KEITH HARING | Untitled

Private Collection (acquired directly from the artist)
Private Collection, New York
Private Collection
Christie's, New York, 17 May 2000, Lot 154
De Pury & Luxembourg, Geneva
Acquired from the above by the present owner in 2001

This work is in very good condition overall. There is evidence of light wear and handling throughout. Along the edges there are areas of fraying to the muslin, consistent with the way this work was originally installed. There are discolorations throughout and certain spots of white discoloration in the lower left corner, consistent with the aging of the work. Unframed.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In 1982, Keith Haring collaborated with the renowned dancer and choreographer, Bill T. Jones. Together, they created a performance piece titled Long Distance, in which Jones danced to the rhythms and sounds of Haring’s brushstrokes as he painted the backdrop of the performance. The success resulted in another collaboration in 1984, when Haring designed the set for Secret Pastures at the Brooklyn Academy of Music, choreographed by Bill T. Jones and Arnie Zane, with music by Peter Gordon. The present work is a section of the tent in the center stage of this set, which was moved around and rotated during the performance. Secret Pastures explored the themes of race, sexuality, and the AIDS epidemic. Haring’s schematically outlined human figures and the use of simple lines bring to mind tribal artworks. In an interview in 1985, Haring explained his thoughts on Primitivism in his work: “With me it’s not so much looking at or trying to imitate as much as it is trying to embody the idea of 'primitivism' in my own approach to the work and my attitude towards drawing and towards the world” (Keith Haring in conversation with Sylvie Couderc, The Ten Commandments, An Interview, www.haring.com, December 1985).