Many may have always thought that Harrings painting were just some pop naive expression of the Big city imaginary and a product of mass mediation communications and cartoons and comix iconography. However, these apparently very simple but lively animated figures are all symbols, part of a very powerful and complex personal alphabet for the artist. Would you like to learn more?

An exhibition now on at The Albertina Museum in Vienna (until June 24) sheds new light on the meanings behind the late artist’s graphic and highly personal visual language.

If he was still alive, Keith Haring (1958-90) would be 60 this year. Among other current exhibition all over the world for the 30th anniversary froths death,  the Albertina Museum’one definitely stand how as it is surveying the artist’s work from a complete new perspective: “Keith Haring.The Alphabet”  is focused on to the symbolism that Haring created, revealing the sources that inspired the former street artist who studied semiotics while at the School of Visual Arts in New York.His pictorial vocabulary is being brought to the fore for the first time at the Austrian museum, where 100 works by the artist are on view.

For instance you surely don’t know that Egyptian hieroglyphics were an important source of inspiration for Haring’s visual language.

I am intrigued with the shapes people choose as their symbols to create language.” Haring once said. “There is within all forms a basic structure, an indication of the entire object with a minimum of lines, that becomes a symbol. This is common to all languages, all people, all times.”

In the alphabet of picture-words he developed, each recurring image carries its own set of meanings. Actually we may already know some very well, such as Haring’s “radiant baby,” which is a symbol of the future and perfection. Others are just as prevalent but still not completely understood.Here are some of the most fascinating meanings behind Haring’s personal and politically charged art alphabet.

  • The Crowd: In Haring’s ouevre, crowds are very frequent and they conveyed an image of strength but they could be a negative or a positive phenomenon. In some cases, the crowd was depicted as a powerful and invincible united front against oppression. Haring explained he was extremely shocked in  seeing the Vietnam War and race riots on TV when he was only 10 old, and how this had a huge affect on his political and social concerns. To Haring, the crowd could also represent a mob that could be easily led astray by false gods or dictators. For instance, he was aware of horrors such as the Jonestown massacre in 1978 ( more than 900 people committed mass suicide) so the image of crowds sometimes also refers to tragedy and murder in collective space.
© The Keith Haring Foundation.

 

  • The Cross: Haring was grew up in a very religious family, but later Haring rejected fundamentalist Christianity and all dogmas, and his work is critical of the way the church could suppress its population. The crosses are sometimes pictured on screens, and they are often used as a device to commit torture or murder, with others standing by. The meaning of cross is still critic and on debate, however, whether he rejected his upbringing or not, his biblical references show his knowledge of Christian stories from his childhood education, and some of the topical figures from holy books are used as symbols of his works
The-Marriage-of-Heaven-and-Hell-1984-c-Keith-Haring-Foundation
© The Keith Haring Foundation.

 

  • The Dog:  dancing, barking or biting dogs recurred frequently within Haring’s work and developed into an iconic image associated with the artist. What later became a dog actually started out as an undefined creature, and Haring’s dog (often depicted on two feet) can best be understood as a mythical representation of a human being. However Haring’s dogs also stood for Anubis, the Ancient Egyptian god with a jackals’ head who watches over the dead. In Haring’s versions, the image of dogs playing with or crushing small human figures plays into both these Egyptian conceptions of life and death, but also the Christian idea of the “dance of the dead.”

    © The Keith Haring Foundation.
  • Technology: From the Stick to the Radio, Computers, and UFOs : Haring had ambivalent feeling towards technology including television, and computers, robots or space aged machines are often depicted as exerting control over humans.Haring predicted in 1978 that silicon chips and computers would become their own life form, transforming humans into being in servitude to the computer, and not the other way around. In Haring’s work the stick was a commonly drawn weapon, chosen as the most basic and readily available way to beat, torture or murder. It was also a source of power, imbued with magic and away to activate creatures, people, and objects in his works with strength.In his 1983 Untitled work, the artist depicts a caterpillar with a personal computer for a head. While the caterpillar represents the feeding stage in the creatures transformation into a butterfly, and it sometimes appears as a monster, representing gluttony and greed. UFOs also represented otherness, and stood for persons who were outside of the social norms. Whereas other technologies were rather ambiguous to Haring, flying saucers were always positive and symbolized empowerment.

    keith-haring-3-dancing-men-and-the-ufo-a-drawing-of-3-dancing-men-with-a-ufo-hovering-above-them-normal
    © The Keith Haring Foundation.

 

  • The Figure With an “X” or a Hole in Its Stomach: With those symbols Haring symbolizes the emptiness with all of us, but the hole that he often included on his figures was initially also a response to the murder of John Lennon by a crazed fan in 1980. Consequently, the “X”  was a more general statement against the transformation of humans into targets. Sometimes beheaded or with their arms raised in a “don’t shoot” gesture, the artist takes a strong stand against events of the time, like the AIDS crisis, the state of emergency during the apartheid-era in South Africa, or the war in Vietnam war. The dotted figure stands for otherness, including homosexality and skin color, both foremost political and social concerns for Haring. Later, dots also signified the otherness of illness, primarily AIDS.
    keith_haring_ohne_titel_1981_c_keith_haring_foundation-1-1013x1024
    © The Keith Haring Foundation.

     

  • The Embrace:  If we notice, his recurring embrace is often between two genderless and race-less figures, who are glowing as they hold each other: this perfectly express how Haring’s fundamental message was one of devout humanism and love, aiming to inspire solidarity between the men.
keith-haring-embrace
© The Keith Haring Foundation.

Keith Haring The Alphabet

Museo Albertina di Vienna

16 marzo-24 giugno 2018 – a cura di Dietric Buchhart

Albertina Museum

Fonte: Artnet




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