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In 1976, after graduating from high school, Haring enrolled in the Ivy School of Professional Art in Pittsburgh. With the Rapidograph’s unique “capillary cartridge” combining the ink container and spiral in one, Haring was armed to hone both the fluid technique that would captivate spectators as he drew in public with chalk and the frame ‘n fill approach that would become his signature style. His discovery of the Rapidograph pen (a common tool for architects and illustrators at the time) permitted Haring to explore the continuous line. He likened his drawings from this period to the Surrealists’ “automatic writing” and, like them, allowed the unconscious to guide his line. As he would later recall, “When I made the decision to be an artist, I began doing these completely abstract things.” 1 He was emphatic that, “there was a separation between cartooning and being a quote-unquote artist.” 2īy his early teens, Sunday school and independent Bible study had transformed the impressionable young Haring into a self-confessed “Jesus freak.” When his belief system and sense of belonging faltered, Haring turned to psychedelic drugs for both escape and artistic inspiration. Seuss and Walt Disney were Haring’s earliest influences. He taught his son (and later Keith Haring’s siblings) those basic skills and encouraged creativity. His father was an engineer whose hobby was cartooning. As early as he could remember, Haring had enjoyed drawing characters and illustrating stories. When asked by a teenager why he had decided to become an artist, Keith Haring once responded that while growing up, drawing was his “only visible talent.” Haring was born on May 4, 1958, in Reading, Pennsylvania, and raised in nearby Kutztown.
A feeling that what was once so accessible –and perhaps taken for granted - was now no longer available. Most, however, wrote simply to express a profound sense of loss. The response was overwhelming with many elegiac laments, personal recollections, and even a few complaints. When The Pop Shop closed, there was such an enormous outcry from Haring fans and former patrons that the Foundation felt the need to allow postings at, resulting in an online forum. Installation View, 2006, Art and Commerce While Haring’s artistic output was tragically cut short, his art (and something of his aura) could always be accessible through a visit to his Pop Shop. Established by the artist in 1986, The Pop Shop was open to everyone in a way that was impossible or impractical for a commercial gallery. He acknowledged it to the public-at-large in a Rolling Stone interview, yet there wasn’t much to soften the blow on that inevitable day in 1990 when he died.įor many, The Pop Shop on Lafayette Street in lower Manhattan’s SOHO district provided a sense of peace after Haring’s death. Haring had always been forthright, open and honest when he learned of his illness. Not since learning that the artist was suffering from AIDS, or hearing word of his untimely death at thirty-one years of age, have such emotions been stirred. There was very little fanfare, yet many mourn the loss. After nearly twenty years in business, Keith Haring’s Pop Shop closed last September. Some losses pass quickly, others are not soon forgotten.
The sad reality is that everything good must someday come to an end. Nothing truly extraordinary can last forever.
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