It takes a true intuitive sense and careful execution to produce a mashup or remix, and rarely does an artist create a classic in the process. But Owen Dippie may have done it twice this month in Brooklyn.
Perhaps only the great die young, yet true genius lives on as evidenced by Haring's enduring legacy -- his amazing contributions to art continue to flourish today in our homes, exhibitions and major museums all over the world.
After a record year for sales in 2014 -- artnet reported that the global fine art auction reached $16.1 billion -- expectations are high for the upcoming modern and contemporary sales in New York. This May, the auctions will bring an influx of art buyers from around the world to the city.
Current day San Francisco seems to be housing a creative rush, more than ever. Not just the land for apps, but a hotbed for true artist types, who are re-emerging as part of the Bay Area's 2.0 tech-renaissance movement.
Like any good business idea, or any opportunity at that, New York City is what you make of it and the people that stay there the longest are the ones who--like entrepreneurs--find their niche and prosper in it.
Art patrons scramble trying to figure out which exhibition will have the best opening and art party. Yes, there are a few galleries that choose a later date to celebrate the opening of the next exhibition, but most have not strayed from this ritual.
Haring painted Crack is Wack without asking for permission. One morning, during the summer of 1986, he drove a rented van -- loaded with some ladders from his studio and some new fluorescent orange paint he had bought -- up to Harlem to paint.
I'm an admirer of everything that Keith did, from his canvases to his Pop Shop. Keith was an extraordinary artist, a genius with a generous spirit and a convivial man who loved to share his creativity with the world.
While the melding of so many different personalities and styles is what makes a place like Club 57 magic, the work of Keith Haring, Steven Sprouse and Leigh Bowery made a lasting impression on me, and their work seems more relevant than ever today.
On the roof of Hughes Spalding Children's Healthcare of Atlanta, I photographed a fragment of a Keith Haring mural. It's about 2 feet by 3 feet and has a bright-orange snail painted on it. Mr. Snail bears a patina of grime from more than 20 years in storage.
As those of you know from reading my observations on creativity, I have certainly penned plenty of film and book reviews, which often supplement my standard fare of art essays about talented artists that I admire.