However, Brooklyn looked much different back then, as seen by this illustration done soon after the bridge was completed. How did the illustrator even get up there? Continue reading
However, Brooklyn looked much different back then, as seen by this illustration done soon after the bridge was completed. How did the illustrator even get up there? Continue reading
The Brooklyn Museum is the final venue for the critically acclaimed exhibition WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath, which will be on view November 8, 2013 through February 2, 2014. The exhibit explores the experience of war and strikes a universal human chord with an unprecedented collection of photographs from around the world. Continue reading
Curiosity about Hollywood’s take on Steve Brodie’s claim that he jumped off the Brooklyn Bridge on July 23, 1886 drew viewers to FX Movie Channel’s recent broadcast of the seldom-shown 1933 movie The Bowery.
Produced by Darryl Zanuck and directed by Raoul Walsh, the movie also promised to show how the bare-knuckle boxer, John L. Sullivan, and the saloon-smashing reformer, Carrie Nation, fit into Brodie’s life. Continue reading
A major new first-floor Brooklyn Museum gallery opened in March with Fine Lines: American Drawings, which will remain on view through May 28. The new 6,000-square-foot space is the latest step in a phased renovation that will, within the next two years, dramatically alter the entire first and second floors of the Museum’s McKim, Mead and White building.
This new space, designed by Ennead Architects, incorporates both a larger and a smaller gallery and two vestibule areas. It is named the Robert E. Blum Gallery–as was the previous special-exhibition gallery on the first floor.
In May 1654, the early settlers of Gravesend, Brooklyn purchased what is now known as Coney Island from the local Native Americans. Back then it was just a beach, but by the 1840s it had morphed into how many of us know it now: a vacation getaway right in our own city.
Roads and steamships around that time made travel time from New York City around two hours, making Coney Island an accessible beach destination for anyone. By the 1920s it was even more popular, after the subway made its debut. But visitors weren’t content with just beaches and hotels. There were games to be played, rides to be ridden, and souvenirs to take home! Here are a few from the New-York Historical Society‘s collection.
An exhibition of some thirty-five exceptional American and European quilt masterpieces from the Brooklyn Museum’s renowned decorative arts holdings will examine the impact of feminist scholarship on the ways in which historical quilts have been and are currently viewed, contextualized, and interpreted.
Only one of these rare quilts has been on public display in the past thirty years. “Workt by Hand”: Hidden Labor and Historical Quilts will be on view in the Elizabeth A. Sackler Center for Feminist Art from March 15 through September 15, 2013. Continue reading
Fine Lines: American Drawings from the Brooklyn Museum presents a selection of more than a hundred rarely seen drawings and sketchbooks produced between 1768 and 1945 from the Brooklyn Museum’s exceptional collection. The exhibition will feature the work of more than seventy artists, including John Singleton Copley, Stuart Davis, Thomas Eakins, William Glackens, Marsden Hartley, Winslow Homer, Edward Hopper, Eastman Johnson, Georgia O’Keeffe, John Singer Sargent, and Benjamin West. Continue reading
The Brooklyn Museum, together with the Museum of Fine Arts, Boston, has organized the landmark exhibition John Singer Sargent Watercolors, which unites for the first time the holdings of Sargent watercolors acquired by each of the two institutions in the early twentieth century. The ninety-three watercolors in the exhibition–including thirty-eight from Brooklyn’s collection, most of which have not been on view for decades–provide a once-in-a-generation opportunity to view a broad range of Sargent’s finest production in the medium. Continue reading
When it comes to the performing arts, New York City may forever be synonymous with the Broadway musical, at least in the popular imagination.
However, while there’s a lot to be said for Broadway, New Yorkers and performing arts aficionados alike know that if you want to see the work of the most daring and innovative artists working in music, dance, and theatre today, you need to venture far away from the lights of the Great White Way. Continue reading
A new drama Roebling: The Story of the Brooklyn Bridge is in development for a New York City Equity Showcase Production to be produced by special arrangement between the author Mark Violi and Theater to Go. Plans are underway to present this show in March 2013.
Each voter may nominate as many as three artists for inclusion in the GO exhibition, which will be on view at the Brooklyn Museum from December 1, 2012, through February 24, 2013.
The ten artists with the most voter nominations will receive studio visits from Brooklyn Museum curators Sharon Matt Atkins, Managing Curator of Exhibitions, and Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, who will make the final selection of works to be included in the exhibition.
Members of the public will nominate the artists whose work will be considered for GO: a community-curated open studio project, an upcoming exhibition at the Brooklyn Museum, by registering online to vote and by visiting artist studios during the GO open studio weekend on September 8-9, 2012. 1861 Brooklyn-based artists will open their studio doors in 46 of Brooklyn’s 67 neighborhoods, covering Brooklyn’s 73 square miles.
Today marks the launch of a new phase of the GO website, which showcases participating artists and allows voters to register. By visiting www.gobooklynart.org, voters can create and share itineraries of artist studios they plan to visit on September 8 and 9. Itineraries can be accessed on the GO iPhone application, so voters may take their plans with them as they travel around Brooklyn during the open studio weekend.
On September 8 and 9, artists will open their studio doors to the public from 11 a.m. until 7 p.m. Voters must check in using either the GO iPhone app or SMS text messaging using a unique number assigned to each artist and posted on a sign in their studio. Voters can also write down artist numbers and enter them later at the GO website. To be eligible to vote, registrants must check in at a minimum of five studios. After the close of the open studio weekend, eligible voters will receive an email from the GOteam with nomination instructions.
The public nomination period will begin on September 12 and end on September 18. During that time, voters will have the option to comment on the artist studios they visited. The comments will be publicly available on the GO website and may be selected for inclusion in the exhibition GO: a community-curated open studio project.
The GO project launched in May with the goal of transforming how communities in Brooklyn, and beyond, engage with the arts by providing the public with the opportunity to discover artistic talent and get involved in the exhibition process at a grassroots level.
The project is co-organized by Atkins and Shelley Bernstein, Chief of Technology. GO: a communitycurated open studio project is inspired by two established programs: ArtPrize, an annual, publicly juried art competition in Grand Rapids, Michigan, and the long tradition of open studio weekends held each year in the Brooklyn neighborhoods of Williamsburg, Greenpoint, DUMBO, Gowanus, Red Hook, and Bushwick.
The Brooklyn Museum is launching a borough-wide initiative in which Brooklyn-based artists will be invited to open their studios, allowing community members to visit and nominate artists for inclusion in a group exhibition to be held at the Museum.
Brooklyn Museum curators will visit the studios of top nominated artists to select works for the exhibition. The open studio weekend for GO: a community-curated open studio project will be held September 8 and 9. The exhibition will open during First Saturday on December 1, 2012, and will be on view through February 24, 2013.
Web and mobile technology will be a central component bringing artists and community together to share information and perspectives on art. All participants (artists, voters, and volunteers) will be able to create a personal online profile at the project’s website, www.gobrooklynart.org. Artist profiles will include photos of each artist and their studio, along with images and descriptions of their work. Volunteers will be connected with their respective neighborhoods online, and voters will have profiles that track their activity during the open studio weekend and provide a platform on which to share their perspectives.
“GO is a wide-ranging and unique project that will transform how Brooklyn communities engage in the arts by providing everyone with the chance to discover artistic talent and to be involved in the exhibition process on a grassroots level. Through the use of innovative technology, GO provides every Brooklyn resident with an extraordinary opportunity to participate in the visual arts in an unprecedented way,” says Brooklyn Museum Director Arnold L. Lehman.
The project launched on May 18th with volunteer registration. Volunteers will identify and work with local groups and businesses within specific neighborhoods to engage artists and potential studio visitors. The Brooklyn Museum will also partner with the Brooklyn Arts Council, open studio organizations, the Brooklyn Borough President’s Office, and Heart of Brooklyn to promote participation in GO. The New York City Housing Authority will also play an important role in engaging residents living in public housing developments in Brooklyn.
Artists will have an opportunity to register their studios at www.gobrooklynart.org in June. Artist registration will be followed by voter registration in August and early September. In October, Sharon Matt Atkins and Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, will make studio visits to the top nominated artists to select the work for the exhibition. Curators and community members will engage in a public dialogue about the selection of work.
GO continues the Brooklyn Museum’s long tradition of highlighting the borough’s community of artists. Since its 2004 exhibition, Open House: Working in Brooklyn, the largest survey to date of artists working in Brooklyn, the Museum has continued its commitment to Brooklyn artists with exhibitions by Fred Tomaselli, Lorna Simpson, and an upcoming exhibition by Mickalene Thomas, among others, and the current Raw/Cooked series of five exhibitions by under-the-radar Brooklyn artists.
A pioneer in crowd-sourced exhibitions, the Brooklyn Museum also presented Click! A Crowd-Curated Exhibition (2008), a photography show in which nearly 3,500 community members evaluated the work of 389 local photographers. More recently, Split Second: Indian Paintings (2011) invited the Museum’s online community to participate in the selection of works to be shown in an installation of Indian paintings.
The project organizers are Sharon Matt Atkins, Managing Curator of Exhibitions, and Shelley Bernstein, Chief of Technology. GO: a community-curated open studio project is inspired by two predecessors: ArtPrize, an annual publicly juried art competition in Grand Rapids, Michigan, and the long tradition of open studio events that take place each year throughout Brooklyn.
The project’s website will be updated throughout the process until the exhibition’s opening in December 2012.
To celebrate its summer exhibition Beer Here: Brewing New York’s History, the New-York Historical Society will host a series of beer tastings that showcase the thriving brewing culture in New York City and State.
Beer Here will examine the social, economic, political, and technological history of the production and consumption of beer, ale, and porter in the city from the seventeenth century to the present day. The beer tasting program, run by Starr Restaurants catering group, will take place in the exhibition’s beer hall on most Saturday afternoons from May 26 through August 25, 2012. Continue reading
A completely new, significantly larger Brooklyn Museum Gift Shop, designed by the architectural firm Visbeen Associates, is opening Wednesday April 4, 2012 in space previously devoted to temporary exhibitions. At 4,150 square feet, the new shop is 1,600 square feet larger than the shop it replaces. The store is part of a multiphase transformation of much of the Museum’s first floor designed by Ennead Architects that has already resulted in an extensive renovation of the Museum’s historic Great Hall and the creation of a major new exhibition space.
“The major goals of the new design for the first floor of the Museum have been to create a more coherent visitor experience, larger footprints for the Museum’s shop, restaurant, and exhibition galleries, and space to create a remarkable installation of major works from the Museum’s permanent collections,” comments Museum Director Arnold L. Lehman.
“The design for the new Museum Shop has created a significantly enhanced shopping environment for our visitors along with an exciting new approach to merchandising. The shop will offer a fresh selection of unique items related to the world cultures represented in the Museum’s rich permanent collection. An important feature will be products from both established as well as emerging Brooklyn designers and artisans,” states Vice Director of Merchandising Sallie Stutz.
The newly created store will be organized around an arc shape that will be reflected in a curved jewelry counter in the center that forms the focal point of the space and will be echoed in a coffered ceiling containing recessed lighting. Two light fixtures, created by Brooklyn artist David Weeks, will be focal points of the design. The shop will feature 225 linear feet of lightly stained oak casework with metal fittings, with additional free standing fixtures in which merchandise will be displayed.
The new space, along the east side of the front façade of the building, was originally built in 1904 and is one of the oldest sections in the nearly 600,000-square-foot landmark building designed by McKim, Mead, & White. A wider entrance to the shop from the Lobby will provide greater visual access to the Great Hall, assisting circulation, and a rear entrance will connect it to planned temporary exhibition galleries.
One of the first in a museum in the United States, the Brooklyn Museum Shop began in 1935 as a sales desk offering publications, postcards, and photographs of objects in the Museum’s collections. In 1954 it evolved into a Gallery Shop that specialized in toys and original folk art and crafts from around the world, as well as objects related to special exhibitions. In 1963-64, the Museum Shop produced the first shopping bag created by a museum, featuring a four-color graphic.
Following the April opening of the Museum Shop, the next phase of the first-floor transformation, scheduled for completion in late summer of 2012, will include a new Museum restaurant and cafe, a bar, and an outdoor dining terrace, all planned to be opened for lunch and dinner. The dining room will also accommodate special functions. Casual dining areas will overlook the Steinberg Family Sculpture Garden. There will be direct access to the various dining areas and bar from the Museum’s 350-car parking lot.
The final phase of the first-floor renovation will transform space that has been occupied by the current Museum Café into special exhibition galleries that will add 50 percent more floor space to the previous temporary exhibition gallery, the Robert E. Blum Gallery.
The first-floor renovation continues a major redesign of the Museum’s ground level that began in 2004 with the opening of the Martha A. and Robert S. Rubin Pavilion, the Ennead-designed and critically acclaimed front entrance, as well as the renovated lobby, newly created front plaza and South Entrance, and expanded parking facilities.
Major support for the Museum’s extensive first floor renovation project has been provided by the City of New York through the Department of Cultural Affairs and the City Council.
Support has also been provided by Martha A. and Robert S. Rubin, Arline and Norman M. Feinberg, and Lisa and Dick Cashin.
Illustration: Brooklyn Museum Retail Shop Sketch by Visbeen Associates.
The Historic Districts Council, New York’s city-wide advocate for historic buildings and neighborhoods, has announced the 2012 Six to Celebrate, an annual listing of historic New York City neighborhoods that merit preservation attention. This is New York’s only citywide list of preservation priorities.
The six neighborhoods were chosen from applications submitted by neighborhood groups around the city on the basis of the architectural and historic merit of the area, the level of threat to the neighborhood, strength and willingness of the local advocates, and where HDC’s citywide preservation perspective and assistance could be the most meaningful. Throughout 2012, HDC will work with these neighborhood partners to set and reach preservation goals through strategic planning, advocacy, outreach, programs and publicity.
“Neighborhoods throughout New York are fighting an unseen struggle to determine their own futures. By bringing these locally-driven neighborhood preservation efforts into the spotlight, HDC hopes to focus New Yorker’s attention on the very real threats that historic communities throughout the city are facing from indiscriminate and inappropriate development.” said Simeon Bankoff, HDC’s Executive Director. “As the only list of its kind in New York City, the Six to Celebrate will help raise awareness of local efforts to save neighborhoods on a citywide level.”
Founded in 1971 as a coalition of community groups from New York City’s designated historic districts, the Historic Districts Council has grown to become one of the foremost citywide voices for historic preservation. Serving a network of over 500 neighborhood-based community groups in all five boroughs, HDC strives to protect, preserve and enhance New York City’s historic buildings and neighborhoods through ongoing programs of advocacy, community development and education.
The Six to Celebrate will be formally introduced at the Six to Celebrate Launch Party on Wednesday, January 18, 2012, 5:30-7:30pm at the Bowery Poetry Club (308 Bowery at East First Street). For more information or tickets, visit www.hdc.org.
The 2012 Six to Celebrate (in alphabetical order):
Bay Ridge, Brooklyn
Elegant rowhouses, Victorian-era mansions and pre-war apartment buildings combine with parks, vibrant commercial streets and impressive institutional buildings to make Bay Ridge a quintessential New York City neighborhood. For more than 30 years, the Bay Ridge Conservancy has been working to preserve and enhance the built environment of this architecturally and ethnically diverse area.
Far Rockaway Beachside Bungalows, Queens
Once upon a summertime, Far Rockaway was the vacation spot for working-class New Yorkers. Although recent decades have erased much of this history, just off the Boardwalk on Beach 24th, 25th, and 26th Streets rows of beach bungalows built between 1918 and 1921 still stand. The Beachside Bungalow Preservation Association is seeking to preserve and revitalize this unique collection of approximately 100 buildings.
Morningside Heights, Manhattan
Situated between Riverside Park and Morningside Park, two scenic landmarks designed by Frederick Law Olmsted, and developed mainly between 1900 and 1915, Morningside Heights is characterized by architecturally-unified apartment buildings and row houses juxtaposed with major institutional groupings. The Morningside Heights Historic District Committee is working towards city designation of this elegant neighborhood.
Port Morris Gantries, The Bronx
In the South Bronx neighborhood of Port Morris, a pair of ferry gantries deteriorating in an empty lot may seem an eyesore to some, but the Friends of Brook Park sees them as the centerpiece to an engaging public space. Taking inspiration from other New York City waterside parks, this new park will combine recreation, education, and preservation of New York’s history for residents and visitors alike.
Van Cortlandt Village, The Bronx
Once the site of Revolutionary War-era Fort Independence, Van Cortlandt Village developed into a residential enclave in the 20th century. Built on a winding street plan designed by Frederick Law Olmsted, responding to the hills and views of the area, the neighborhood consists of small Neo-Colonial and Tudor revival homes and apartment buildings, including the Shalom Alecheim Houses, an early cooperative housing project. The Fort Independence Park Neighborhood Association is seeking to bring awareness to the neighborhood’s historic and architectural value as well as nominate it to the National Register of Historic Places.
Victorian Flatbush, Brooklyn
Located in the heart of Brooklyn, Victorian Flatbush is known for being the largest concentration of Victorian wood-frame homes in the country. The area presently has five New York City Historic Districts, but the blocks in between them remain undesignated and unprotected despite architecture of the same vintage and style. Six local groups representing Beverly Square East, Beverly Square West, Caton Park, Ditmas Park West, South Midwood and West Midwood have joined together with the Flatbush Development Corporation to “complete the quilt” of city designation of their neighborhoods.
In time for the sesquicentennial of the Civil War Jack McGuire offers Joining Up (Self-Published, 2011), a new historical novel memorializing Brooklyn’s famous red-legged devils of the Fourteenth Regiment through fiction. The book offers readers insight into the abolitionist regiment that became a favorite of Abraham Lincoln.
McGuire evokes the powerful words of William Burleigh; “The gallant Fourteenth forget them not: our gallant boys who, for the nation’s life, stood amid the battle grime and noise and were baptized in its flames and blood,” setting the tone for the novel, which depicts the gallantry, bravery, and commitment to justice of the Fourteenth.
Joining Up chronicles the tale of two young boys, Will and Bobby, who run away from Saint John’s home in Brooklyn, inspired by the image of Will’s brother, Andrew, in uniform. The boys are inspired by the dauntless spirit of the Fourteenth, driven by the desire to become a part of their noble cause. McGuire addresses the mystique of their “red legs” as Will recounts a story that he had been told to his friend, Bobby; “The way I heard the story is they fought one battle in Union blue and got whipped good. They been wearing red ever since.”
The two teenage boys, backs still raw from a whipping, make their escape from the Brooklyn Orphanage to the Red Legged Devils of the Fourteenth Regiment.. En-route to the Civil War battlefields Bobby and Will become mule train drivers with a scalawag muleskinner who runs supply wagons for a Massachusetts Regiment. The search for the Fourteenth New York leads the runaways to the farmlands of Pennsylvania where Robert E Lee is about to launch his armies of Northern Virginia against George Meade’s Union Army of the Potomac. It’s the eve of the biggest battle of the Civil War when the runaways finally don Union Blue.
Note: Books noticed on this site have been provided by the publishers. Purchases made through this Amazon link help support this site.
The Brooklyn Museum was founded in 1823 as an apprentices’ library and is now one of the largest art museums in the United States, with comprehensive collections that span millennia and encompass almost every culture, enhanced by a distinguished record of exhibitions, scholarship, and service to the public.
From its beginnings the Brooklyn Museum was envisioned as an institution designed to educate the people both of Brooklyn and the world–as a “museum of everything for everyone.” Today it continues to serve as a vital educational and community resource through programs including its nationally renowned Target First Saturdays program and comprehensive on-site educational activities. The Museum’s exhibitions and arts education programs are specifically designed to develop and extend the cultural and art historical themes of its comprehensive collection.
“We are extremely proud to be recognized by IMLS with its National Medal,” commented Arnold L. Lehman, Director of the Brooklyn Museum. “To be acknowledged by IMLS from among the many thousands of institutions in the United States is an exceptional tribute to the Museum Trustees, staff, volunteers, and supporters. We are grateful to IMLS for this extraordinary honor.”
The National Medal is the nation’s highest honor for museums and libraries for extraordinary civic, educational, economic, environmental, and social contributions. Recipients must demonstrate innovative approaches to public service and community outreach.
“Congratulations to the Brooklyn Museum on receiving the National Medal for Museum and Library Service. The work you have done is an inspiration to libraries and museums throughout the nation,” said Susan Hildreth, IMLS Director. “With innovation, creativity, and a great deal of heart you have achieved an outstanding level of public service.”
The other institutions that will receive the IMLS medal this year are:
Weippe Public Library & Discovery Center, Weippe, ID
San José Public Library, San José, CA
Alachua County Library District, Gainesville, FL
Columbus Metropolitan Library, Columbus, OH
EdVenture Children’s Museum, Columbia, SC
Erie Art Museum, Erie, PA
Lewis Ginter Botanical Garden, Richmond, VA
Madison Children’s Museum, Madison, WI
Hill Museum & Manuscript Library, Collegeville, MN
IMLS is the primary source of federal funding for museums and libraries. The National Medal for Museum and Library Service was created to highlight the vital role these institutions play in American society. Recipients are selected by the director of IMLS following an open nomination process and based on the recommendations of the National Museum and Library Services Board.
There Is Power in a Union: The Epic Story of Labor in America by Philip Dray is an epic, character-driven narrative that moves between picket lines, union halls, jails, assembly lines, corporate boardrooms, the courts, the halls of Congress, and the White House.
Dray (NPR Interview) presents an urgency of the fight for fairness and economic democracy for working people — a struggle that remains especially urgent today, when ordinary Americans are so beset by economic troubles.
From the textile mills of Lowell, Massachusetts, the first real factories in America, to the triumph of unions in the twentieth century and their waning influence today, the contest between labor and capital for their share of American bounty has shaped our national experience. Dray’s ambition is to show us the vital accomplishments of organized labor in that time and illuminate its central role in our social, political, economic, and cultural evolution.
Philip Dray is the author of At the Hands of Persons Unknown: The Lynching of Black America, which won the Robert F. Kennedy Book Award and made him a Pulitzer Prize finalist, and Stealing God’s Thunder: Benjamin Franklin’s Lightning Rod and the Invention of America, and the coauthor of the New York Times Notable Book We Are Not Afraid: The Story of Goodman, Schwerner, and Chaney, and the Civil Rights Campaign for Mississippi. He lives in Brooklyn.
Note: Books noticed on this site have been provided by the publishers. Purchases made through this Amazon link help support this site.
Keith Haring: 1978-1982, the first large-scale exhibition to explore the early career of one of the best-known of American twentieth-century artists, will be presented at the Brooklyn Museum from April 13 through August 5, 2012. Tracing the development of the artist’s extraordinary visual vocabulary, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.
“We are delighted to have this exceptional opportunity to present this groundbreaking exhibition of these dynamic works created by one of the most iconic and innovative artists of the late twentieth century as his formidable talents emerged,” comments Brooklyn Museum Director Arnold L. Lehman. “The works of art and the accompanying documentary material place in new perspective the development of this unique talent.”
Organized by the Contemporary Arts Center, Cincinnati, Ohio, by Raphaela Platow, Director and Chief Curator, and the Kunsthalle Wien, Austria, the Brooklyn presentation will be coordinated by Associate Curator of Photography Patrick Amsellem.
The exhibition chronicles the period in Keith Haring’s career from the time he left his home in Pennsylvania and his arrival in New York City to attend the School of Visual Arts, through the years when he started his studio practice and began making public and political art on the city streets. Immersing himself in New York’s downtown culture, he quickly became a fixture on the artistic scene, befriending other artists such as Jean-Michel Basquiat and Kenny Scharf, as well as many of the most innovative musicians, poets, performance artists, and writers of the period. Also explored in the exhibition is how these relationships played a critical role in Haring’s development as a facilitator of group exhibitions and performances and, as a creator of strategies for positioning his work directly in the public eye.
Included in Keith Haring: 1978-1982 are a number of very early works that had previously never before been seen in public, twenty-five red gouache works on paper of geometric forms assembled in various combinations to create patterns; seven video pieces, including his very first, Haring Paints Himself into a Corner, in which he paints to the music of the band Devo, and Tribute to Gloria Vanderbilt; and collages created from cut-up fragments of his own writing, history textbooks, and newspapers that closely relate to collage flyers he created with a Xerox machine.
In 1978, when he enrolled in the School of Visual Arts, Keith Haring began to develop a personal visual aesthetic inspired by New York City architecture, pre-Columbian and African design, dance music, and the works of artists as diverse as Alechinsky, Dubuffet, Picasso, Willem deKooning, and Jackson Pollock. Much influenced by the gestural brushwork and symbolic forms of the abstract expressionists, his earliest work investigated patterns made of geometric forms, which evolved as he made new discoveries through experimentation with shape and line as well as the media. He meticulously documented his aesthetic discoveries in his journals through precise notes and illustrations. In 1980 he introduced the figurative drawings that included much of the iconography he was to use for the rest of his life, such as the standing figure, crawling baby, pyramid, dog, flying saucer, radio, nuclear reactor, bird, and dolphin, enhanced with radiating lines suggestive of movement or flows of energy.
The exhibition also explores Haring’s role as a curator in facilitating performances and exhibitions of work by other artists pursuing unconventional locations for shows that often lasted only one night. The flyers he created to advertise these events remain as documentation of his curatorial practice. Also examined is Haring’s activity in public spaces, including the anonymous works that first drew him to the attention of the public, figures drawn in chalk on pieces of black paper used to cover old advertisements on the walls of New York City subway stations.
Keith Haring died in 1990 from AIDS-related complications. His goal of creating art for everyone has inspired the contemporary practice of street art and his influence may be seen in the work of such artists as Banksy, Barry McGee, Shepard Fairey, and SWOON, as well as in fashion, product design, and in the numerous remaining public murals that he created around the world.
Photo: Keith Haring, Untitled, 1978. Courtesy Keith Haring Foundation.