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Auktionsarchiv: Los-Nr. 17

Keith Haring

Schätzpreis
250.000 £ - 350.000 £
ca. 401.748 $ - 562.447 $
Zuschlagspreis:
602.500 £
ca. 968.212 $
Auktionsarchiv: Los-Nr. 17

Keith Haring

Schätzpreis
250.000 £ - 350.000 £
ca. 401.748 $ - 562.447 $
Zuschlagspreis:
602.500 £
ca. 968.212 $
Beschreibung:

Keith Haring Untitled 1988 acrylic on canvas 91.5 x 91.7 cm (36 x 36 1/8 in.) Signed and dated '© K. Haring 1988 APRIL' on the overlap.
Provenance Michael Kohn Gallery, Los Angeles Private Collection, 1988 Martin Lawrence Galleries, Las Vegas Exhibited Los Angeles, Michael Kohn Gallery, Keith Haring One person show, June - July 1988 Milan, Fondazione Triennale di Milano, The Keith Haring Show, 27 September 2005 - 29 January 2006 Literature The Keith Haring Show, exh. cat., Fondazione Triennale di Milano, Milan, 2006, p. 292, no. 135 (illustrated) Catalogue Essay Keith Haring’s work confronts classical scenes of birth, death, sexuality, and war with an Americanised, Pop oriented twist. His work can be interpreted as heavily political and clearly demonstrates both social and personal influences while his innovative artistic language and heavy symbolism is based on his own personal tragedies and experiences. Haring established friendships with artists such as Jean-Michel-Basquiat and Andy Warhol who later became one of the themes of his oeuvre and, after his death, decisively affected his contemporary success. During his brief yet intensive career Haring’s works were featured in over a hundred solo and group exhibitions and received large amounts of press and media attention. One of many tropes apparent in Haring’s work is that of sexuality. Haring's work aims to depict the stigma associated with homosexual relationships in an aesthetically interesting and captivating manner. The use of this insight into Haring’s work enables the viewer to further understand his works, such as this particular lot Untitled, from 1988. The piece includes the themes consistent to Haring's oeuvre; those of patterns, colour, silhouette, gesture and kinetic energy. Untitled creates an aura of continuous fluidity while still incorporating block colour and decisive outline. The sense of unity juxtaposed with clearly defined colour and line separations is a perfect example of the mimesis present in Haring’s oeuvre. The piece strives for complicity between art and society, between depiction and subject matter. Untitled is a painted, square-form depiction of two male figures both reflected and intertwined along a central axis. The piece employs the use of block colour and dividing line and thus alludes to pattern and stencil technique. The two interlocking figures are depicted in a bright green and are outlined by a thick, orange line that recurs throughout the painting. The figures are displayed upon a geometric black background that in turns rests on the exterior red surrounding. Observers have discussed the decorative quality of Haring’s artistic approach and highlight its repetitive quality as emphatic in the presentation of a particular idea. The design allows for the conversion of any condition or situation into a cohesive and successful piece of art. The techniques of form-liquefaction and interweaving, as inherent to this painting, were transfused into his iconography. The identification of sexual imagery and the depiction of controversial themes contribute to Haring’s status and global renown. The depicted erotic and interactive relationships in the painting allude to their political and social associations. Haring’s painting represents a site of transformation where colours, object, lines and forms are subjected to a creative catharsis and then transformed to represent a plethora of human activity and sentiment. The origin for Haring’s interest in live action and gesture can be linked to his early experience as a live video performer. He studied at the New York School of visual arts in the late 1970’s and there discovered the power of physical language and depiction. In 1980, soon after leaving the School of Visual Arts, alongside the blossoming of the graffiti on the streets and subway systems of New York, Haring began drawing his own graffiti on the streets. The artist states: 'graffiti were the most beautiful things I ever saw, the kids who were doing it were very young and from the streets, but they had this incredible mastery of drawing which totally blew me away. I mean, j

Auktionsarchiv: Los-Nr. 17
Auktion:
Datum:
15.10.2014
Auktionshaus:
Phillips
London
Beschreibung:

Keith Haring Untitled 1988 acrylic on canvas 91.5 x 91.7 cm (36 x 36 1/8 in.) Signed and dated '© K. Haring 1988 APRIL' on the overlap.
Provenance Michael Kohn Gallery, Los Angeles Private Collection, 1988 Martin Lawrence Galleries, Las Vegas Exhibited Los Angeles, Michael Kohn Gallery, Keith Haring One person show, June - July 1988 Milan, Fondazione Triennale di Milano, The Keith Haring Show, 27 September 2005 - 29 January 2006 Literature The Keith Haring Show, exh. cat., Fondazione Triennale di Milano, Milan, 2006, p. 292, no. 135 (illustrated) Catalogue Essay Keith Haring’s work confronts classical scenes of birth, death, sexuality, and war with an Americanised, Pop oriented twist. His work can be interpreted as heavily political and clearly demonstrates both social and personal influences while his innovative artistic language and heavy symbolism is based on his own personal tragedies and experiences. Haring established friendships with artists such as Jean-Michel-Basquiat and Andy Warhol who later became one of the themes of his oeuvre and, after his death, decisively affected his contemporary success. During his brief yet intensive career Haring’s works were featured in over a hundred solo and group exhibitions and received large amounts of press and media attention. One of many tropes apparent in Haring’s work is that of sexuality. Haring's work aims to depict the stigma associated with homosexual relationships in an aesthetically interesting and captivating manner. The use of this insight into Haring’s work enables the viewer to further understand his works, such as this particular lot Untitled, from 1988. The piece includes the themes consistent to Haring's oeuvre; those of patterns, colour, silhouette, gesture and kinetic energy. Untitled creates an aura of continuous fluidity while still incorporating block colour and decisive outline. The sense of unity juxtaposed with clearly defined colour and line separations is a perfect example of the mimesis present in Haring’s oeuvre. The piece strives for complicity between art and society, between depiction and subject matter. Untitled is a painted, square-form depiction of two male figures both reflected and intertwined along a central axis. The piece employs the use of block colour and dividing line and thus alludes to pattern and stencil technique. The two interlocking figures are depicted in a bright green and are outlined by a thick, orange line that recurs throughout the painting. The figures are displayed upon a geometric black background that in turns rests on the exterior red surrounding. Observers have discussed the decorative quality of Haring’s artistic approach and highlight its repetitive quality as emphatic in the presentation of a particular idea. The design allows for the conversion of any condition or situation into a cohesive and successful piece of art. The techniques of form-liquefaction and interweaving, as inherent to this painting, were transfused into his iconography. The identification of sexual imagery and the depiction of controversial themes contribute to Haring’s status and global renown. The depicted erotic and interactive relationships in the painting allude to their political and social associations. Haring’s painting represents a site of transformation where colours, object, lines and forms are subjected to a creative catharsis and then transformed to represent a plethora of human activity and sentiment. The origin for Haring’s interest in live action and gesture can be linked to his early experience as a live video performer. He studied at the New York School of visual arts in the late 1970’s and there discovered the power of physical language and depiction. In 1980, soon after leaving the School of Visual Arts, alongside the blossoming of the graffiti on the streets and subway systems of New York, Haring began drawing his own graffiti on the streets. The artist states: 'graffiti were the most beautiful things I ever saw, the kids who were doing it were very young and from the streets, but they had this incredible mastery of drawing which totally blew me away. I mean, j

Auktionsarchiv: Los-Nr. 17
Auktion:
Datum:
15.10.2014
Auktionshaus:
Phillips
London
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