Keith Haring

The Estate of Keith Haring, New York
Private Collection
Sale: Christie’s, New York, Impressionist, Modern and Contemporary Art, 8 October 1992, Lot 243
Private Collection, Europe

Colour: The colours in the catalogue illustration are fairly accurate, although it fails to fuly convey the fluorescent quality of the dayglo paint apparent in the original. Condition: This work is in very good condition. Close inspection reveals faint handling marks towards the top right corner. There are fine and stable drying cracks to the thickest areas of orange pigment. There is a very faint and short scuff mark to the centre of the top left quadrant. No restoration is apparent when examined under ultra-violet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Untitled is an astounding example of Keith Haring’s later creative corpus, instantly recognisable as the work of an artist at the peak of a career tragically cut short. Heroic in scale and conception, Untitled energetically confronts the viewer in Haring’s signature vibrant style, authoritatively demanding the onlooker’s participation. Haring believed that the participation of the viewer was a crucial component of his works, declaring that: “The viewer creates the reality, the meaning, the conception of the piece… I have created a reality that is not complete until it is met with the ideas of another human being” (the artist cited in: Exhibition Catalogue, Mons, Beaux-Arts, Kieth Haring all-over, 2009, p. 56). Devoid of distinguishing features, the figure seems to signify the collective human condition, enabling those who engage with the work to imbue the figure with whichever recognisable characteristics they may choose, either as a mirror on the self or a more universal symbol.

Untitled is dominated by a single figure, brilliantly coloured in shocking pink and outlined in bright orange: the electric clash of colours sears the image indelibly on the retina, reminiscent of a neon street sign. The figure appears to be engaged in a form of hip-hop or breakdancing, evoking the animated young alternative music scene that existed in New York during the 1980s, with which Haring strongly engaged. Richard Farris Thompson notes the importance of this aspect of cultural life as an inspiration for Haring’s works: "Haring poetically translated electric boogie and the break dance into his special idiom. Experimenting with these African-American choreographies of the '80s, he established a down-to-earth humanism, idealizing human beings in the richness of their moves and affirmations"( Richard Farris Thompson, "Requiem for the Degas of the B-boys", Artforum, May 1990, n.p.). Born in 1958 in Pennsylvania, Haring moved to New York at the age of twenty-one in order to pursue his artistic career, where he studied at the School of Visual Arts. Clubs and subway boards provided his earliest ‘exhibition venues,’ ensuring that he rapidly achieved widespread public recognition; his iconic Radiant Child was first seen in these contexts. The stunning simplicity of forms Haring employed and his uniquely appealing idiom ensured that his work gained in popularity with adults and children alike; a rare distinction for any twentieth century artist.

Although the intensity of the palette and exuberance of the figure’s movements suggest a primarily positive narrative, an undercurrent of violence and fear also permeates Untitled, serving to suggest a more complex reading of subject. The head of the figure is divided by sharply serrated edges as though some form of mental trauma is being expressed: the lines of force emitting from the jagged maw seemingly suggestive of anguish or panic. The figure appears alone in its anxiety, the monochromatic background devoid of other people or objects. Yet, despite these elements of uncertainty, Haring’s figure stands proud, unbowed by circumstance.  Ultimately, Haring’s superb depiction of a figure whom refuses to be conquered by anxiety is truly life-affirming: a celebration of triumph over adversity.