Keith Haring

United States (Cutztown 1958New York 1990 ) - Artworks Wikipedia® - Keith Haring
HARING Keith Untitled

Phillips, De Pury & Luxembourg /Oct 15, 2014
316,255.47 - 442,757.66
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Artworks in Arcadja
2743

Some works of Keith Haring

Extracted between 2,743 works in the catalog of Arcadja
Keith Haring - Icon #4 (angel) From Icon Series

Keith Haring - Icon #4 (angel) From Icon Series

Original 1990
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Lot number: 213
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Description:
Keith Haring (1958-1990) Icon #4 (Angel) from Icon Series (L. p. 171), 1990 Screenprint in colors with embossing on wove paper, signed in pencil and numbered 93/250 by Julia Gruen, Executor for the Keith Haring Estate, published/printed by Studio Heinrici/Tony Shafrazi Edition, New York, the full sheet, framed. sheet 21 x 25in
Keith Haring - Untitled

Keith Haring - Untitled

Original 1986
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Gross Price
Lot number: 3
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Description:
Keith Haring (American, 1958-1990) Untitled 1986 signed and dated 86 sumi ink on paper 32.4 by 40.2 cm. 12 3/4 by 15 13/16 in. Footnotes This work is accompanied by a photo-certificate of authenticity issued by The Estate of Keith Haring , New York. Provenance Private Collection, Sweden Private Collection, Europe Acquired directly from the above by the present owner in 2011
Keith Haring - Untitled (subway Drawing)

Keith Haring - Untitled (subway Drawing)

Original 1982
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Lot number: 159
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Keith Haring Untitled (Subway Drawing) , 1982 chalk on paper laid on canvas 232 x 120.5 cm (91 3/8 x 47 1/2 in.) Provenance Private Collection, New York Private Collection, Switzerland Exhibited New York, Woodward Gallery, Keith Haring New York , 12 September - 30 October 2009
Keith Haring - Untitled

Keith Haring - Untitled

Original 1988
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Lot number: 17
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Description:
Keith Haring Untitled, 1988 acrylic on canvas 91.5 x 91.7 cm (36 x 36 1/8 in.) Signed and dated '© K. Haring 1988 APRIL' on the overlap. Provenance Michael Kohn Gallery, Los Angeles Private Collection, 1988 Martin Lawrence Galleries, Las Vegas Exhibited Los Angeles, Michael Kohn Gallery, Keith Haring, One person show , June - July 1988 Milan, Fondazione Triennale di Milano, The Keith Haring Show , 27 September 2005 - 29 January 2006 Literature The Keith Haring Show , exh. cat., Fondazione Triennale di Milano, Milan, 2006, p. 292, no. 135 (illustrated) Keith Haring’’s work confronts classical scenes of birth, death, sexuality, and war with an Americanised, Pop oriented twist. His work can be interpreted as heavily political and clearly demonstrates both social and personal influences while his innovative artistic language and heavy symbolism is based on his own personal tragedies and experiences. Haring established friendships with artists such as Jean-Michel Basquiat and Andy Warhol, who later became one of the themes of his oeuvre and, after his death, decisively affected his contemporary success. During his brief yet intensive career Haring’’s works were featured in over a hundred solo and group exhibitions and received large amounts of press and media attention. One of many tropes apparent in Haring’’s work is that of sexuality. Haring's work aims to depict the stigma associated with homosexual relationships in an aesthetically interesting and captivating manner. The use of this insight into Haring’’s work enables the viewer to further understand his works, such as this particular lot Untitled , from 1988. The piece includes the themes consistent to Haring's oeuvre; those of patterns, colour, silhouette, gesture and kinetic energy. Untitled creates an aura of continuous fluidity while still incorporating block colour and decisive outline. The sense of unity juxtaposed with clearly defined colour and line separations is a perfect example of the mimesis present in Haring’’s oeuvre. The piece strives for complicity between art and society, between depiction and subject matter. Untitled is a painted, square-form depiction of two male figures both reflected and intertwined along a central axis. The piece employs the use of block colour and dividing line and thus alludes to pattern and stencil technique. The two interlocking figures are depicted in a bright green and are outlined by a thick, orange line that recurs throughout the painting. The figures are displayed upon a geometric black background that in turns rests on the exterior red surrounding. Observers have discussed the decorative quality of Haring’’s artistic approach and highlight its repetitive quality as emphatic in the presentation of a particular idea. The design allows for the conversion of any condition or situation into a cohesive and successful piece of art. The techniques of form-liquefaction and interweaving, as inherent to this painting, were transfused into his iconography. The identification of sexual imagery and the depiction of controversial themes contribute to Haring’’s status and global renown. The depicted erotic and interactive relationships in the painting allude to their political and social associations. Haring’’ s painting represents a site of transformation where colours, object, lines and forms are subjected to a creative catharsis and then transformed to represent a plethora of human activity and sentiment. The origin for Haring’’s interest in live action and gesture can be linked to his early experience as a live video performer. He studied at the New York School of visual arts in the late 1970’’s and there discovered the power of physical language and depiction. In 1980, soon after leaving the School of Visual Arts, alongside the blossoming of the graffiti on the streets and subway systems of New York, Haring began drawing his own graffiti on the streets. The artist states: 'graffiti were the most beautiful things I ever saw, the kids who were doing it were very young and from the streets, but they had this incredible mastery of drawing which totally blew me away. I mean, just the technique of drawing with spray paint is amazing, because it’’s incredibly difficult to do. And the fluidity of line, and the scale, and always the hard-edged black line that tied the drawings together! It was the line I had been obsessed with since childhood!' (John Gruen, Keith Haring ) Like other graffiti artists, he invented his own tag or signature. Haring’’s initial tag was in the form of an animal but developed to depict a human figure and thus created the artists current expansive, personal vocabulary. In 1986, Haring opened his ‘Pop Shop’’ in SoHo where many of his design-products were sold. In this way amongst others, Haring aimed to render art more accessible: 'A more holistic and basic idea of wanting to incorporate [art] into every part of life, less as an egotistical exercise and more natural somehow. I don’’t know how to exactly explain it. Taking it off the pedestal. I’’m giving it back to the people, I guess.'(Daniel Drenger, 'Art and Life: An Interview with Keith Haring,' Columbia Art Review 1988) The development and expansion of Haring’’s oeuvre was unfortunately hindered in 1988, the very year in which Untitled was painted. During his development within the art world Haring was exposed to the loss of many of his friends to AIDS and, in 1988, discovered that he had also become subject to the illness. Although the disease affected his work physically it did also augment it psychologically, evident in his strife to render his work infinite and thus conquer his own human finality. Haring explained: 'all of the things that you make are a kind of quest for immortality. Because you’’re making these things that you know have a different kind of life. They don’’t depend on breathing, so they’’ ll last longer than any of us will. Which is sort of an interesting idea, that it’’s sort of extending your life to some degree.'(Daniel Drenger, “Art and Life: An Interview with Keith Haring,' Columbia Art Review 1988) Haring passed away in 1990, yet as he desired, his work remains infinite in its integral role in contemporary art and society.
Keith Haring - Untitled

Keith Haring - Untitled

Original 1987
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Gross Price
Lot number: 268
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Description:
Keith Haring (American, 1958-1990) Untitled, 1987 color lithograph edition 82/100, signed K. Haring and dated (lower right) 8 1/2 x 12 inches. Property from the Collection of Ms. Amy Flink, Chicago, Illinois Good overall condition. Archivally hinged at top left and right edge (verso). On BFK Rives. Embossed stamp at lower right. Examined out of frame. Sheet: 11 x 14 3/4 inches. Frame: 15 1/2 x 19 inches. Glazed in glass.
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