Keith Haring</a>. In 1982, Barbara Gladstone commissioned <a target="_blank" href=https://www.mutualart.com/Exhibition/Keith-Haring/"/Artist/Keith-Haring/69A9AED2DBC3F57C">Haring to make a series of lithographs that were the first prints ever made by the artist, therefore it is with great pleasure that we present this exhibition. Long recognized as a leading figure in the energetic and innovative downtown culture of New York in the 1980s, this brilliantly inventive and prolific artist consistently forged new creative territories throughout his life and work that profoundly reflected his deep insight into the cultural zeitgeist of his day. <br><br>While Haring's animated contours and a pop-graffiti aesthetic are most closely associated with his signature iconography such as the radiant baby and barking dog, many of the underlying themes of his work were founded upon culturally subversive attitudes towards sexuality, gender, religion, and politics. Born in Reading, Pennsylvania, Haring arrived in New York in 1978 at the age of 19 when he enrolled in the School of Visual Arts. During this period, Haring began to establish a visual language that was centered upon dynamic mark-making techniques, compositional structures and, most importantly, the immediate primacy of the line, which would serve as the foundation of his artistic inspiration throughout his career. Influenced by an eclectic range of references including the work of Pierre Alechinsky, graffitied subway cars, comic book strips, and William Burroughs, the origins and development of Haring's work remained consistently rooted in his commitment to the irreducible principals of drawing. <br><br>Presenting never before seen works on paper, this exhibition focuses on the evolutionary period of Haring's early drawings, which traces the development of his formal language and elaborative visual vocabulary. Created in conjunction with a series of Bill T. Jones performances held in 1982 at The Kitchen, these three monumental works on view demonstrate the striking fluidity of Haring's bold graphics and his innate mastery of the optical possibilities of form and space. Executed in real time during Jones' dance performances—functioning as active set pieces with the sound of Haring’s brushstrokes serving as the only audio accompaniment —these works entrench the viewer in a field of interlocking geometries and spatial patterning, coalescing into an intimately constructed all-over effect. This exhibition will also present a selection of Haring's early sketchbook drawings, which capture the period when he was avidly exploring his artistic impulses and initiating the working processes through which the basic components of his practice and aesthetic sensibility would take shape. Haring's meticulously angular pen and ink compositions and loose, gestural graphite lines exemplify the opposing forces at play that would later become the enduring tenets of his work. Fusing the multiple strains of his early drawings, Haring generated a uniquely singular graphic vision that he pursued with unwavering conviction, dedication and spirit. <br><br>In 1990 Keith Haring died at the age of 31 of AIDS-related illnesses in New York. Since his death, his work has been the subject of several international retrospectives. His work is in major private and public collections, including, The Museum of Modern Art; The Whitney Museum of American Art; Los Angeles County Museum of Art; The Art Institute of Chicago; the Bass Museum, Miami; Centre Georges Pompidou, Paris; Ludwig Museum, Cologne; and Stedelijk Museum, Amsterdam. “Keith Haring: 1978-1982,” is currently on view at the Contemporary Art Center in Cincinnati through September 5, 2011 and was co-organized by Kunsthalle Wien. " />
Gladstone Gallery is pleased to announce our first exhibition of works by Keith Haring. In 1982, Barbara Gladstone commissioned Haring to make a series of lithographs that were the first prints ever made by the artist, therefore it is with great pleasure that we present this exhibition. Long recognized as a leading figure in the energetic and innovative downtown culture of New York in the 1980s, this brilliantly inventive and prolific artist consistently forged new creative territories throughout his life and work that profoundly reflected his deep insight into the cultural zeitgeist of his day.
While Haring's animated contours and a pop-graffiti aesthetic are most closely associated with his signature iconography such as the radiant baby and barking dog, many of the underlying themes of his work were founded upon culturally subversive attitudes towards sexuality, gender, religion, and politics. Born in Reading, Pennsylvania, Haring arrived in New York in 1978 at the age of 19 when he enrolled in the School of Visual Arts. During this period, Haring began to establish a visual language that was centered upon dynamic mark-making techniques, compositional structures and, most importantly, the immediate primacy of the line, which would serve as the foundation of his artistic inspiration throughout his career. Influenced by an eclectic range of references including the work of Pierre Alechinsky, graffitied subway cars, comic book strips, and William Burroughs, the origins and development of Haring's work remained consistently rooted in his commitment to the irreducible principals of drawing.
Presenting never before seen works on paper, this exhibition focuses on the evolutionary period of Haring's early drawings, which traces the development of his formal language and elaborative visual vocabulary. Created in conjunction with a series of Bill T. Jones performances held in 1982 at The Kitchen, these three monumental works on view demonstrate the striking fluidity of Haring's bold graphics and his innate mastery of the optical possibilities of form and space. Executed in real time during Jones' dance performances—functioning as active set pieces with the sound of Haring’s brushstrokes serving as the only audio accompaniment —these works entrench the viewer in a field of interlocking geometries and spatial patterning, coalescing into an intimately constructed all-over effect. This exhibition will also present a selection of Haring's early sketchbook drawings, which capture the period when he was avidly exploring his artistic impulses and initiating the working processes through which the basic components of his practice and aesthetic sensibility would take shape. Haring's meticulously angular pen and ink compositions and loose, gestural graphite lines exemplify the opposing forces at play that would later become the enduring tenets of his work. Fusing the multiple strains of his early drawings, Haring generated a uniquely singular graphic vision that he pursued with unwavering conviction, dedication and spirit.
In 1990 Keith Haring died at the age of 31 of AIDS-related illnesses in New York. Since his death, his work has been the subject of several international retrospectives. His work is in major private and public collections, including, The Museum of Modern Art; The Whitney Museum of American Art; Los Angeles County Museum of Art; The Art Institute of Chicago; the Bass Museum, Miami; Centre Georges Pompidou, Paris; Ludwig Museum, Cologne; and Stedelijk Museum, Amsterdam. “Keith Haring: 1978-1982,” is currently on view at the Contemporary Art Center in Cincinnati through September 5, 2011 and was co-organized by Kunsthalle Wien.
Gladstone Gallery is pleased to announce our first exhibition of works by Keith Haring. In 1982, Barbara Gladstone commissioned Haring to make a series of lithographs that were the first prints ever made by the artist, therefore it is with great pleasure that we present this exhibition. Long recognized as a leading figure in the energetic and innovative downtown culture of New York in the 1980s, this brilliantly inventive and prolific artist consistently forged new creative territories throughout his life and work that profoundly reflected his deep insight into the cultural zeitgeist of his day.
While Haring's animated contours and a pop-graffiti aesthetic are most closely associated with his signature iconography such as the radiant baby and barking dog, many of the underlying themes of his work were founded upon culturally subversive attitudes towards sexuality, gender, religion, and politics. Born in Reading, Pennsylvania, Haring arrived in New York in 1978 at the age of 19 when he enrolled in the School of Visual Arts. During this period, Haring began to establish a visual language that was centered upon dynamic mark-making techniques, compositional structures and, most importantly, the immediate primacy of the line, which would serve as the foundation of his artistic inspiration throughout his career. Influenced by an eclectic range of references including the work of Pierre Alechinsky, graffitied subway cars, comic book strips, and William Burroughs, the origins and development of Haring's work remained consistently rooted in his commitment to the irreducible principals of drawing.
Presenting never before seen works on paper, this exhibition focuses on the evolutionary period of Haring's early drawings, which traces the development of his formal language and elaborative visual vocabulary. Created in conjunction with a series of Bill T. Jones performances held in 1982 at The Kitchen, these three monumental works on view demonstrate the striking fluidity of Haring's bold graphics and his innate mastery of the optical possibilities of form and space. Executed in real time during Jones' dance performances—functioning as active set pieces with the sound of Haring’s brushstrokes serving as the only audio accompaniment —these works entrench the viewer in a field of interlocking geometries and spatial patterning, coalescing into an intimately constructed all-over effect. This exhibition will also present a selection of Haring's early sketchbook drawings, which capture the period when he was avidly exploring his artistic impulses and initiating the working processes through which the basic components of his practice and aesthetic sensibility would take shape. Haring's meticulously angular pen and ink compositions and loose, gestural graphite lines exemplify the opposing forces at play that would later become the enduring tenets of his work. Fusing the multiple strains of his early drawings, Haring generated a uniquely singular graphic vision that he pursued with unwavering conviction, dedication and spirit.
In 1990 Keith Haring died at the age of 31 of AIDS-related illnesses in New York. Since his death, his work has been the subject of several international retrospectives. His work is in major private and public collections, including, The Museum of Modern Art; The Whitney Museum of American Art; Los Angeles County Museum of Art; The Art Institute of Chicago; the Bass Museum, Miami; Centre Georges Pompidou, Paris; Ludwig Museum, Cologne; and Stedelijk Museum, Amsterdam. “Keith Haring: 1978-1982,” is currently on view at the Contemporary Art Center in Cincinnati through September 5, 2011 and was co-organized by Kunsthalle Wien.
Keith Haring
May 04, 2011 - Jul 01, 2011
Gladstone Gallery is pleased to announce our first exhibition of works by Keith Haring. In 1982, Barbara Gladstone commissioned Haring to make a series of lithographs that were the first prints ever made by the artist, therefore it is with great pleasure that we present this exhibition. Long recognized as a leading figure in the energetic and innovative downtown culture of New York in the 1980s, this brilliantly inventive and prolific artist consistently forged new creative territories throughout his life and work that profoundly reflected his deep insight into the cultural zeitgeist of his day.
While Haring's animated contours and a pop-graffiti aesthetic are most closely associated with his signature iconography such as the radiant baby and barking dog, many of the underlying themes of his work were founded upon culturally subversive attitudes towards sexuality, gender, religion, and politics. Born in Reading, Pennsylvania, Haring arrived in New York in 1978 at the age of 19 when he enrolled in the School of Visual Arts. During this period, Haring began to establish a visual language that was centered upon dynamic mark-making techniques, compositional structures and, most importantly, the immediate primacy of the line, which would serve as the foundation of his artistic inspiration throughout his career. Influenced by an eclectic range of references including the work of Pierre Alechinsky, graffitied subway cars, comic book strips, and William Burroughs, the origins and development of Haring's work remained consistently rooted in his commitment to the irreducible principals of drawing.
Presenting never before seen works on paper, this exhibition focuses on the evolutionary period of Haring's early drawings, which traces the development of his formal language and elaborative visual vocabulary. Created in conjunction with a series of Bill T. Jones performances held in 1982 at The Kitchen, these three monumental works on view demonstrate the striking fluidity of Haring's bold graphics and his innate mastery of the optical possibilities of form and space. Executed in real time during Jones' dance performances—functioning as active set pieces with the sound of Haring’s brushstrokes serving as the only audio accompaniment —these works entrench the viewer in a field of interlocking geometries and spatial patterning, coalescing into an intimately constructed all-over effect. This exhibition will also present a selection of Haring's early sketchbook drawings, which capture the period when he was avidly exploring his artistic impulses and initiating the working processes through which the basic components of his practice and aesthetic sensibility would take shape. Haring's meticulously angular pen and ink compositions and loose, gestural graphite lines exemplify the opposing forces at play that would later become the enduring tenets of his work. Fusing the multiple strains of his early drawings, Haring generated a uniquely singular graphic vision that he pursued with unwavering conviction, dedication and spirit.
In 1990 Keith Haring died at the age of 31 of AIDS-related illnesses in New York. Since his death, his work has been the subject of several international retrospectives. His work is in major private and public collections, including, The Museum of Modern Art; The Whitney Museum of American Art; Los Angeles County Museum of Art; The Art Institute of Chicago; the Bass Museum, Miami; Centre Georges Pompidou, Paris; Ludwig Museum, Cologne; and Stedelijk Museum, Amsterdam. “Keith Haring: 1978-1982,” is currently on view at the Contemporary Art Center in Cincinnati through September 5, 2011 and was co-organized by Kunsthalle Wien.
Recommended for you
Feb 20,2025
- Mar 28,2025
Feb 20,2025
- Jun 22,2025
Feb 19,2025
- Apr 04,2025
Feb 18,2025
- Mar 30,2025
Gladstone Gallery is pleased to announce our first exhibition of works by Keith Haring. In 1982, Barbara Gladstone commissioned Haring to make a series of lithographs that were the first prints ever made by the artist, therefore it is with great pleasure that we present this exhibition. Long recognized as a leading figure in the energetic and innovative downtown culture of New York in the 1980s, this brilliantly inventive and prolific artist consistently forged new creative territories throughout his life and work that profoundly reflected his deep insight into the cultural zeitgeist of his day.
While Haring's animated contours and a pop-graffiti aesthetic are most closely associated with his signature iconography such as the radiant baby and barking dog, many of the underlying themes of his work were founded upon culturally subversive attitudes towards sexuality, gender, religion, and politics. Born in Reading, Pennsylvania, Haring arrived in New York in 1978 at the age of 19 when he enrolled in the School of Visual Arts. During this period, Haring began to establish a visual language that was centered upon dynamic mark-making techniques, compositional structures and, most importantly, the immediate primacy of the line, which would serve as the foundation of his artistic inspiration throughout his career. Influenced by an eclectic range of references including the work of Pierre Alechinsky, graffitied subway cars, comic book strips, and William Burroughs, the origins and development of Haring's work remained consistently rooted in his commitment to the irreducible principals of drawing.
Presenting never before seen works on paper, this exhibition focuses on the evolutionary period of Haring's early drawings, which traces the development of his formal language and elaborative visual vocabulary. Created in conjunction with a series of Bill T. Jones performances held in 1982 at The Kitchen, these three monumental works on view demonstrate the striking fluidity of Haring's bold graphics and his innate mastery of the optical possibilities of form and space. Executed in real time during Jones' dance performances—functioning as active set pieces with the sound of Haring’s brushstrokes serving as the only audio accompaniment —these works entrench the viewer in a field of interlocking geometries and spatial patterning, coalescing into an intimately constructed all-over effect. This exhibition will also present a selection of Haring's early sketchbook drawings, which capture the period when he was avidly exploring his artistic impulses and initiating the working processes through which the basic components of his practice and aesthetic sensibility would take shape. Haring's meticulously angular pen and ink compositions and loose, gestural graphite lines exemplify the opposing forces at play that would later become the enduring tenets of his work. Fusing the multiple strains of his early drawings, Haring generated a uniquely singular graphic vision that he pursued with unwavering conviction, dedication and spirit.
In 1990 Keith Haring died at the age of 31 of AIDS-related illnesses in New York. Since his death, his work has been the subject of several international retrospectives. His work is in major private and public collections, including, The Museum of Modern Art; The Whitney Museum of American Art; Los Angeles County Museum of Art; The Art Institute of Chicago; the Bass Museum, Miami; Centre Georges Pompidou, Paris; Ludwig Museum, Cologne; and Stedelijk Museum, Amsterdam. “Keith Haring: 1978-1982,” is currently on view at the Contemporary Art Center in Cincinnati through September 5, 2011 and was co-organized by Kunsthalle Wien.
Artists on show
What's on nearby
Joan Jonas</a>’ inaugural exhibition with Gladstone in New York presents new paper sculptures alongside video and sound works, showcasing her ongoing multidisciplinary approach to art-making. Known for adapting and revisiting her previous installations, Jonas utilizes their parts—drawings, sculptures, videos, sound, and performances—to transform new spaces. Estranged from didactic associations, Jonas’ ideas are implied poetically through familiar materiality and distinctive aesthetics across her oeuvre.</p><p><br></p>" />
Mar 01,2025
- Apr 12,2025
new paintings by Verne Dawson</a> on view at 22 East 2nd Street, New York, from January 8–February 28, 2025.</p><p>Dawson’s recent paintings center around a spring near the artist’s home in the Blue Ridge Mountains in western North Carolina. As depicted by Dawson, whose approach, unmediated by contemporary technology, foregrounds the primacy of subject, artist, and paint, the spring becomes a place outside of time, at once enchanted and very real.</p><p>In Karma’s new monograph on Dawson, critic Jennifer Krasinski hones in on the artist’s atemporal ambitions, writing that “he devoted himself to painting because it offers ‘the much-desired possibility to escape time,’ eluding the dupe finitudes (like now and then) and instead calling attention . . . to time’s suppleness.” His monumental canvas Saluda Crystal Springs (2025) invites the viewer to step into the utopic spaces of the spring and painting itself. While the location is specific, the temporality is an open question. Across nearly fourteen feet, swaths of oil swirl and curlicue, together forming a fantastical landscape populated by a number of nude figures in pairs—without clothes to ground us in a particular era, we are further dislocated from time. Vines snake up trees; the waters are vibrantly blue and yellow; the sun bounces off of the top of a distant mountain. As in the monumental landscape paintings from the Song and Yuan dynasties that are among Dawson’s wide-ranging inspirations, the artist hopes to emphasize humans’ diminutive scale in the face of expansive nature. </p><p>The calligraphically forested Pot Shoals (2024) focuses on one couple as they wade through the springs’ clear water, its aquamarine hue mirrored in the sky above. In the dense trees that frame them, Dawson’s use of the complementary colors orange and green creates a firework-like pop of leaves and vines. Through the Forest (2024) represents a procession of figures walking down to the waters in a style that borders on abstraction; clouds and trees billow above and around them in elemental, gestural whorls redolent of Abstract Expressionism. Through his impassioned renderings of the Crystal Springs, Dawson channels a love of nature and a respect for our place in it.</p><p><br></p>" />
Jan 08,2025
- Feb 28,2025
Anton Kern Gallery</a>, Polish artist and <a target="_blank" href=https://www.mutualart.com/Exhibition/Keith-Haring/"/Artist/Wilhelm-Sasnal/3052B788B549D3F3">filmmaker Wilhelm Sasnal</a> will present a new body of paintings inspired by his time in Los Angeles, where he has lived for half of the year since 2021. This cycle of returning to LA has provided him with unique insights into the sprawling California metropolis. Neither a tourist nor a local, his gaze remains sensitive to the smallest changes and differences in his surroundings. Sasnal experiences the ordinary as if seen for the first time and from an outsider’s perspective. The dynamic intertwining of social concern and painterly autonomy is what makes Sasnal the most unique realist painter of our era. His work has most recently been presented in a one-person exhibition at the Stedelijk Museum in Amsterdam. His new feature film, "The Assistant," will premiere at the International Film Festival Rotterdam in February 2025.</p><p><br></p>" />
