I recently visited the Tate Liverpool‘s exhibition of works by Keith Haring (1958–1990). The exhibition is the first major UK showing of Haring’s art.
“My support network is not made by museums and curators but real people, and that’s good because everything I’ve ever tried to do was cut through all that bullshit anyway.” – Keith Haring, Keith Haring: The Authorised Autobiography, © John Gruen, 1991
Of course I’ve seen Keith Haring’s work before – ripoffs of it, too. Though I admittedly went in knowing little about the artist and activist. To understand a work of art, one has to have knowledge of the time period that the artist was surrounded in – for their art is a reaction to it, and a reflection of it.
Haring’s art responds to many issues he was concerned about, such as capitalism, political dictatorship, racism, drug addiction, homophobia, and AIDS awareness.
The influence of television and cartoons (specifically Walt Disney’s works) and vibrant, expressive book illustration (by DR. Seuss) were apparent, but the works can communicate heavy messages that ask the viewer to commit to reflection.
Visitors were handed out small booklets to ‘decode’ the recurring symbols in Haring’s work (the flying saucer, the baby, the barking dog…). The booklets are written in plain English, (i.e. no art bollocks) and was much appreciated.
What hit me the most about the paintings, videos, and drawings was that they are not affected; Haring’s works are raw and powerful. I feel that some of the intimacy comes from the immediacy and spontaneous-feelings Haring presents us – the works don’t suffer from overthinking or overworking.
The street culture vibes are also really apparent. There were a good amount of Haring’s subway drawings, or photographs of them. Whether an artwork is acrylic on canvas or ink on paper, they radiate a confident and direct energy.
I was thankful for the variety of mediums on display; collage, ink drawings, acrylic paintings, mixed media, video, and so on. And I found the categorisation – the organisation, rather – easy to navigate without be overwhelmed by the sheer amount in view.
The exhibit included a blacklit room with large, fluorescent acyclic paintings inside… the loud music made the viewing extra fun and immersive. …I liked that my clothes lit up, too. Things like that, you have to visit to experience.
“The saucers were zapping things with an energy ray, which would then endow whatever it zapped with its power.” – Keith Haring
I rather liked seeing all of the Adamski flying saucers and their lasers zapping… whatever happened to be around. It made me laugh. There were a great deal of storybord-looking comics with surreal happenings. The fact that they lack any written words mean that there are less barriers for viewers to understand them. Or to make of them what they will, anyway.
There was a whole section of the gallery space dedicated to Haring’s activism. Haring was diagnosed with AIDS in 1988. To speak about his own illness, to generate activism and awareness about AIDS, Haring’s artworks became a means of expression for these issues also.
Having seen just a fraction of Keith Haring’s work, I still feel very lucky. Nothing beats seeing artwork in person, and if you’ve the opportunity to see someone’s artwork in the flesh, and want to understand the artist better, then take the opportunity!!
At the end of my visit I treated myself to a fridge magnet and a tote bag, as well as some postcards that I’ll send out to friends and family. I would have liked to have been able to pick up the exhibition catalogue, but, maybe the next time I visit a museum I can do just that!
DESIGN WORKS 
Haring powerfully captured the spirit of a community at a particular moment of time and his influence permeated the greater culture.
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I loved reading about your experiences of this exhibition, and thank you for sharing it via your blog.
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