Events

StolenSpace Gallery Presents: ROA “Hypnagogia” (London, UK)

March 22, 2012 , , , , ,

ROA

‘Hypnagogia’

By ROA

20.04.12 – 06.05.12

Private View Thursday 19th April, 6 – 9 pm

Belgium artist ROA is renowned for his unique portrayal of large scale urban wildlife, disquietly cohabiting city streets, hand painted in his distinctive black and white style. ROA has become famous

from painting animals on derelict buildings, shutters & walls literally all over the world. He has also exhibited to much acclaim all over the world and was also included in the MOCA exhibition ‘Art In The Streets’ in LA.
‘Hypnagogia’ will be a 2 space exhibition, featuring installation work & originals on found objects. As well as outdoor work across east London. To coincide with this show opening will also be the launch of ROA’s first artist book ‘Roa: An Introduction To Animal Representation’ by Mammal Press.

Etymolgically derived from the Greek words hypnos, “sleep” and agogos, “leading”, the title of the show refers to the transitional state between sleeping and awake. This grey area exists within every consciousness and is said to act as a bridge to other realities. ROA explores the ‘interstate’ with his portrayals of sleeping animals, whilst quietly around us the world awakens from a long winter, and the creatures he depicts experience a period of seasonal transition.

ROA is an artist deeply preoccupied with the significance of the creative process. Working conceptually on each project, he nurtures a dynamic energy which evolves during the restricted time-frame. His method is consistent. Arriving in a location he adapts to his habitat, allowing inspiration to flood from buildings and objects and literally ‘waking up’ to the realities surrounding him. Foraging for the recycled found-objects he seeks becomes a harder task in London, adding a new dimension and highlighting physical process and interaction in this completed body of work.

The animals themselves are represented in their purest forms, whether they be alone or in groups, sleeping or awake, half skeleton or part organ dissection. Using placement and the enlarging of subject, ROA implies the absurdity of the human attitude toward animals, as well as toward their own roots and origin. The architecture and discarded objects act as vessels for the huge creatures’ lifetimes, the realism of the images on the man-made material emphasising the tension between culture and nature. Observing the rodents occupying the cities he works in, ROA also comments on the acclimatisation of animals to the urbanised world.

ROA is both a voyeur and a commentator of the transitions he sees around him. ‘Hypnagogia’ is the exploration of a territory we often forget to enter, and both a literal and metaphorical statement of the disparity between human and animal behaviour.

Artist Book:

Roa: An Introduction To Animal Representation by Mammal Press

This, very much hand crafted, book chronicles ROA’s art around the world by 3 recurrent themes of his murals last year; through photographs, sketches, and reference material. the book offers an insight into the creative mind of the artist. Each book is a unique edition of 500, hand bound, including two fold out screen prints of ROA, a Bird dissection and lots more…

Please Note:

This exhibition will be held in 2 spaces, our usual permanent gallery (space 1) in the Truman Brewery and The Stone Masons, 17 Osborne Street London E1 6TD (space 2).

The Old Truman Brewery 91 Brick Lane London. E1 6QL
T:020 7247 2684 E:info@stolenspace.com Open Tuesday to Sunday 11.00am – 7.00pm

 

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Living Walls Concepts Presents: New works featuring La Pandilla and Trek Matthews. (Atlanta, GA)

March 20, 2012 , , , , ,

La Pandilla and Trek

 

This Saturday, Living Walls Concepts’ artists La Pandilla (Puerto Rico) and Trek Matthews (Atlanta) will premiere their gallery show at the Jane. This one night gallery opening will present 12 original works, a limited edition of artist prints and shirts by Kemeza, and the screening of the mural process video by Albert Lebron.

La Pandilla are internationally recognized street artists from Puerto Rico whose stunning detail remain intact from large-scale murals to works on paper. This art duo, comprised of Alexis Diaz and Juan Fernandez, invent surreal depictions of animals with human elements throughout their work.

Trek Matthews is an emerging, self-taught, Atlanta based artist. A unique mixture of sacred geometry, Native American designs, Aztec patterns, and Egyptian myth & culture inspires his pen and ink drawings.

Drinks and DJ will be provided along with an after-party featuring a performance by Mirror Mode. After the opening, the show at the Jane will hold special gallery hours Sunday 3/25 from 1:00-5:00pm. All profits from art sales will go to the artists. As always, this event is free and open to the public.

The Jane (behind Octane in Grant Park)
437 Memorial Dr
Atlanta, GA 30312

Gallery Opening, Saturday, March 24th 7:00-11:00pm
Extended Gallery Hours, Saturday, March 25th 1:00-5:00pm

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MICA Decker Gallery Presents: Adam Void “An American Dream” (Baltimore, MD)

March 19, 2012 , , , ,

Adam Void

 

This immersive installation will feature new paintings, sculptures and writing. An American Dream forces the viewer to interact with often overlooked subcultural groups in a sophisticated and complex manner. Topics addressed include homelessness, evangelical religion, freight hopping, protest culture, surveillance and urbanization.

Opens Friday March 23 (5-7pm) – April 1
MICA Decker Gallery
1301 West Mount Royal Ave.
Baltimore, MD

Adam Void “Private Property” (image courtesy © of the artist)

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Pawn Works Gallery Presents: “While Supplies Last” (Chicago, ILL)

March 19, 2012 , , , ,

Pawn Works Gallery

Pawn Works Presents: While Supplies Last

While Supplies Last is a concept store providing an alternative retail environment for the discerning customer to browse and purchase exclusive products and unique gifts. With the visual aesthetics of NYC artist 5003 and Agent Gallery, we will be transforming the space into a fully functioning retail shop featuring an array of titles from German based publishing company Gestalten books, apparel from Scumbags & Superstars and The Joneses, and other small edition products created by the participating artists specifically for this project.

Throughout the store’s limited run we will be releasing exclusive items including prints, zines, sticker packs and other multiples from a variety of artists like SHAWNIMALS, SKEWVILLE, KOSBE, 5003, ADER, AMUSE 126, SNACKI, JC RIVERA, MONTGOMERY PERRY SMITH, LEFT HANDED WAVE, MAX KAUFFMAN, NICE-ONE, SWIV and more while featuring a heavy involvement from famed U.K. illustrator JON BURGERMAN.
“Submerged in  a period of kitsch, we persevere, taking part in some of the fun along the way”
Grand Opening
Saturday March 31
12-7pm
While Supplies Last!!
Store Hours:
Tuesday-Saturday 12-7pm
Sunday 12-6pm
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The Outsiders Gallery Presents: Brett Amory “Waiting 101” (Newcastle, UK)

March 19, 2012 , , , , ,

Waiting 101

 

NEWCASTLE

77 Quayside | Newcastle upon Tyne | NE1 3DE | Tel +44 (0)191 221 2560 | www.theoutsiders.net | www.lazinc.com

The Outsiders, the emerging art gallery from curator-director Steve Lazarides, presents ʻWaiting 101ʼ a solo exhibition featuring the newest works from Brett Amoryʼs internationally acclaimed ʻWaitingʼ series.

American contemporary painter Brett Amory is widely considered one of the breakthrough artistic talents of the past year. He is best known for his Waiting paintings, a body of work that has spanned the last decade documenting figures and landscapes in the Bay Area. The new collection ʻWaiting 101ʼ debuts at Outsiders Gallery in Newcastle, UK on April 19th 2012.

The compositions in the exhibition focus on Amoryʼs newfound relationship with technology, and the implicit freedom it allows in his work. Delving into documentation methods which new modes of ambulatory technology offer, Amory experienced a metamorphosis in his painting preparation and application. With intimate, firsthand knowledge of the many ways that technology can affect the lives of those it touches, Amory explores the avenues itʼs opened up for him as an artist in ʻWaiting 101ʼ.

Photography applications with sophisticated software (such as Instagram) have allowed Amory to expand the scope of his series. Heʼs now able to capture critical moments that strike him as they unfold. “With my iPhone, I always have a camera on hand. Iʼm able to capture what I experience day in day out,” he says. “Every morning I wake up and walk to the café for a cup of coffee. On the way I see the same people following their own routines. New technology allows me to document these people as they go about their lives. Capturing the people I see in my neighbourhood on film and later on canvas, is really a documentation of what I do and see on a daily basis. This body of work aims to give the viewer a look into my own experience. Hopefully it opens up a deeper personal exchange between myself and the viewer.”

Inspiration has never been so easy to manipulate and document. Amory expertly wields the tools available to him, with the intent of maintaining and evolving the series that has garnered him international acclaim. Prior to Amoryʼs use of the camera phone, his process involved painstaking research and meticulous stake-outs at chosen locations. This was always with the hope of capturing a moment and individual suitable to his artistic vision. With the modern software now in his employ, Amory has the world at his fingertips _ as evidenced in ʻWaiting 101ʼ. His compositions show a radical departure from his historical works in their obvious spontaneity, yet remain true to his unequivocally distinct technique.

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Rue de Beauce Presents: Florence Blanchard AKA EMA: “Ephemera” (Paris, France)

March 19, 2012 , , , , ,

EMA

A travers des compositions complexes incorporant des éléments inspirés de l’univers du graffiti, du tatouage et de la BD, Florence Blanchard explore les thèmes du symbolisme et de la science fiction. Par son oeuvre, elle immortalise des pensées furtives aspirant s’interroger sur la beauté du transitoire et sur le temps qui passe.

Pour sa prochaine exposition E P H E M E R A, elle donne forme et couleur à un univers précaire et fantastique. Visions oniriques teintées de sensualité et de mystère invitent à se recueillir au sein d’une interface transitoire, entre rêve et réalité. Des personnages imaginaires inspirés d’époques diverses et évoluant dans un décor abstrait nous content une ode narrative, anachronique et surréaliste.

Basée pendant 10 ans à New York, Florence Blanchard est une Pionnière dans l’univers du graffiti français au féminin. Elle adopte le nom Ema au début des années 90 et participe aux événements clés du hiphop américain. Ema expose dans les grandes capitales à New York, Paris, Berlin, Los Angeles. Elle prend part au projet Underbelly à New York, à la TED Women conference à Washington 2010 ainsi qu’à Art Basel Miami Beach.

Rue de Beauce – galerie d’art au format informel – invite régulièrement des artistes à se produire dans le salon d’un appartement parisien au cœur du Marais. Initiée par Michèle Bouhana et Angela di Paolo, la galerie s’est engagée dans la promotion de nouvelles tendances artistiques circulant entre Pop Surréalisme, Urban Art et Dessin contemporain.

RUE DE BEAUCE
présente
E  P  H  E  M  E  R  A

FLORENCE  BLANCHARD  

  

Vernissage : Dimanche 1er Avril 16h – 21h

Du 2 Avril au 10 Mai 2012 sur RDV

3 Rue de Beauce, 75 003 Paris

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“The Sunrise of Edgewood”, GAIA & Nanook open Living Walls Atlanta 2012

“The Sunrise of Edgewood”, GAIA & Nanook open Living Walls Atlanta 2012

March 17, 2012 , , , ,

The 3rd Edition of Living Walls begins this spring and BSA is pleased to again partner with Monica Compana and her team to bring you the action in Atlanta for 2012. Supporting the ATL efforts since they popped in ’10, we’ll again bring you updates from the field as the artists converge in Atlanta to bring color, vibrancy and a dialogue with Street Art in the city.

Officially the 2012 conference begins in August but we’ll be bringing you a series of installations leading up to it. This years quality lineup will be a bit more international and focused with skillz on display from Gaia, Nanook, La Pandilla, Trek Matthews, Interesni Kazki, Everman, Neuzz, Pablo Gnecco, and Liqen.

So right now we want to give a huge shout out to our partners in non-crime, writer Alexandra Parrish, who is also Director of Communications for Living Walls, Charles Flemming, Living Walls Media team photographer and Albert Lebron, videographer who will all be BSA contributors to bring to you dispatches from the field. Thank you and welcome.

Gaia and Nanook

Text by Alexandra Parrish
Photos by Charles Flemming
Video by Albert Lebron

Gaia and Nanook (photo © Charles Flemming)

In terms of mural making, Gaia and Nanook believe public art has the ability to designate place. They are hardly strangers to the rich history layered in the gridded streets of Atlanta. Last weekend, Gaia and Nanook returned to the heart of the south to participate in Living Walls Concepts, a year-round conduit to the conference, which aims to create a more intimate relationship between the artist and the community.

The sketch came naturally – the wall, located on Edgewood Avenue in the heart of Old Fourth Ward sits firmly in the neighborhood Martin Luther King Jr. called home. Gaia and Nanook opted for an equivocal face to represent the street itself – and the passerby’s whom they interacted with regularly; Which is something I’m sure they revel, as Gaia took the time to explain what he was doing to anyone who cared to ask.

After three days and a stunted thunderstorm, Gaia and Nanook named their finished wall “The Sunrise of Edgewood.”

Gaia and Nanook (photo © Charles Flemming)

Gaia also sent us a description of the project:

“The collaboration that Nanook and I produced on Edgewood avenue is an observation on the neighborhood’s changing complexion. Historically, the Fourth Ward is considered in many regards as the epicenter of the Civil Rights movement so naturally creating Martin Luther King Jr’s face just down the block from the King Home seemed logical.

But rather we created a portrait that was more ambiguous, an everyman face that faded into a rising sun. This vibrant visage is surrounded by a turmoil of rope and vine forms that nanook created which is derived from one of his early street pieces. Now the mural is surrounded by a contentious area whose gentrification is imminent like the endless cycle of the sun.”

Gaia and Nanook (photo © Charles Flemming)

Gaia and Nanook (photo © Charles Flemming)

Gaia and Nanook (photo © Charles Flemming)

Gaia and Nanook (photo © Charles Flemming)

Gaia and Nanook (photo © Charles Flemming)

“The Sunrise of Edgewood” by Albert Lebron (VIDEO)

 

 

To learn more about Living Walls Altanta: The City Speaks and to make a donation to help this year’s conference click here. BSA thanks you for supporting this good work.

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Artsee Presents: Kemp “Behind her Disguise” (Manhattan, NY)

March 15, 2012 , , , , ,

Kemp

KEMP is an intriguing Irish artist, making his debut solo exhibition in New York City.

KEMP digresses from the traditional features of stencil art, which tend to be represented as flat simple modes of mass-communication sprayed in public spaces. By taking the concept from the political and urban sphere into a studio environment, more akin to the screen printing process, he breaks down the customary limiting stencil strucure by creating multiple layers of depth from light through to shadow. He attacks the formal representations of his selected images by re-introducing detail in certain areas and pulling out and accentuating shapes, where the order of dark to light is not always regarded.

KEMP’s unusual colour choices move away from the type of palette often used by other artists of a similar visual nature, generating vibrancy while still using a predominantly muted palette.

During a trip to Ireland, the co-owner of Artsee, Oleg Rabinovich, became aware of KEMP and invited

him to hold his first American exhibit in the unique space that is Artsee, Battery Park City, NYC.

Behind Her Disguise is a collection of seventeen wood-panel iconic visuals of women, as seen through the KEMP filter. This exhibition was inspired by subculture, pop-art and the cult of celebrity. KEMP emphasises eyes and lips, while preserving the subject’s beauty as other features are flattened, obscured or masked. In selecting the subjects for the exhibition, KEMP chose sometimes beautiful, sometimes dysfunctional, sometimes disturbed women. He elicits an alternative underlying meaning during the process of production, as reflected in the titles of the pieces. KEMP invites the viewer to climb into a piece, wander around and unveil the truth behind her disguise.

KEMP is excited and honoured to introduce the city of New York to his collection and is enthusiastic about building connections with the city and its inhabitants as inspirations for his future work.

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Carmichael Gallery Presents: “My Turn” A Group Show Curated by Bumblebee. (Culver City, CA)

March 15, 2012 , , , , ,

My Turn

 

Featuring work by:

Bumblebee, Hyuro, Interesni Kazki, Jaz, Klone, LineLineDot, Moneyless, Penny, Stinkfish, Zeus

Curated by Bumblebee

Opening Reception: Saturday, March 17, 6-9pm

Carmichael Gallery
5795 Washington Blvd
Culver City, CA 90232

Please RSVP to rsvp at carmichaelgallery dot com.

Exhibition open to the public March 17 – April 7, 2012

“There are many artists in the urban / street art movement. For this show, each artist was selected based on his or her unique voice and ability to push the boundaries of the genre, while remaining true to its origins.” – Bumblebee

Carmichael Gallery is pleased to present My Turn, the first curatorial project by Los Angeles-based artist, Bumblebee. The group exhibition includes mixed media collage, sculpture and works on canvas and paper by Bumblebee, Hyuro, Interesni Kazki, Jaz, Klone, LineLineDot, Moneyless, Penny, Stinkfish and Zeus, ten artists whose work activates creative conversations with the geographically disparate cities of Bogotá, Buenos Aires, Downey, Kiev, London, Los Angeles, Milan and Tel Aviv.

About Carmichael Gallery:

Founded in 2007 by husband and wife team Seth and Elisa Carmichael, Carmichael Gallery focuses on a select group of artists breaking ground in painting, mixed media, photography and sculpture. Their annual program consists of a series of solo and group exhibitions that document the progress of these artists.

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The Brooklyn Museum Presents: Keith Haring: 1978-1982 (Brooklyn, NY)

March 15, 2012 , , ,

Keith Haring

Keith Haring. Courtesy of Keith Haring Foundation. ©Keith Haring Foundation. The Brooklyn Museum (photo © Jaime Rojo)

March 16–July 8, 2012

Morris A. and Meyer Schapiro Wing, 5th Floor

Keith Haring: 1978–1982 is the first large-scale exhibition to explore the early career of one of the best-known American artists of the twentieth century. Tracing the development of Haring’s extraordinary visual vocabulary, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.

The exhibition chronicles the period in Haring’s career from his arrival in New York City through the years when he started his studio practice and began making public and political art on the city streets. Immersing himself in New York’s downtown culture, he quickly became a fixture on the artistic scene, befriending other artists such as Jean-Michel Basquiat and Kenny Scharf, as well as many of the most innovative cultural figures of the period. The critical role that these relationships played in Haring’s development as a public artist and facilitator of group exhibitions and performances is also explored. Pieces on view include a number of very early works never before seen in public; seven video pieces, including Painting Myself into a Corner (his first video piece) and Tribute to Gloria Vanderbilt; and collages created from cut-up fragments of his own writing, history textbooks, and newspapers.

Keith Haring: 1978–1982 is curated by Raphaela Platow. The exhibition is co-organized by the Contemporary Arts Center, Cincinnati, and the Kunsthalle Wien. The Brooklyn presentation is organized by Tricia Laughlin Bloom, Project Curator, and Patrick Amsellem, former Associate Curator of Photography, Brooklyn Museum.

This exhibition is made possible by Lisa and Dick Cashin with additional support provided by the Stephanie and Tim Ingrassia Contemporary Art Exhibition Fund.

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Keith Haring 1978-1982 : Early Keith at The Brooklyn Museum

March 14, 2012 , , , ,

1978 and 2012 seem closer to one another than ever right now when we look at the blossomed Street Art scene in cities around the world. More than 30 years after Keith Haring moved to New York as an art school kid at the School of Visual Arts, a new generation of art school kids consider it almost a birthright to take their work directly to the street. Right now feels like an excellent time for Brooklyn to spotlight this study of his first four years in the city that blew his mind and inspired him to alter the whole system of how an artist reaches the public.

Keith Haring. Untitled, 1982. Courtesy of  and © Keith Haring Foundation. The Brooklyn Museum. (photo © Jaime Rojo

Keith Haring: 1978-1982, a traveling exhibition first shown in Kunsthalle Wien in Vienna and The Contemporary Arts Center in Cincinnati, introduces a period of his work not often examined, taking you up to the edge of the seemingly sudden international fame he experienced as artist, activist and public figure through the rest of the 1980s.

“Raphaela Platow, who was the original curator of this show, went into the archives and pulled out things that had basically just been sitting there, ” explained Tricia Laughlin Bloom, the project curator for the current show as she gave a tour this week before its opening at the Brooklyn Museum Friday.

At a time when the small-town boy was developing his visual vocabulary as an artist, Haring was also discovering himself as a man in the world and in a city that he found endlessly fascinating and worthy of exploration. Capturing his spirit of hands-on experimentation, the show is almost entirely comprised of works on paper with one collaborative piece on plywood with his contemporary Jean Michel Basquiat, paper collage, video, and documentary photos.

Keith Haring. Untitled, 1982. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

In these years Disco was on a full force collision course with Punk, New Wave, and Rap, and Haring was embracing the nightlife of a college student sampling the downtown scene, exploring his sexuality, and commandeering entire rooms at SVA to mount shows on paper. Some of those “body involvement” painting sessions are documented well here in video; a sort of full immersion painting baptism. While jamming out to music he covers every white surface with thick black symbols and gestural marking, sometimes painting with both hands in a rhythmic automatic study of both the physicality of the process and his own interaction with space and materials.

Not to be missed in person is the 30 piece collection in the final room of actual subway black papers that Haring adorned with his white line drawings, energetically created symbols and characters throughout stations in New York’s train system. The frames and glass protect them for us to appreciate them today in their disarming simplicity, their collection ironically alleged by some to be why the artist discontinued the subway practice. Equally compelling is the projected large slide show of Haring in photos by Tseng Kwong Chi, whom the artist called to shoot almost every time he did an illegal piece in the subway.

Keith Haring. Matrix, 1983. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

Keith Haring. Manhattan Penis Drawings for Ken Hicks, 1978. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

With almost half of the pieces here never displayed publicly like this before, the show is a welcome revelation for fans hoping to peel back a little of the hype-like gloss that time and opportunism may have shined his legacy with. Whether it’s his hand-collaged flyers for the indie group shows he curated, his home movies of Klaus Nomi and Joey Arias performing in the living room, or the complete re-installation of a wall from his 1980 show at PS 122, you get the idea that this was an audacious observant art student gulping at the faucet of life in a pulsating dirty city that welcomed him.

“He’s such a thoughtful and complicated figure – at the same time with that really pure impulse of not wanting to alienate people but to bring them in,” says Laughlin Bloom as she describes the young artist she discovered en route. “He’s this combination of fun-loving, and life-loving, and intellectual, accessible – a total populist but not in an insincere way.”

Keith Haring. Twenty Polaroid self-portraits with glasses painted by Kenny Scharf and Peter Schuyff, 1979-82. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

Keith Haring. Still from Lick Fat Boys. April, 1979. Vide0 3 min. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

Keith Haring. Still from Lick Fat Boys. April, 1979. Vide0 3 min. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

Keith Haring. Still from Lick Fat Boys. April, 1979. Vide0 3 min. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

Keith Haring. Still from Lick Fat Boys. April, 1979. Vide0 3 min. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo

After 1982, Haring’s entire visual language of characters and symbols would become iconic, international; his work in dialogue with modern art history and everyday people eventually outlasted him to inspire a diverse generation of artists working on the street from Shepard Fairey and Swoon to Stikman and Specter, among many others.

“Haring saw the subway as the ideal platform for showing work – one of the few places to catch New Yorkers off-guard,” says Poster Boy, a Street Artist/collective who is credited/blamed for re-engineering and culture jamming subway posters with a razor in very recent years. Speaking of Haring’s chiding of corporate commercialism in the culture, Poster Boy observes, “For advertisers it’s the perfect opportunity for a commercial break. Haring saw it as a break from commercials.”

Respected for his early interest in busting down barriers in social activism, street art, and illegal art, it’s likely that many on the Street Art scene today will be checking out the pre-buzz Haring on display at this show. At the moment, it feels like one of New York’s adopted hometown heroes is back in Brooklyn.

Keith Haring. Untitled, 1982. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

“Art is for everybody. To think that they-the public- do not appreciate art because they don’t understand it, and to continue to make art that they don’t understand and therefore become alienated from, may mean that the artist is the one who doesn’t understand or appreciate art and is thriving in this “self-proclaimed knowledge of art” that is actually bullshit.”  1978

 – Keith Haring Journals

Keith Haring. Cipher chart, 1971-73. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

Keith Haring. Wall papered with reproductions of hand collaged flyers to advertise shows that Keith Haring curated, 1981. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

Keith Haring. Detail. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

“These are flyers from 1981 – an aspect of his production that maybe people aren’t aware of. He did a lot of organizing shows in alternative spaces and curating 24 hour exhibitions, xerox exhibitions, neon exhibitions, open-calls for artists where they show your work for 24 hours and then it’s taken away. He designed these – the framed works are the originals of the collages and posters that he did for these shows,” Tricia Laughlin Bloom, the project curator for the show.  Keith Haring. Detail. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

Keith Haring. Thirty untitled subway drawings, 1980-85. Private Collection. The Brooklyn Museum. (photo © Jaime Rojo)

Keith Haring. Thirty untitled subway drawings, 1980-85. Private Collection. The Brooklyn Museum. (photo © Jaime Rojo)

Keith Haring. Thirty untitled subway drawings, 1980-85. Private Collection. The Brooklyn Museum. (photo © Jaime Rojo)

 

With special thanks to Tricia Laughlin Bloom, Sharon Matt Atkins, Sally Williams, Marcus Romero, Matthew Branch, The Brooklyn Museum, and the Keith Haring Foundation.

 

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