Untitled #17 1988

Curator: This drawing, "Untitled #17" by Keith Haring, dating to 1988, features a dynamic array of figures rendered in bold black ink. Editor: It's immediately striking. The figures are simplified, almost glyph-like, and the whole composition seems to vibrate with an almost frantic energy. Curator: Exactly. Haring was deeply engaged with accessible imagery, his work functioned almost like a visual language. Note how the figures, though seemingly simple, are incredibly expressive, even gestural. There is clearly movement and the radiant lines emanating suggest an almost contagious kineticism, typical of the art movement in New York during the 80's Editor: You can really feel the hand in this piece, can't you? The quickness of the line suggests a rapid, almost urgent creation. And the use of ink, such a basic, direct medium, is perfect for Haring's raw aesthetic. It feels very democratic, reproducible. I imagine it was made at scale Curator: That is a great observation. Haring made a concerted effort to blur the lines between "high" art and popular culture. He uses symbols--radiant baby, barking dogs, and in this case geometric human figures that become recognizable very quickly. He explored universal themes of birth, death, love, and community. Consider, too, the date, 1988; there's a real immediacy. It is about action, and urgency of life and art Editor: It definitely reflects the anxieties of the era, which makes the production of these pieces very intentional given the time. A really intense but also, undeniably, playful dance on paper. Curator: A dance indeed; and his engagement with symbols continues to engage future viewers who recognize themselves in a continuous universal humanity. Editor: Looking closely, this makes me want to see all the unseen labor that goes into works such as this. Very grounding.