The trustees of the Keith Haring Foundation have decided to disband the authentication committee. Julia Gruen, the foundation’s executive director, made the announcement today. The foundation will no longer be accepting requests to review artworks attributed to the late artist, but will be honoring submissions for review that were received up to Sept. 1. The disbandment comes just months after the Warhol Foundation and Basquiat estate announced they would cease authenticating artworks because of the risks posed by legal action stemming from disputes over such judgments.
Dana Jennings takes a look at a number of new art books, including ones by Robert Longo and Ryan McGinley, whose photographs, she writes, “are songs of innocence.” [NYT]
Shepard Fairey’s new mural is unveiled in London’s “Pleasure Garden.” Here’s a slide show of some of the other street art on view. [The Guardian]
The Brooklyn Museum is posting Keith Haring’s journals online, one page per day, for the duration of the exhibition “Keith Haring: 1978-1982.” While the exhibition spans four years of Haring’s life just prior to his becoming a celebrated artist, his journals go even further back, all the way to 1971, when the artist was 12 years old. While you can see some of these journals in person at the exhibition, some of which have been published in book form (Keith Haring Journals (2010)), viewing them online is, surprisingly, a lot more personal.
The art world is abuzz with Keith Haring these days. With the Brooklyn Museum exhibiting his early work, galleries and cultural institutions like MoMA and Pace Prints have also gotten on board and now Sotheby’s has announced its own selling exhibition, “Keith Haring: Shine On.” Opening March 30, it presents 32 works across a wide range of mediums, like canvases, tarps and sculpture, ranging in value from $25,000 to $1.5 million.
Look at This!
There’s no time for rest in the art world! With Armory Week over, dealers are charging ahead with openings, and Asia Week begins in only a matter of days. Below, nine picks for the week ahead.
MONDAY, MARCH 12
Conversation: David LaChapelle in Conversation with Lyle Rexer at SVA Theater
As part of the “Dear Dave” conversation series at the School of Visual Arts Theater, which brings together an internationally renowned photographer with a critic, curator, writer or artist, David LaChapelle will be in conversation with Lyle Rexer, a New York-based writer and critic, in conjunction with Mr. LaChapelle’s current exhibition, “Earth Laughs in Flowers,” at Fred Torres Collaborations. If you haven’t been to the exhibition to see Mr. LaChapelle’s new large-scale still-lifes composed of flowers and human detritus, head to the gallery before the conversation–they’re in the same neighborhood. Before then, you can check out the slide show. —Rozalia Jovanovic
School of Visual Arts Theater, 333 West 23rd Street, New York, 6:30 p.m.
As we anticipate the opening of the Keith Haring exhibition at the Brooklyn Museum, it seems like a good time to check out all the ways that you can enjoy the artist’s work around the city. There are events, extant murals and installations at the New York Historical Society, MoMA and Pace Prints, as Read More
Keith Haring, who died in 1990, was a quintessential New York street artist and is one of the most recognizable figures in 20th century art, known for his dense colorful murals, his AIDS activism, and his Pop Shop. How many revelations about his career can yet another exhibition of his work possibly bring to light? Very many, according to Raphaela Platow, curator of a survey of his early work that opens at the Brooklyn Museum on March 16.
How’d we miss this? The New York Times review of the first show at the newly renovated New York Historical society notes in passing that the new building features part of the ceiling from Keith Haring’s “Pop Shop.”
art basel miami beach
It was a lively atmosphere on the 16th floor penthouse of the artsy Roger Smith hotel in midtown last Wednesday. Some 30 people had crammed into a small library and tucked themselves in behind white tablecloths to sip bourbon and watch the giant TV that had been set up at the front of the room.
If you’ve worked in, or reported on, the contemporary art world long enough, you’re familiar with the idea of the obsessive collector. This is the collector who just can’t stop acquiring artworks, and who has built his or her house to accommodate the collection, adding rooms that are designated as galleries, rooms from which furniture has been all but banished.