Thursday, February 23, 2017

Milano: Palazzo Reale – Keith Haring – About Art Exhibition

“I feel in some way that I may be continuing a search, continuing an exploration that other painters have started. I am not a beginning.  I am not an end. I am a link in a chain.”
Milano: Palazzo Reale – Keith Haring – About Art Exhibition. The Keith Haring – About Art exhibition at Palazzo Reale, until June18 is curated by Gianni Mercurio. The exhibition establishes a dialogue between Haring's works and his sources of inspiration - Art History - from the archaeology of classical antiquity, to Pre-Columbian art, archetypal religious figures, Pacific masks and the creative art of indigenous Americans, right up to 20th-century masters such as Jackson Pollock, Jean Dubuffet and Paul Klee.
Above. Keith HaringUntitled 1982 – Sumi ink on paper – Lupa Capitolina – XV Century – bronze.

President of the Keith Haring Foundation Gil Vazquez and its executive director Julia Gruen

Demetrio Paparoni and the curator Gianni Mercurio
Keith Haring – Untitled 1981 – enamel on Metal
Michelangelo Buonarroti - Battle Between Centaurs and Lapiths
end 19th-cenutry – plaster cast
This show pivots on a new critical approach: an interpretation of Haring's oeuvre is not correct if it is not also seen in the light of Art History, which he understood and placed at the centre of his work, assimilating it to such a degree that he explicitly integrated it into his paintings, so that this became the most significant element in his aesthetic research.
  Photo by Pierre Keller
“Andy Warhol’s life and work made my work possible. Andy set the precedent for the possibility of my art to exist.”

Keith Haring – Untitled 1985 – acrylic on canvas
Keith Haring and Andy Warhol

“Actually, this image of the man with a hole in his stomach came after I heard of John Lennon’s assassination.  Someone came into the Mudd Club and told us that John Lennon had been shot.  People couldn’t believe it.  It had this incredibly sobering effect on the entire city.  I woke up the next morning with this image in my head-of the man with a hole in his stomach.”
Director of Palazzo Reale, Domenico Piraina
Keith Haring – Untitled 1981 – vinyl paint on vinyl tarp
Keith Haring
Untitled, 5 June 1984 – enamel on wood
Untitled, 11 June 1984 – acrylic on canvas

Roger Magoulas, Kristen Haring, Jerome de Noirmont and Gil Vazquez

Maria Mulas
Keith Haring – Untitled 1985 – oil on canvas

Fabio Bellotti and Daniela Morera

Keith Haring – Untitled 1985 – acrylic on canvas
Michele Chiossi
Keith Haring – Untitled 1978/1979 – Sumi ink and acrylic on paper
It was in those years that Haring found the pictorial language of such artists as Jean Dubuffett a fundamental reference for perfecting his own style.  What interested him in Dubuffett were the paintings begun in 1962 which, for over a decade, would form the Hourloupe cycle.  In it the French artist, backed up the experience of having studied materials in their phenomenal and structural relationship, turned to a composition of signs based on a few lines and few colors: black, red and blue against a white background.  Proceeding by interlocking images, Dubufett managed to encapsulate on the surface of a canvas the three-dimensionality of sculpture.
Philippe Daverio, Marina Mattei and Antonella Ranaldi

Massimo Giacon

Keith Haring – Walking in the Rain 1989 acrylic and enamel on canvas

Etruscan Olpe – 6-century – ceramic

Christina Clausen and Gianni Mercurio
Matteo Guarnaccia

Keith Haring – Untitled 1985 – acrylic and oil on canvas

Keith Haring was one of the most outstanding artists in the second half of the 20th century. His art is seen as the expression of a socially and politically committed counterculture and deals with issues of his time and ours: drugs, racism, Aids, the nuclear threat, youth alienation, minority discrimination and the arrogance of power. Haring participated in a collective experience and became the icon of the global artist-activist.

Keith Haring – Untitled 1984 – spray enamel on sheet metal
Trajan’s Column – 113 AD

Keith Haring – Untitled 1983 – vinyl paint on vinyl tarp
Tribal Mask
Photo by Tseng Kwong Chi
Grace Jones and Keith Haring

Keith Haring
Mural for St. Patrick’s Daycare Center – San Fransisco – 1985  
 acrylic paint on wood in 24 panels
Jose Matos
Keith Haring – Via Picasso 1984 – Sumi ink on paper
Keith Haring – Via Picasso 1984 – Sumi ink on paper
Photo by Tseng Kwong Chi

‘Now I live in New York City, which I believe to be the center of the world.   My contribution to the world is my ability to draw.   I will draw as much as I can for as many people as I can.”
Keith Haring – Subway Drawing 1982-1984 circa – chalk on paper

Pablo Picasso – Femme Nue 1907 – oil on canvas
Keith Haring – Via Picasso 1984 – Sumi ink on paper
Keith Haring – Red, Yellow, and Blue #7 1987 - oil and acrylic on canvas
Keith haring – Untitled 1987 – enamel on aluminium
Luigi Spagnol and Hanne Orstavik


Alice, Giovanna, Matteo and baby Giulio Lupo Gerevini
Luca Costa
Keith haring – The Effect of Green on Blue 1978 – felt pen on paper
Angelo Cruciani
Keith Haring – Untitled 1989 – acrylic and esame on canvas
Luca Speziali Fenech and Federica Nobis
Keith Haring – The Tree of Monkeys 1984 – acrylic on canvas
Keith Haring – Untitled 1983 – acrylic esame on incised wood
Keith Haring – Untitled 1984 – acrylic on canvas
In his portrayal of the figure of man and of animal-in the oft-reproduced “barking dog” –Haring represents the dualism of rationality/instinct, rendered graphically by referring to the so-called Cynocephaly, a mythical figure that was represented by all the Indo-European civilizations in the Classical age.





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