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KEITH HARING (1958-1990)

 
Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
<br>
<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. 
<br>
<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
<br>
<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15 Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
<br>
<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. 
<br>
<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
<br>
<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15 Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
<br>
<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. 
<br>
<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
<br>
<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15 Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
<br>
<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. 
<br>
<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
<br>
<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15 Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
<br>
<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. 
<br>
<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
<br>
<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15 Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
<br>
<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. 
<br>
<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
<br>
<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15 Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
<br>
<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. 
<br>
<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
<br>
<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15 Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
<br>
<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. 
<br>
<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
<br>
<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15 Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
<br>
<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. 
<br>
<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
<br>
<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15 Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
<br>
<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. 
<br>
<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
<br>
<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15
Untitled198489 1/4 x 90 1/2 x 1 in. acrylic on cotton tarp
Provenance
Left Panel:
Artist Bill T. Jones
Private Collection, New York
Private Collection, Rotterdam
Private Collection, New York
Galleria Seno, Milan
Private Collection
Sotheby’s, May 15th 2013, Contemporary Art Day Sale, Lot 287 Private collection, New York
 
Right Panel:
Artist Bill T. Jones
Private Collection, New York
Private Collection, Switzerland
Private Collection, New York
Private Collection, New York
Literature
Exh. cat., Castello di Rivoli, Museo d’arte contemporanea, Keith Haring, February – April, 1994, ill. 239
Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.

Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images.

This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.

Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15
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Similar Artworks

All 15 photographs sold as a set. Size of image without small white border: 16 1/2 x 11 in.
<br>Published on the occasion of the Keith Haring sculpture show "L'art a la Plage", St. Tropez, France, summer 2005.
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<br>The set comes in a silk box with a copy of the newly publilshed Tseng Kwong Chi book.

TSENG KWONG CHI