February 16, 2012  |  Artists, Collection & Exhibitions
A Few More Ways of Looking at a Keith Haring

Keith Haring. Untitled. 1982. Ink on two sheets of paper, sheet: 72 x 671 1/2" (182.9 x 1705.6 cm). The Museum of Modern Art, New York. Gift of the Estate of Keith Haring, Inc. © 2012 The Keith Haring Foundation

The monumental 1982 Keith Haring drawing Untitled is not often on view, so its inclusion in the Museum’s current installation Contemporary Galleries: 1980–Now seems like an ideal opportunity to think about how this artist’s iconic visual language fits into the larger story of 20th-century art.

Resolutely horizontal, this ink drawing on two sheets of paper stretches out to over 50 feet in length. Its frieze-like composition relates to the public aspect of Haring’s project, evoking the graffiti drawings he contributed to New York City’s subways and sidewalks in the 1980s. At first glance, the intricate web of marks overwhelms with its graphic totality; looking closer, Haring’s trademark icons emerge from the overall design.  Winged men and dancing dogs, three-eyed aliens and hovering spaceships, wriggling snakes and epic phalluses, lightbulbs and nuclear symbols, all populate the drawing.

The work is pinned across three walls on MoMA’s 2nd floor in a truly immersive presentation. Shown alongside work by Haring’s contemporaries such as Jeff Koons, Martin Wong, and artist-run collectives like ABC No Rio and COLAB, the drawing can be appreciated in its art-historical and social contexts. Important to understanding any art, these frameworks are especially crucial for Haring, whose aesthetics turned increasingly toward activism after he was diagnosed with AIDS in 1988.

It’s also worthwhile, I think, to consider Haring alongside other brethren—artists whom he might not have (or couldn’t have) known chronologically, but with whom he shares something formally. Walking out of the 2nd-floor galleries, for example, I couldn’t help but reconsider the Brice Marden mural hung high in the Agnes Gund Garden Lobby in relation to the Haring I’d just seen. Though emphatically abstract, Marden’s The Propitious Garden of Plane Image, Third Version (2000-06) shares not only the Haring drawing’s scale and format, but also its all-over, calligraphic sense of line.

Another horizontal work often hung in the lobby is Joan Miró’s Mural Painting (1950-51). If any other artist has as personal and recognizable an iconographic language as Haring, it’s this Catalan Surrealist. Miró’s dual interest in automatism and anatomy aligns strikingly with Haring’s own use of line to render the body in shorthand. Miró’s simplified, even cartoonish, personages with their priapic protuberances anticipate Haring’s own recurrent characters.

In the audio guide for Haring’s drawing, Julia Gruen, once the artist’s friend and studio manager and now the Executive Director of the Keith Haring Foundation, remarks that when Haring “put the brush to the paper, it simply flowed down his body, out the brush in this extraordinary continuous movement.” This description evokes the language regularly used to describe Jackson Pollock’s kinetic application of paint in canvases like One: Number 31, 1950 (1950; currently on view on the 4th floor). But perhaps the earlier Pollock drawing Sheet of Studies (c. 1939-42), in which he fills the sheet with icons ranging from Jungian archetypes to Picassoid quotations to purely graphical marks, is an even more fitting forerunner.


Today marks the 22nd anniversary of Keith Haring’s death. Thank you for this expanded commentary and contextualization of the remarkable work you have on view.


What thaa??? On the left side… No gay propaganda!!!

hello brother

good photo

Very nice and thinking new art. I like how to drawings.

Look closely, there are two naked men and one is giving the other a blow job.

Today marks the 54 anniversary of Keith Haring’s birth. Thank you for this expanded commentary and contextualization of the remarkable work you have on view.

Thank you MOMA for remembering Keith Haring on his birthday on this anniversary. Keith’s legacy is being carefully handled by Julia Gruen as director of the Keith Haring Foundation and both organizations do a great job of showing Keith’s art works in the best possible light. We can all enjoy Keith’s art for generations to come. The dialog helps to remember the loss of AIDS on a generation and how we can prevent AIDS for the future with education. I am glad to have known Keith and continue my friendship with Julia in our efforts to fight AIDS 22 years after Keith died. ACTUP FIGHT BACK FIGHT AIDS END AIDS NOW!

Thanks for displaying this. I hadn’t heard of this artist before reading it.

This is probably one of the most intriguing and disturbing work from Keith Haring for me. I wonder what his message is in this one.

Why do so many people leave inane comments?

ditto BaKaRed77’s comment. In addition, the male figure giving the blowjob is being anally penetrated by another male figure. It’s an epic tragedy that an artist who died from such a horrible disease would celebrate the very lifestyle that allowed AIDS to become a pandemic plague. RIP, K. I doubt we would have agreed on much, but never let it be said that Keith Haring wasn’t imbibed with an _amazing_ talent, temporarily on loan from God.

Siempre me gustó la obra de este hombre; me pareció muy original, muy expresiva. Lamenté mucho la muerte de este artista. Le dediqué una canción cuando supe de su fallecimiento. DEP Keith. Un saludo desde España.

Keith celebrated life. Period. This piece reflects the energy of young, gay NYC when Keith created it in 1982. D Savage’s statement that “It’s an epic tragedy that an artist who died from such a horrible disease would celebrate the very lifestyle that allowed AIDS to become a pandemic plague” is so ridiculously accusatory and misplaced. Haring was diagnosed in 1988. The 1982 piece was an early exploration of sexual themes in his work. In the early days of the AIDS epidemic, Keith also used his work to bring attention to the cause. Get over it.


HAPPY Birthweek. BUDDY


If the sun could love, this is what would be in it’s heart.

Amazing art. So much love.

he is great! I made a picture of him on a ladder while he was preparing his show at Castelly in soho in the eighties. I cherish it. thank you MOMA

que ta vie continue à travers de tes magnifiques oeuvres. je suis un tes plus grand fan! tu me manque! R.I.P. keith

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