HARING + BASQUIAT AT HOME

Artists in conversation at the NGV

IMAGE ABOVE: Keith Haring American 1958–90 Untitled 1985; COVER STORY IMAGE: Jean-Michel Basquiat American 1960−88 Untitled 1982

BY: Ines Valencia

The Coronavirus pandemic has forced countless museums and galleries to close their doors indefinitely, driving both institutions and art lovers alike to resort to the one thing most have access to: the internet. Although a virtual experience cannot be compared to physically visiting an exhibit, it does allow access to visitors from all over the world, many of whom would not have had the opportunity to see the art due to location. An institution that has done an excellent job of providing an exceptionally realistic and vivid viewing experience to audiences attending from their own homes is the National Gallery of Victoria (Melbourne, Australia) with its exhibition Keith Haring | Jean-Michel Basquiat: Crossing Lines.

This is the first time Basquiat and Haring’s works are presented together and in concert with one another. Both artists were active at the same time in New York City and were highly influential in each other’s practice and the general art scene of the 1980s and 90s. They both had short but prolific careers which they devoted to creating provocative public works that evoked social-political commentary.

Keith Haring (1958-90), born in Reading Pennsylvania, developed a love for drawing at a very young age. He realized early on that he was not interested in becoming a commercial artist and enrolled in the School of Visual Arts in New York. There, Haring discovered the world of street art and the artistic community alternative to the more commercial museum and gallery system. During this period, he met Jean-Michel Basquiat, whose work he had admired even before knowing who was behind it. Haring became devoted to creating art that was public and engaged in numerous social issues. Throughout the 1980s, he achieved both local and international recognition. Sadly, Haring passed away from AIDS in 1990, after establishing the Keith Haring Foundation to raise awareness and provide funding and representation for AIDS organizations and children’s programs.

Jean-Michel Basquiat (1960-88) was known for his graffiti, poetry and music. An American artist of Haitian and Puerto Rican descent, he rose to fame as a part of SAMO©, a group whose signature appeared next to poetry that started to emerge in graffiti-form on the streets of New York in the late 1970s. It was later revealed that the artists behind SAMO© were Basquiat and Al Diaz. Basquiat used social commentary and the New York streets as his canvas to criticize and engage in social and political issues and injustices that included racism, consumer capitalism and power structures. He was inspired by daily life and popular culture, something that is noticeable in his unique drawings and graffiti art. To quote the artist himself: “I don’t think about art when I’m working. I try to think about life.” Basquiat passed away of a heroin overdose at the age of 27 and he is remembered as one of the most influential figures in the history of art and, in particular, public art and graffiti.

Thanks to the exceptional 3D virtual viewing experience the NGV offers, visitors will feel like they are not only at the gallery but on the actual streets of New York City in the 1980s. You can walk through the halls and admire the diverse works the exhibition features, including paintings, sculptures, works created in public spaces, photographs, notebooks and more. Examples of the street art they are most known for can be seen right as you enter. It’s followed by their other works (plenty of Haring’s signature dancing figures and Basquiat’s crowns and head designs), as well as collaborations with each other and other influential artists such as Andy Warhol and Madonna. Visitors can listen to the audio tour, courtesy of Patti Astor, as well as have a look at the written transcript available for download on the website. The in-person exhibit –guest curated by Dr. Dieter Buchhart– ran from December 1, 2019, to April 13, 2020, but is now available indefinitely online for art enthusiasts worldwide. Do not miss this opportunity to experience these artists’ close friendship and enthralling work.

You can take the virtual tour here: https://www.ngv.vic.gov.au/virtual-tours/haring-basquiat/

Jean-Michel Basquiat American 1960−88 Ishtar 1983 synthetic polymer paint, wax crayon and photocopy collage on canvas and wood 182.9 x 352.0 cm (overall) Collection Ludwig, Ludwig Forum für Internationale Kunst, Aachen © Estate of Jean-Michel Basquiat. Lic
Jean-Michel Basquiat American 1960−88 Ishtar 1983

 

Jean-Michel Basquiat American 1960−88 A Panel of Experts 1982 synthetic polymer paint and oil pastel on paper on canvas and wood 152.5 x 152.0 cm Montreal Museum of Fine Arts Gift of Ira Young, 1990.28 © Estate of Jean-Michel Basquiat. Licensed by Artestar
Jean-Michel Basquiat American 1960−88 A Panel of Experts 1982

 

Keith Haring American 1958–90 Untitled 1982 enamel on steel 30.5 x 30.5 cm Collection of Larry Warsh © Keith Haring Foundation
Keith Haring American 1958–90 Untitled 1982

 

Keith Haring American 1958–90 Untitled 1982 enamel color on steel 109.2 x 109.2 cm Collection of Larry Warsh © Keith Haring Foundation
Keith Haring American 1958–90 Untitled 1982

 

Hollywood Africans in Front of the Chinese Theater w Footprints of Movie Stars
Hollywood Africans in Front of the Chinese Theater w Footprints of Movie Stars

 

Keith Haring American 1958–90 Untitled (Wood Relief) 1983 enamel on wood 28.0 x 29.0 cm Private collection © Keith Haring Foundation
Keith Haring American 1958–90 Untitled (Wood Relief) 1983

 

Keith Haring American 1958–90 Untitled 1982 synthetic polymer paint on vinyl tarpaulin 213.5 x 220.0 J W Power Collection, University of Sydney, managed by Museum of Contemporary Art, purchased with funds from the J W Power Bequest, 1982 © Keith Haring Fou
Keith Haring American 1958–90 Untitled 1982

 

Jean-Michel Basquiat American 1960−88 Irony of a Negro Policeman 1981 synthetic polymer paint and oilstick on wood 183.0 x 122.0 cm Private collection © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York
Jean-Michel Basquiat American 1960−88 Irony of a Negro Policeman 1981

 

Keith Haring American 1958–90 Untitled 1982 vinyl paint and vinyl ink on vinyl tarpaulin 213.4 x 213.4 cm Private collection © Keith Haring Foundation
Keith Haring American 1958–90 Untitled 1982

 

Jean-Michel Basquiat American 1960−88 Untitled (Pollo Frito) 1982 synthetic polymer paint, oilstick and enamel on canvas 152.4 x 306.1 cm Private European collection, courtesy of John Sayegh-Belchatowski © Estate of Jean-Michel Basquiat. Licensed by Artest
Jean-Michel Basquiat American 1960−88 Untitled (Pollo Frito) 1982

 

Jean-Michel Basquiat American 1960−88 Because it Hurts the Lungs 1986 synthetic polymer paint and collage on wood 183.0 x 107.0 x 21.0 cm Museum MACAN, Jakarta © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York
Jean-Michel Basquiat American 1960−88 Because it Hurts the Lungs 1986

 

Keith Haring American 1958–90 Malcolm X 1988 synthetic polymer paint, enamel and collage on canvas 152.4 x 152.4 cm Private collection © Keith Haring Foundation
Keith Haring American 1958–90 Malcolm X 1988