat are also interested in semiotics and seek ways of using language and writings in their works. The line becomes the thread of their speech with a vocabulary and symbols of their own. Their "emblems" function as pictograms, "icons" as the ray-haloed barking dog, the crawling baby, the yellow angel or the red superman with his dragon wings, or the emblematic crown for Basquiat.
"Image makers", that is what these artists were. They found the signs to say violence, money and sex, religion and racism, and to report in the best way, allegorically or abstractly, or both, the society in which they lived. Beyond their talent, they precisely considered the role that their works and themselves could stand in the history of art.
Jean-Michel Basquiat Untitled (Per Capita), 1982/2001 As Keith Haring’s, Scharf’s and Basquiat’s works interested themselves in life in all its forms. If at first sight their works seem childish and naive, they are in fact full of symbols and really deep messages. Behind their sparkling appearance, Keith Haring’s works as well as Scharf’s and Basquiat’s ones invite their contemporaries to reflection. By using an easily identifiable imagery, these artists go beyond a mere depiction; they shake up the convention and appeal to the viewer’s sensitivity. Through the symbols of popular culture, they have created an art combining both humor and enthusiasm, strength and anguish. Keith Haring and his "friends" are artists anchored in harsh reality.
Kenny Scharf (1958) Antenza, 1999
13 rue de Picardie 75003 Paris /+33 1 44 78 23 68 / +33 6 86 71 19 68 / info@djtfa-paris.com / www.djtfa -paris.com
Appendix : Paolo Buggiani: "KEITH HARING Subway Blackboards and Street Art 1980 – 1986" Gianluca Marziani Editions
© Keith Haring Foundation, Untitled (Foster & Kingman), 1982 Download 51.74 Kb. Do'stlaringiz bilan baham: 
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