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Haring completed numerous public projects in the first half of the 80’s as well, ranging from an animation for the Spectacolor billboard in Times Square, designing sets and backdrops for theaters and clubs, developing watch designs for Swatch and an advertising campaign for Absolut vodka and creating murals worldwide. During this period, he also participated in renowned international survey exhibitions such as Documenta 7 in Kassel the São Paulo Biennial and the Whitney Biennial. In 1982, he made his Soho gallery debut with an immensely popular and highly acclaimed one-man exhibition at the Tony Shafrazi Gallery. His first solo exhibition in New York.was held at the Westbeth Painters Space in 1981. The subway became, as Haring said, a “laboratory” for working out his ideas and experimenting with his simple lines.īetween 19, Haring achieved international recognition and participated in numerous group and solo exhibitions. This seamless flow of images became familiar to New York commuters, who often would stop to engage the artist when they encountered him at work. Between 19, Haring produced hundreds of these public drawings in rapid rhythmic lines, sometimes creating as many as forty “subway drawings” in one day. He began to create drawings in white chalk upon these blank paper panels throughout the subway system.
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In 1980, Haring found a highly effective medium that allowed him to communicate with the wider audience he desired, when he noticed the unused advertising panels covered with matte black paper in a subway station. Also drawn to the public and participatory nature of Christo’s work, in particular Running Fence, and by Andy Warhol’s unique fusion of art and life, Haring was determined to devote his career to creating a truly public art.Īs a student at SVA, Haring experimented with performance, video, installation and collage, while always maintaining a strong commitment to drawing. With these influences Haring was able to push his own youthful impulses toward a singular kind of graphic expression based on the primacy of the line. In addition to being impressed by the innovation and energy of his contemporaries, Haring was also inspired by the work of Jean Dubuffet, Pierre Alechinsky, William Burroughs, Brion Gysin and Robert Henri’s manifesto The Art Spirit, which asserted the fundamental independence of the artist. Haring was swept up in the energy and spirit of this scene and began to organize and participate in exhibitions and performances at Club 57 and other alternative venues. Here he became friends with fellow artists Kenny Scharf and Jean-Michel Basquiat, as well as the musicians, performance artists and graffiti writers that comprised the burgeoning art community.
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In New York, Haring found a thriving alternative art community that was developing outside the gallery and museum system, in the downtown streets, the subways and spaces in clubs and former dance halls. Later that same year, Haring moved to New York City and enrolled in the School of Visual Arts (SVA). While in Pittsburgh, Haring continued to study and work on his own and in 1978 had a solo exhibition of his work at the Pittsburgh Arts and Crafts Center. He soon realized that he had little interest in becoming a commercial graphic artist and, after two semesters, dropped out.
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Upon graduation from high school in 1976, Haring enrolled in the Ivy School of Professional Art in Pittsburgh, a commercial arts school. He developed a love for drawing at a very early age, learning basic cartooning skills from his father and from the popular culture around him, such as Dr. Keith Haring was born on in Reading, Pennsylvania, and was raised in nearby Kutztown, Pennsylvania.