Self-Portrait 1989

Editor: We’re looking at Keith Haring's "Self-Portrait," made in 1989, using ink. The simplicity of the line drawing is striking, and even a little playful. How do you interpret this work in the context of his broader artistic practice and the time it was made? Curator: Haring’s Self-Portrait speaks volumes about the democratization of art and the breakdown of traditional art world hierarchies in the late 20th century. His distinctive, almost graffiti-like style was instantly recognizable and widely accessible, especially within the context of burgeoning street art movements in New York. He blurred the lines between high art and popular culture, didn't he? Editor: Definitely! His work felt very public, very immediate. How does that inform our understanding of this intimate "Self-Portrait?" Curator: It makes us question what “self” he’s presenting. It is a commodified image of Keith Haring, not necessarily a deep dive into his personal psyche, despite the gravity he faced being diagnosed with AIDS a year prior to its making. Think of the social anxieties surrounding HIV/AIDS and how images circulated… What role do you think this image plays in that landscape? Editor: So, it's both personal and political at the same time, intended for widespread dissemination and carrying his identity into public spaces? Curator: Exactly. It’s a fascinating tension. And this piece acted as an extension of Haring's own efforts of educating the public and advocating on behalf of the LGBTQ+ community. This challenges assumptions about portraiture in terms of private v. public spheres. Editor: That gives me a lot to think about! It reframes how I initially saw a "simple" self-portrait, understanding the wider social context. Thanks! Curator: Indeed, context transforms content. My pleasure.