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Haring was born in Reading, Pennsylvania, in 1958. He began painting and drawing at an early age and moved to New York in 1978 in search of artistic inspiration, after dropping out of a commercial art school. In New York, he attended the School of Visual Arts, where he was exposed to the avant-garde proposals of the city’s vibrant art scene.
At first he experimented with a variety of techniques producing performative pieces and painted environments using the action painting technique created by Jackson Pollock.
These early experiments would lead to the creation of a distinctive style dominated by linearity, patterns, easily readable subjects, a bright palette and absolute freedom of expression.
Keith Haring is one of the greatest pop artists ever, an emblem of post–pop art visual art, but he was much more. His drawings, which many have described as childlike, contain all the fundamental principles of human life: love, death, life, fear, peace. His Radiant babies (little figures that radiate) and Barking dogs (dogs that bark), immersed in a graphic flow that created a new and unmistakable visual language, have invaded the public spaces of many cities around the world.
Haring’s characteristic style is based on abstract and stylized shapes worked into interlocking human figures and tightly arranged patterns.
He gave his works a graphically distinctive cartoon quality and relied on repetitive motifs to create a visual commentary on both his private experiences and the broader culture of his time.
Keith arrived in New York in 1978 as a scholarship student at the School of Visual Arts.
Suddenly, he began to experience a multicultural urban community with its own expressive vocabulary.
He was particularly inspired by the beauty and spontaneity of the graffiti he saw in the subways. Graffiti spoke of a fashionable and creative world, a spontaneous and underground way, everything he admired and wanted to be. At the same time, he admired the technical mastery and the calligraphic quality of the graffiti artists’ ‘tags’.
His classes at SVA provided Keith with an important critical framework for his emerging style.
He began working obsessively, hanging his drawings in the school corridors so that everyone could see them.
One day, while traveling on the subway, I saw this empty black panel where an advertisement was supposed to go. I immediately understood that this was the perfect place to draw. I went back above ground to a stationery shop and bought a box of white chalk, went back down and made a drawing on it. It was perfect: soft black paper; the chalk drew on it very easily.
