Keith Haring: Art Is for Everybody
Walker Art Center
On View Through September 8, 2024
Exhibition Review
"Keith Haring: Art Is for Everyone" offers a comprehensive exploration of Keith Haring’s life and legacy, showcasing over 100 artworks alongside rarely seen archival materials. This exhibition delves into Haring’s distinctive visual style, which has become iconic in popular culture, and highlights his profound impact on social issues while celebrating joy, community, and hope.
Covering the full span of Haring’s career, the exhibition presents an extensive array of his work, including major paintings, sculptures, drawings, and large-scale murals featuring his signature characters—dancing figures, barking dogs, and crawling babies. It also includes videos, photographs, personal artifacts, and crucial source material from Haring’s journals. A special section recreates the vibrant atmosphere of his famous Pop Shop, where he made his art accessible to the masses through everyday items like T-shirts and skateboards. The exhibition also features materials from Haring’s influential 1984 residency at the Walker Art Center.
Keith Haring, Untitled, 1987
Haring’s work embodies a democratic spirit, blurring the lines between art and everyday life. His belief that "art is for everyone" guided his creative journey, from his early subway drawings in New York to his renowned public murals. The exhibition also highlights Haring’s deep commitment to activism, showcasing pieces that address critical issues such as environmentalism, capitalism, religion, race, and sexuality. His involvement in movements like nuclear disarmament, anti-Apartheid, and HIV/AIDS awareness inspired some of his most significant works.
Keith Haring: Art Is for Everybody (Exhibition Catalog)
This exhibition honors the dynamic and multifaceted nature of Haring’s art, which conveyed joy while tackling issues that remain pressing today. Born in 1958 in Kutztown, Pennsylvania, Haring moved to New York City in 1978 to study at the School of Visual Arts, where he embraced his identity as a gay man, deeply influencing his art and worldview. The vibrant energy of 1980s New York, with its hip-hop culture, graffiti, music, and dance scenes, heavily shaped his visual language. Haring quickly gained international acclaim for his energetic line drawings in public spaces, capturing the attention of galleries and museums.
Activism was central to Haring’s work. He used his art and fame to highlight various causes, from nuclear disarmament and social justice to educating the public about the HIV/AIDS epidemic, which ravaged his own queer community. Haring passed away in 1990 at the age of 31 due to complications from AIDS, but his work continues to resonate, conveying messages of love, solidarity, community, and hope.
Through this exhibition, you will gain insight into the many distinct periods of Haring’s short but prolific career, offering a deeper understanding of the evolution of his artistic practice and the lasting impact of his work.
Sexuality and Style | Art and Life
This section of the exhibition presents some of Keith Haring’s earliest known works, dating from 1978 to 1980, a period during which he began shaping the unique drawing style that would come to define his career, marked by simple outlines and cartoon-like figures.
When Haring moved to New York City in 1978, he embraced his identity as a gay man and began exploring new dimensions of his sexuality. This exploration became a central theme in his early art, with drawings featuring vivid imagery like energy-emitting penises and figures involved in sexual acts under the influence of flying saucers. Sexuality was a prominent and consistent motif in Haring’s work from the beginning, reflecting his belief that art and life were deeply intertwined. As Haring once said, "For me, art and life were inseparable, and my sexuality was a driving force in everything I created."
Keith Haring, Untitled, spray enamel and ink on paper, 1980
The Breakout
Upon arriving in New York, Keith Haring was immediately captivated by the vibrant graffiti that adorned the streets and subways. He quickly immersed himself in this dynamic scene, working alongside legendary artists like Fab 5 Freddy (Fred Brathwaite), Futura 2000 (Leonard McGurr), and Lee Quiñones. As Haring forged these connections and honed his unique style, his work began to attract significant public attention.
In 1982, Haring held his first major solo exhibition at the Tony Shafrazi Gallery in New York City. The show was a groundbreaking moment for him, with the gallery filled from floor to ceiling with his art, including several pieces created in collaboration with graffiti artist LA II (Angel Ortiz). The exhibition also featured a striking installation of Day-Glo paintings in the basement, further showcasing his innovative approach. This event marked a turning point in Haring’s career, elevating his status in both the art world and popular culture. His distinctive icons became ubiquitous throughout the city, appearing on everything from building walls to stickers and buttons. Soon after, Haring began receiving invitations to exhibit and create work internationally, including a prestigious commission and residency at the Walker Art Center.
Keith Haring, Untitled, marker on paper, 1982
Debut Exhibition
Keith Haring's 1982 exhibition at the Tony Shafrazi Gallery in SoHo marked a significant evolution in his artistic practice, showcasing a newfound emphasis on scale, complexity, and experimentation. At this show, Haring introduced his first large-scale paintings, created on ordinary vinyl tarps and filled with intricate designs that pulse with a sense of movement and energy.
This section of the exhibition, along with the adjacent room, displays several key works from this transformative show that catapulted Haring to prominence in the art world. Among them are collaborations with graffiti artist LA II (Angel Ortiz), where the two artists' distinctive lines intertwine densely across the surfaces. Additionally, the exhibit features large drawings and vases adorned with marker inscriptions, all carefully arranged to evoke the grandeur of a "great hall" in a museum.
Keith Haring, Untitled, Sumi ink and acrylic on paper mounted on canvas, 1982
Day-Glo Paintings
Keith Haring's 1982 exhibition at the Shafrazi Gallery was a transformative event. In the gallery's basement, Haring painted bold, vibrant stripes on the walls, creating a striking backdrop for his Day-Glo fluorescent paintings and sculptures. Ultraviolet lighting illuminated the space, making the artwork glow with an otherworldly intensity.
The opening night was a lively, chaotic affair, drawing a diverse crowd of artists, collectors, graffiti writers, and club kids. The gallery was so packed that the party spilled out onto the street. Reflecting on the event, Haring remarked, "I anticipated a party atmosphere because I was connected to the club scene, the art world, and the graffiti scene. This exhibition brought all these different worlds together in a way that had never been seen in a gallery before."
Installation view of Day-Glo artworks. (Column 1& 2 and Untitled)
Haring at the Walker
In 1984, the Walker Art Center invited a 25-year-old Keith Haring to Minneapolis for a residency as part of their ArtFest program, which celebrated the opening of a new arts education facility, including the Art Lab.
Haring's commitment to working with youth was a core aspect of his artistic practice. During his residency at the Walker, he collaborated with students from Alice Smith Elementary School in Hopkins to design sets for a performance by choreographer Jacques d'Amboise. Haring introduced the students to some of his iconic characters and worked alongside them as they created their own drawings. On the final day, he painted a mural on a wall at the Walker.
Keith Haring, Sign for Walker Art Center ArtFest, ink on illustration board, 1984.
Party of Life
New York’s vibrant downtown art scene was a driving force behind Keith Haring’s work. He formed collaborations with artists, musicians, dancers, and poets he encountered in nightclubs and alternative art spaces, where the boundaries between art, music, and nightlife often blurred. Haring hosted art shows in clubs and transformed his gallery openings into lively parties.
Iconic venues like Club 57 and Paradise Garage were central to Haring’s social life and creative process. During this time, he formed close relationships with mentors like Andy Warhol and worked alongside rising stars such as Jean-Michel Basquiat and Kenny Scharf, as well as performers like Bill T. Jones, Grace Jones, and Madonna. The energy of these collaborations is reflected in the dynamic lines of Haring’s art, which echoed the diverse music—from pop and house to hip-hop, disco, and classical—that played from his boom box as he worked.
This gallery celebrates the joy and sense of community that infused Haring’s art. The artworks and archival materials on display highlight the vibrant network of creativity that surrounded him.
Keith Haring, A Pile of Crowns for Jean-Michel Basquiat, acrylic on canvas, 1988
Haring created this tribute to Jean-Michel Basquiat (US, 1960-1988) after the artist's untimely death. Both artists first gained recognition through their street art before being embraced by the world of collectors and galleries. Their friendship was close yet marked by a sense of rivalry throughout their careers.
In this painting, Haring pays homage to Basquiat by featuring his friend's iconic three-pointed crown, which, like Haring's own radiant baby tag, served as a personal emblem. Haring arranged these crowns into the shape of a pyramid, a recurring motif in his work symbolizing the eternal.
Haring and the AIDS Crisis
The HIV/AIDS outbreak in the 1980s brought about three major crises: a public health emergency, a failure of political leadership, and a surge in social stigma. As the epidemic rapidly spread, particularly among gay men and intravenous drug users, the U.S. government largely ignored the growing disaster. Fear, misinformation, and discrimination only worsened the situation.
Keith Haring confronted the crisis head-on through his art. He actively supported organizations like the AIDS Coalition to Unleash Power (ACT UP) by raising funds and creating impactful artwork. After being diagnosed with AIDS in 1988, Haring established the Keith Haring Foundation to preserve his art and to support AIDS education, research, and care.
While significant advancements in HIV/AIDS treatment have been made—thanks in part to the efforts of activists like Haring—the crisis is far from over. Access to prevention, treatment, and care remains inconsistent across different regions, and a cure has yet to be found.
Art and Activism
As Keith Haring's visibility grew, he increasingly channeled his art into activism. During a period when U.S. politics took a conservative shift, Haring's work boldly confronted issues such as religious hypocrisy, capitalist excess, and systemic racism both in the United States and internationally. His art became even more urgent as the HIV/AIDS epidemic began to ravage queer communities nationwide.
First identified in 1981, the year Ronald Reagan assumed the presidency, HIV/AIDS rapidly became a global crisis. Despite this, Reagan delayed addressing the epidemic, and by the time he delivered his first significant speech on AIDS in 1987, the disease had claimed over 20,000 lives in the U.S. alone. Amidst government inaction and widespread fear, Haring leveraged his signature style to raise awareness, fundraise, and advocate for those affected by AIDS.
The works in this collection embody Haring's profound social and political vision. Though deeply anchored in the pressing issues of his era, his unwavering dedication to justice, compassion, and the celebration of life remains a powerful source of inspiration today.
Keith Haring, Untitled, acrylic on canvas, 1985
This painting was commissioned by Live Aid, a benefit concert held in July 1985 to raise funds for famine relief in Ethiopia. Live Aid was a massive global event, taking place simultaneously at Wembley Stadium in London and John F. Kennedy Stadium in Philadelphia, with satellite shows happening all over the world.
Keith Haring painted this enormous piece backstage in Philadelphia while artists like Madonna, Run-DMC, the Beach Boys, and Duran Duran performed for a crowd of over 80,000 people. Haring's work, filled with imagery of joy, love, and global unity, captures the vibrant energy and optimism of the event.
A Legacy
Keith Haring’s artistic journey was both brief and intensely prolific. In 1987, just a few years before he succumbed to AIDS-related complications, Haring mused on his output, saying, "It’s incredible how much one can create if given enough time. I’ve only had about ten years of serious work. Imagine fifty... I’d love to live to be fifty. It hardly seems possible."
This gallery showcases a diverse selection of Haring's works spanning his career. Early on, Haring began experimenting with large-scale pieces, a natural extension of his fascination with murals and public art. These monumental creations allowed him to showcase his versatility—ranging from bold, iconic imagery to dynamic, life-filled compositions, and somber meditations on mortality. From the outset of his career until its untimely conclusion, Haring remained committed to his core belief that art should be accessible to everyone, playing a crucial role in creating a better world.
Keith Haring, Unfinished Painting, acrylic on canvas, 1989
The top left corner of "Unfinished Painting" is densely packed with Keith Haring's signature marks. But as you move across the piece, the composition begins to dissolve into dripping paint and raw canvas, as if the artist had been suddenly interrupted. Deliberately left incomplete, this work is one of Haring's final creations, made during the height of the HIV/AIDS crisis and after his own diagnosis.
In the 1980s, when no effective treatment existed, an HIV diagnosis was often seen as a death sentence. Healthy individuals would deteriorate rapidly, sometimes dying within months. The looming threat of an early death drove Haring, already known for his fast and disciplined approach, to work with even greater urgency. "I don't know if I have five months or five years," he wrote in 1987. "But I know my days are numbered. This is why my activities and projects are so important now—to do as much as quickly as possible."
Recently, an artist used AI to "complete" this unfinished painting, sparking significant controversy online. While some critics found the move disrespectful, many suggested that Haring, with his playful spirit and embrace of new ideas, would have found it amusing. This modern twist has added another layer to the ongoing conversation about the intersection of art, technology, and the legacy of artists like Haring.
Keith Haring: Art Is for Everybody is organized by The Broad, Los Angeles. The Walker Art Center’s presentation is made possible with lead support from the KHR McNeely Family Fund, thanks to Kevin, Rosemary, and Hannah Rose McNeely.