Category: art

twixnmix:

Keith Haring painting the National Gallery of Victoria mural in Australia, February 1984.

In 1984 during a three week visit to Australia, New York artist Keith Haring undertook a number of public art events. The artist’s willingness to create a deliberately ephemeral work at the NGV, on glass, accorded with “Haring’s desire to devaluate a presumed superiority of individualistic drawing on paper or canvas over other kinds of cultural artifacts, considering all surface as having equal worth.”

Haring first set up the small ghetto-blaster he carried everywhere, which was decorated by artist Kenny Scharf. John Buckley recalled him at work:

“With his beaut little Kenny Scharf radio that he brought over with him from New York, that was blasting away the whole time. He loved the scissor-lift. He was like a kid with a new toy, because he had never been on a scissor-lift before, and he just had the best fun with that. [Before too long] he was a pro with it; he knew how to manoeuvre it in the finest possible way.”

Haring had been brought to look at the window only a day or two before he began the mural. Without any template or grid-lines he painted proportionally without any hesitation or mistakes.

Haring painting constantly at eye level, not needing to move the cherry picker back to judge how the whole might be coming together. As Haring himself observed at this time:

“One of the things I have been most interested in is the role of chance in situations – letting things happen by themselves. My drawings are never pre-planned. I never sketch a plan for a drawing, even for huge wall murals.”

Haring was also happy to be interrupted at any point, frequently stopping his painting to talk to visiting schoolchildren, sign autographs and quickly sketch souvenir drawings for curious new fans of his work – returning to the mural after each of these intermissions without missing a beat.

Source

twixnmix:

Keith Haring photographed by Jeannette Montgomery Barron, 1985.

“This was taken in Keith’s studio on lower Broadway. Every single inch of his walls was covered with drawings. I really didn’t have to do anything – Keith just went through his poses while I snapped the shutter. ”

twixnmix:

Madonna and Jean-Michel Basquiat photographed by Glenn O’Brien, 1982.

twixnmix:

Jean-Michel Basquiat and Madonna photographed by Stephen Torton, 1982.

Madonna and Basquiat dated for a while, but his heroin addiction ended up pulling them apart. “He was an amazing man and deeply talented. I loved him,” she said. “When I broke up with him, he made me give all [his paintings] back to him. And then he painted over them black.” She regrets giving the art back, but felt pressured to do so since it was something he had created. (The Howard Stern Show, March 2015)

Madonna: “Basquiat was my boyfriend for a while, and I remember getting up in the middle of the night and he wouldn’t be in bed lying next to me; he’d be standing, painting, at four in the morning, this close to the canvas, in a trance. I was blown away by that, that he worked when he felt moved. And they gave jobs to everyone. Keith would meet kids on the street and ask them to come stretch his canvases for him. Basquiat had every B-boy and every graffiti artist in his loft. He was constantly giving everything away. I think they felt guilty that they became successful and were surrounded by people who were penniless, so they shared what they had. They were incredibly generous people, and that rubbed off on me. You stay inspired that way. I could never work in a recording studio where you have this lovely view and a beach and the waves are crashing. For me, it’s all about being in a tiny room with little windows. It’s almost like you have to be in a prison. And you can create beauty when you’re in that sort of deprived environment, which is a re-creation of your formative years.”

“I remember having conversations with Keith [Haring] and with Basquiat about the importance of your art being accessible to people,“ she recalled. “That was their big thing—it should be available to everyone. It was so important for Keith to be able to draw on subways and walls. And Basquiat used to say to me, ‘You’re so lucky that you make music, because music comes out of radios everywhere.’ He thought that what I did was more pop, more connected to pop culture than what he did. Little did he know that his art would become pop culture. But it’s not like we really had discussions about the meaning of art. I remember hearing them talk about those things.”

(Interview Magazine, December 2014)

twixnmix:

Jean-Michel Basquiat photographed by Brad Branson, 1984.

Jean-Michel Basquiat photographed by Louis Jammes in Paris, 1988.  

Keith Haring, Andy Warhol, and Jean-Michel Basquiat at Warhol’s studio at 860 Broadway in New York City on April 23, 1984.

twixnmix:

Jean-Michel Basquiat photographed by Evelyn Hofer for Vogue, 1985.

twixnmix:

Andy Warhol inside his original silver Factory at 47th St in New York City, 1965.  

Photos by Bob Adelman

Ann-Margret photographed by Mel Traxel in “The Swinger” (1966)