Press release... p 3-4. Biography...p 5. Exhibition trail... p 6-7. List of works... p Sponsors and partners p 13. Practical information...

Transcription

1 Press kit 1

2 Content Press release... p 3-4 Biography...p 5 Exhibition trail... p 6-7 List of works... p 8-12 Sponsors and partners p 13 Practical information...p 14 Appendix: list of press visuals Contacts presse Musée d Art moderne de la Ville de Paris : Maud Ohana Tél / maud.ohana@paris.fr Le CENTQUATRE : Virginie Duval de Laguierce Tél / v.duval@104.fr 2 e BUREAU : Martial Hobeniche Tél / m.hobeniche@2e-bureau.com 2

3 KEITH HARING The Political Line 19 april 18 august 2013 The Musée d Art Moderne de la Ville de Paris, in association with Le CENTQUATRE, is devoting a wide-ranging retrospective to American artist Keith Haring ( ). The exhibition will bear witness to the importance of Haring's work, in particular its profoundly "political" content, apparent in his work throughout his career. Almost 250 pictures on canvas and tarpaulins and from subway walls as well as twenty monumental works will be exhibited at Le CENTQUATRE, making this one of the largest presentations of Keith Haring s works ever. Keith Haring was one of the most well-known artists of his time, and even today his inimitable style, with its strong, graphic line and repertoire of emblematic signs, remains familiar to all. Beginning with Documenta 7 in 1982, his work was exhibited alongside that of Andy Warhol, Jean-Michel Basquiat, Roy Lichtenstein, Robert Rauschenberg, Jenny Holzer and Daniel Buren, as well in museums and biennials around the world. Haring studied at the School of Visual Arts in New York. Endowed with a genius for line, this virtuoso draughtsman even as a child he drew endlessly worked rapidly, tirelessly and was enormously prolific, frequently making work to the accompaniment of music. He worked on all kinds of surfaces and his response to contemporary media included disseminating reproductions of his imagery on merchandise, via his New York retail store, the Pop Shop, which he opened in The political messages and ideas he communicated were not only a part of his legacy; they have had a very real influence on other artists and on society. His "subway drawings" paintings, works on paper and sculptures speak of social justice, individual freedom and change. A subversive, militant Pop icon, Haring was committed to social causes throughout his life: even when very young, he was driven by an urge to change the world. Consciously and frequently choosing the street and public spaces to make contact with the widest possible audience, he fought indefatigably against racism, capitalism, violence and injustice in all their forms, with a particular emphasis on apartheid in South Africa, the threat of nuclear war, the destruction of the environment, homophobia and the AIDS epidemic (diagnosed HIV-positive in 1988, he established a charitable foundation, dedicated in part to helping those affected by AIDS and HIV). The layout of the exhibition provides a narrative of Haring s socio-political obsessions. Paris was unquestionably the place for this major exhibition. After taking part in the Figuration Libre France/USA show presented in 1984 at the Musée d Art Moderne de la Ville de Paris, together with Robert Combas, Hervé Di Rosa, Jean-Michel Basquiat and others, Haring became attached to the city and often stayed, worked and exhibited there. 3

4 Keith Haring / The Political Line Monumental works Le CENTQUATRE takes the retrospective further, presenting a selection of Keith Haring's monumental works, notably one of his most important series: The Ten Commandments, dating from Massive in scale ten panels, each seven meters high the works reveal the artist's radical interpretation of the Decalogue. The exhibition catalogue This lavishly illustrated catalogue explores the various issues raised by the exhibition: art in public spaces, government and mass media oppression, the role of the individual in the social order, etc. It includes essays by critics specializing in the Haring oeuvre Dieter Buchhart, Odile Burluraux, Robert Farris Thompson, Julian Myers, Peter Pakesch as well as interviews with Julia Gruen and Tony Shafrazi and a detailed timeline. Exhibition at the Musée d Art moderne de la Ville de Paris and at Le CENTQUATRE Director of the Musée d Art moderne de la Ville de Paris Fabrice Hergott Director of Le CENTQUATRE José-Manuel Gonçalvès Exhbition curators Dieter Buchhart and Odile Burluraux Charity Auction Jérôme de Noirmont and the Keith Haring Foundation in New York and in co-operation with Sotheby s, and in association with Necker Children s Hospital (APHP) are to stage a Charity Auction in aid of the mural offered by Keith Haring to Necker Children s Hospital in Paris in The exhibition has been organized in partnership with the Keith Haring Foundation And with the backing of: Mécène de l exposition 4

5 Biography 1958: Born on 4 May in Reading, near Kutztown in Pennsylvania : Keith Haring enrolls at the Ivy School of Professional Art in Pittsburgh, intending to train as a commercial artist. He soon quits and studies the work of Klee, Dubuffet, Pollock, Christo and others on his own, before discovering Alechinsky at a retrospective at the Carnegie Museum of Art in Pittsburgh. In July 1978 the Center for the Arts in Pittsburgh gives him his first exhibition : Settling in New York, he makes no secret of his homosexuality. He enrolls at the School of Visual Arts (SVA), where he studies also semiotics. Among his professors Joseph Kosuth or Keith Sonnier. He tries out all sorts of media, including video, performance and "cut-up", a form of collage inspired by Jenny Holzer's Truisms and the experiments of William S. Burroughs and Brion Gysin. He meets musicians, performing and graffiti artistst but also Kenny Scharf, Jean-Michel Basquiat, Tseng Kwong Chi, and John Sex, and hangs out with them in New York clubs. 1980: He begins making chalk sketches on vacant black poster panels in the subway, continuing until This is the period of the "subway drawings." He contributes to numerous exhibitions at venues like Club 57 and the Mudd Club. 1981: He gets to know the young graffiti artist LA II, and they work together for more than three years. He paints on materials such as plastic, metal, found objets, statues of garden. 1982: For a month he has a brief animation showing on the Spectracolor billboard in Times Square. He shows at Documenta 7 in Kassel, Germany, curated by Rudi Fuchs and embarks on a host of projects all over Europe. Tony Shafrazi becomes his gallerist and organizes his first, highly successful New York solo exhibition. He paints his first fresco on the wall of a basket field on Houston Street. 1983: Becomes a friend of Andy Warhol. He shows at the Whitney Biennial in New York and the São Paulo Biennial in Brazil. He executes his first body painting, the body in question being that of choreographer Bill T. Jones, and another the following year, using singer Grace Jones. He exhibits reliefs and sculptures at Shafrazi. 1984: Exhibits at the Venice Biennale. Launches charitable projects for children, travels in Europe and contributes to a group exhibition Figuration Libre France USA at the Musée d Art Moderne de la Ville de Paris/ARC. 1985: The Leo Castelli gallery in New York puts on an exhibition of his sculptures. CAPC, the museum of contemporary art in Bordeaux, offers him his first solo museum show. 1986: He opens his Pop Shop boutique in New York's SoHo district, where he sells products based on his artworks. He does wall paintings like Crack is Wack in New York and on the Berlin Wall and collaborates with Jenny Holzer ar the Wiener Festwochen in Vienna (Protect me from what I want). 1987: Does a wall painting at the Hôpital Necker for sick children in Paris. 1988: Learning that he is HIV-positive, like many of his friends, he steps up his AIDS information/prevention campaign. He opens a second Pop Shop in a container in Tokyo. 1989: Wall paintings in Barcelona, Monaco, Chicago, New York, and Pisa. He now has some fifty public art works dispersed around the world. He sets up a foundation in his own name to support organizations involved in AIDS education, research and treatment programs, as well as non-profit bodies helping disadvantaged children. 1990: He dies on 16 February in New York, of AIDS-related complications. 5

6 Exhibition trail First works, first exhibition Arriving in New York to study in 1978, Keith Haring discovers the frenetic pace of the city, and is fascinated by the artists whose graffiti, tags, and posters he sees on the street. A student at the School of Visual Arts, he sometimes works near a window and can be seen by people passing in the street. He gets a job as an assistant at the Shafrazi gallery, and Tony Shafrazi invites him to show there in October Haring decides to paint not on canvas, but on the kind of vinyl used for truck tarpaulins: he hangs his works side by side, with ink drawings in the spaces in between, as well as painting directly onto the walls. The vernissage is an exceptional success for so young an artist, partly owing to his popularity outside the art scene. In these early works we find the vocabulary and linguistic themes stemming from his exploration of semiotics and the Mayan and Egyptian civilizations, together with his enormous talent as a draftsman. His storyboards, a technique he learnt from his father as a child, are full of such recurring symbols as dogs, flying saucers, the radiant baby, and faceless crowds. The individual against the state Haring's early works already show him in revolt against the "system" and the state. Seeking to make art accessible to all, he approaches each human being as gifted with his own originality. Through his opposition to power structures and authority, he demands the individual freedom conjured up in many of his recurring themes: the graffiti artist attacked by barking dogs, the figure torn apart by four giant hands, another figure breaking the stick he has just been beaten with. In his drawings, tarpaulins, paintings, and wall works he protests against state stigmatization of certain groups, but also against people who abandon their individuality in their adoration of the "great ape", the leader. "I am me," he declares. "I may look like you, but if you take a closer look you realize that I am nothing like you at all. I am very different." Capitalism Haring's revolt portrays the political and economic hegemony of the United States as founded on the domination and exploitation of "others." He denounces, too, the pressures exerted by the consumer society and its icons: dollar note, Coca-Cola, Andy Warhol transformed into Andy Mouse, etc. In some of his pictures we see a giant figure, arms folded and surrounded by a halo, arising out of a tangled mass of bodies. The "USA" acronym in capital letters and a huge dollar sign, sometimes accompanied by a cross and/or a star, point the finger at capitalism as the oppressor. Haring also shows bodies stuffed with banknotes, streams of dollars being vomited by a gigantic monster, and a huge pig with fearsome red eyes and a dollar-green snout devouring the masses. While very much aware of the ambiguity of money, in 1986 he opens his Pop Shop, a boutique on Lafayette Street where he sells artifacts based on his drawings. Works in Public space/subway drawings Haring's interest in making art in the public arena shows very early. On his arrival in New York in 1978, inspired by Jenny Holzer, Brion Gysin and William Burroughs, he begins making "cut-ups", fake newspaper headlines that he photocopies and sticks up in the street. During he does drawings on vacant black poster panels in the subway. His work in the corridors and stations takes on extraordinary proportions, being seen by millions of people and realizing his urge to produce art for all: "The public has a right to art./the public needs art [ ] Art is for everybody." These ventures in the public space are rule-breaking political acts and he is arrested a number of times in the subway. Trying to avoid creating a "thing" that possesses "value", he sets himself up against the capitalist system. 6

7 Blacklight, drawings, music, rebellion In 1981, Haring meets fourteen-year old graffiti artist LA II, and the pair work together for over three years. Their main focus is on sculptures and objects functioning as cultural referents: they paint them, then add subversive tags that criticize and undermine these national and historical symbols. The works using fluorescent paint reference the culture of the time, with its parties, its music, which Haring listens to while working (he works continuously), and its dance, which he was especially fond of he would help to get recognition for hip-hop and break dance. Mass media and religion The young artist is acutely conscious of the media's ability to manipulate. In his paintings and drawings people's brains are replaced by TV and computer screens bearing images of atom bombs, Christ on the cross, and Mickey Mouse. This is Haring's denunciation of the threat to humanity and the natural world represented by the new technologies, which seem to be replacing reality. He also brings a critical eye to history, especially the history of colonization and religion. In some of the drawings and paintings crosses penetrate bodies and stick to brains, while a crocodile with a crucifix planted in its jaw merges with the body of a woman amid infernal flames. In other scenes the Church and its dogmas are condemned as threats to society and the individual. But even as he battles against all forms of "religious control", Haring, who had a traditional Christian upbringing, remains aware of the importance of religion and respects individual beliefs. Racism Racism is another of Haring's targets: "I'm glad I'm different. I'm proud to be gay. I'm proud to have friends and lovers of every color. I am ashamed of my forefathers. I am not like them." His friends, among them the artist Jean-Michel Basquiat, were regular victims of discrimination. After the murder of African-American graffiti artist Michael Stewart by police officers in 1983, he paints a memorial canvas expressing all his anger and revolt: for him colonization and white domination are responsible for abuses of power and exploitation. He actively opposes apartheid in South Africa, having his Free South Africa poster printed and handed out free at a demonstration in New York in The end of mankind: Ecocide, nuclear threat, apocalypse Haring takes up arms against the threat of the extinction of mankind. He has realized that saving the environment is our responsibility: "Art becomes the way we define our existence as human beings. We know that 'humans' determine the future of this planet. We have the power to destroy and create." In his works he is seeking to encourage everything that can help preserve the environment and save the planet. On 12 June 1982, at a huge anti-nuclear rally in Central Park, he distributes 20,000 posters printed at his own expense. Visiting the Hiroshima Peace Memorial Museum in 1988, he is appalled by the horrors of nuclear war, and creates a new group of works expressing the apocalyptic vision that drives him. Last works: Sex, AIDS and death Keith Haring continues to campaign against other threats hanging over humanity, including crack, the latest drug. His most personal battle against AIDS is ultimately lost on 16 February After suspecting for some time that he is HIV-positive, he is diagnosed as suffering from the deadly virus in Not knowing how long he still has to live, he decides to use his work as a force in favor of Safe Sex. Some of his works approach their subject in a more metaphorical vein, while others like Silence = Death, are strictly direct and militant in tone,: in a series of drawings and paintings he portrays the virus as a diabolical sperm. And in the diptych Untitled (for James Ensor), a skeleton urinates on plants, which are then reborn in the second panel: life will go on, always, with or without him, with or without human beings. Scenography: Cécile Degos 7

8 List of works Works displaid at Le CENTQUATRE Everybody knows where the meat comes from, It comes from the store, 4 juin 1978 Encre sumi et tempera sur papier 635 x 90,2 cm Collection Tony Shafrazi, New York Untitled, 1978 Encre sumi, acrylique et peinture-émail à l aérosol sur papier 125,9 x 191,1 cm The Manhattan Penis Drawings for Ken Hicks, 1978 Graphite sur papier 88 dessins ; 21,6 x 14 cm (chacun) Untitled, 1979 Graphite et craies de couleur sur papier 136,5 x 189,2 cm Untitled, 1979 Encre et acrylique sur papier 170,2 x 238,8 cm Untitled (Space Ship with Ray), 29 août 1980 Acrylique, peinture-émail à l aérosol et encre sur papier 121,9 x 115,5 cm 50,8 x 66 cm 50,8 x 65,4 cm 50,8 x 66 cm 50,8 x 66 cm 50,8 x 66 cm 50,8 x 65,4 cm Courtesy Keith Haring Foundation et Gladstone Gallery, New York et Bruxelles 50,8 x 65,4 cm Courtesy Keith Haring Foundation et Gladstone Gallery, New York et Bruxelles 50,8 x 66 cm 50,8 x 66 cm Untitled, 22 septembre ,8 x 65,4 cm Untitled, ,8 x 66 cm, Bruxelles Untitled, 12 octobre dessins ; 50,8 x 68,6 cm (chacun) Reagan: Slain by Hero Cop, 1980 Reagan s Death Cops Hunt Pope, 1980 Reagan Ready to Kill, 1980 Pope Killed for Freed Hostage, 1980 Mob Flees at Pope Rally, 1980 Humiliation Victim, 1980 Reagan Son $50G Sex, 1980 Ronald Reagan Accused of TV Star Sex Death: Killed and Ate Lover, 1980 Untitled, 1980 Acrylique, peinture-émail à l aérosol et encre sur papier 161,9 x 121,9 cm Collection Roy Liebenthal & Fabienne Terwinghe, New York Untitled, 1980 Peinture-émail à l aérosol et encre sumi sur papier 82,5 x 176,5 cm Collection de Son Altesse Sheikha Salama bint Hamdan Al Nahyan Untitled, 1980 Acrylique, peinture-émail à l aérosol et encre sur papier 106,4 x 97 cm, Glory Hole, 1980 Acrylique, peinture-émail à l aérosol et encre sur papier 121,9 x 90,2 cm Animals, vers 1980 Peinture-émail à l aérosol et encre sur papier 123,2 x 154,9 cm P.S.122, 1980 épais marouflé sur masonite 119,9 x 181,6 cm 99 Cents Fine Art, New York Untitled, 1980 Encre sur carton 121,9 x 230,2 cm Untitled, 16 janvier 1981 Encre sur papier vélin 105,4 x 137,2 cm Collection Sender Untitled, 16 janvier 1981 Encre sur papier vélin 105,4 x 128,3 cm, courtesy Skarstedt Gallery, New York Untitled, 26 janvier 1981 vélin 106,7 x 130,8 cm Collection Dr et Mme Mark Reiner Untitled, 3 février 1981 vélin 107,2 x 134,1 cm Glenstone Untitled, 3 février 1981 vélin 105,4 x 147,3 cm Glenstone Untitled (Photographers), 13 juin 1981 Acrylique sur papier 97,2 x 126,7 cm Three Men Die in Rescue Attempt Six Months After John Lennon s Death, 15 juin 1981 Encre sumi et acrylique sur papier 97 x 127 cm, courtesy Tony Shafrazi Gallery, New York Untitled, 15 juin 1981 Encre sur papier 96,5 x 127 cm Untitled, 30 juin 1981 Marqueur et acrylique sur plastique 53,3 x 63,5 cm Untitled, 22 août 1981 Marqueur sur panneau particules 120 x 118,7 cm Collection Sir Elton John et David Furnish Untitled, 6 septembre ,3 x 127 cm Untitled, 11 décembre 1981 Encre vinylique sur bâche vinyle 8

9 183 x 183 cm Collection Barbara & Richard S. Lane 106 x 206,4 cm Encre sur papier vélin 109,2 x 124,5 cm Collection Per Skarstedt 182,9 x 243,8 cm, New York USA 1981, 1981 Gouache et encre sur papier 182,9 x 231,1 cm Encre sumi et acrylique sur papier 96 x 126 cm Collection Bischofberger, Suisse Encre sumi et peinture à l aérosol 96,5 x 127 cm Collection Viktor Van De Weghe Encre sur papier vélin 217,2 x 213,4 cm Collection Rubell Family, Miami Acrylique sur papier 185,4 x 228,6 cm Collection Per Skarstedt Encre vinylique sur bâche vinyle 366 x 366 cm Collection Bischofberger, Suisse Untitled (Mickey), x 127 cm Collection Sylvio Perlstein, Anvers 127 x 127 cm Collection Moeremans d Emaus Broome Street, 1981 Encre vinylique sur bâche vinyle 185 x 193 cm Collection Tob, Anvers 243,8 x 243,8 cm Collection Johnny Kneller, Tel-Aviv Encre et peinture vinylique sur bâche vinyle 182,9 x 182,9 cm, courtesy Skarstedt Gallery, New York 244 x 244 cm, en dépôt longue durée au Museum der Moderne Salzburg, Salzbourg Encre sumi et acrylique sur papier 271,8 x 472,4 cm Émail, stylo-feutre et encre sur vase en fibre de verre 101,6 x 66 x 66 cm Émail et marqueur sur vase en fibre de verre 101,6 x 63,5 x 63,5 cm Émail et marqueur sur vase en fibre de verre 101,6 x 63,5 x 63,5 cm Collection Justin Warsh Untitled (Subway Drawing), x 173 cm Erika et Joseph Ades & courtesy 99 Cents Fine Art, New York Peinture et encre vinylique sur bâche vinyle 213,4 x 213,4 cm Untitled, 16 janvier ,3 x 277,2 cm Collection Tony Shafrazi Gallery, New York ; Galerie Enrico Navarra, Paris ; Lio Malca, New York Untitled, 18 janvier 1982 Encre sur vase en fibre de verre 102,9 x 68,6 x 68,6 cm, courtesy Skarstedt Gallery, New York Untitled, 24 janvier 1982 Acrylique et peinture fluorescente sur bois 58,4 x 58,4 cm Collection Justin Warsh Untitled, mars 1982 Peinture-émail fluorescente sur panneau en métal 91,4 x 121,9 cm Collection Kemal Has Cingillioglu Untitled, mars 1982 Émail sur bois 121,9 (diamètre) x 9,5 cm Untitled, mars 1982 Peinture fluorescente sur bois 21,5 x 11,4 cm Collection Tony Shafrazi Gallery, New York Untitled, 11 mars x 240 cm, courtesy Enrico Navarra, New York Untitled, 15 avril 1982 Gouache et encre sur papier 90,2 x 121,9 cm Untitled, 11 juin ,8 x 185,4 cm, courtesy Tony Shafrazi Gallery, New York Untitled, 11 août 1982 Peinture fluorescente sur objet métallique recyclé 81,3 x 57,1 x 13,9 cm Mermaid, 16 août 1982 Acrylique, émail fluorescent et marqueur sur figure en fibre de verre 94 x 55,9 x 58,4 cm Untitled, septembre ,8 x 182,8 cm Untitled, septembre 1982 Encre et acrylique sur vase en fibre de verre Pièce unique 101,5 x 63 x 63 cm Galerie Jérôme de Noirmont, Paris Untitled, 21 septembre ,5 x 127 cm Collection BvB, Genève Untitled, octobre 1982 Émail et peinture fluorescente sur métal 229,9 x 182,9 x 3,8 cm Untitled, octobre ,4 x 175,2 cm, Bologne, Italie Acrylique sur bois 2 panneaux ; 300 x 424 cm (ensemble) Encre sur papier 30,5 x 22,8 cm Encre sur papier 22,8 cm x 30,5 cm Anti-Nuclear Poster, 1982 Encre sur feuille d acétate 59,1 x 45,7 cm 271,8 x 406,4 cm Courtesy Keith Haring Foundation et Gladstone Gallery, New York et Bruxelles Peinture-émail à l aérosol sur métal 213,4 x 190,5 x 5 cm Collection Justin Warsh Panneau de camion récupéré par Keith Haring Peinture fluorescente sur bois 81,2 x 63,5 x 53,3 x 59 cm recyclée 218,4 x 218,4 cm 304,8 x 304,8 cm 365,7 x 375,9 cm Collection de Son Altesse Sheikha Salama bint Hamdan Al Nahyan Encre vinylique sur bâche vinyle 182,9 x 182,9 cm Collection Roger Barnett Tent, x 150 cm Beam, 1982 Émail et marqueur sur poutre en métal 17,8 x 609,6 x 16,5 cm Shelf, 1982 Encre et peinture fluorescente sur bois 139,7 x 154,4 x 38,7 cm Collection Justin Warsh Times Square Animation Video, 1982 U-matic transféré sur DVD 42 secondes 9

10 Untitled (Tinaja), Encre sur vase en terre cuite 260 x 162,5 x 162,5 cm, courtesy Enrico Navarra, New York Untitled (Subway Drawing), vers x 114 cm Untitled (Subway Drawing), x 152 cm environ 99 Cents Fine Art, New York, et collection particulière, États-Unis Untitled (Subway Drawing), x 152 cm environ 99 Cents Fine Art, New York, et collection particulière, États-Unis Untitled, janvier 1983 Acrylique sur bâche vinyle 307 x 302 cm Untitled, 11 mars 1983 Acrylique et marqueur doré sur plexiglas rouge 101,6 x 81,8 cm 99 Cents Fine Art, New York Untitled (Portrait of JFK Jr.) 5 juin 1983 Acrylique sur bâche vinyle 185 x 183 cm, Untitled, 25 août 1983 Acrylique sur bâche vinyle 185,5 x 185,5 cm, courtesy Enrico Navarra, New York Untitled, 4 novembre x 302 cm Collection Joseí Malca Untitled, 17 novembre ,5 x 216,5 cm Collection Max Lang, Zürich Untitled (Subway Drawing) (Pia Zadora), 1983 Poster de métro et craie sur papier noir, cadre en plexiglas 124,4 x 172,7 cm Untitled (Subway Drawing), 1983 cadre en bois. 220 x 114 cm Collection Tony Shafrazi Gallery, New York Untitled (Subway Drawing), ,4 x 172,7 cm Untitled (Subway Drawing), x 114 cm Untitled, ,2 x 127 cm Untitled, x 127 cm Untitled, 1983 Encre vinylique sur bâche vinyle 396,2 x 396,2 cm Glenstone Untitled, ,8 x 304,8 cm Staatliche Museen zu Berlin, Nationalgalerie, Sammlung Marx, Berlin Untitled, ,2 x 701 cm The Broad Art Foundation, Santa Monica Untitled, 1983 Acrylique sur bâche vinyle 290 x 590 cm Palazzo Reale Caserta, collection Terrae Motus Sarcophagus, 1983 Acrylique et marqueur sur fibre de verre 248,9 x 86,4 x 55,9 cm Keith Haring et Kermit Oswald Untitled, 1983 Émail sur bois gravé 182,8 x 182,8 x 7,6 cm Untitled (TOTEM), 1983 Émail sur bois gravé 426,9 x 127 x 127 cm Collection Tony Shafrazi, New York Untitled (TOTEM), 1983 Émail sur bois gravé 396,2 x 90 cm Collection Mike de Paola, New York Untitled (Screen), 1983 Encre sur paravent 180,3 x 365,7 cm Courtesy The Brant Foundation, Greenwich, CT, États-Unis Smurfin it up, 1983 Marqueur sur figure en céramique 57,8 x 27,9 x 22,9 cm Collection Alba et Francesco Clemente Untitled, 24 mai 1984 Encre sur vase en terre cuite 122 x 41 x 41 cm, courtesy Galleria Salvatore Ala, Milan Untitled, 27 mai ,8 x 238,8 cm Collection Isaac Malca Untitled, 29 mai ,8 x 238,8 cm Collection Per Skarstedt Untitled, 31 mai ,8 x 238,8 cm, courtesy The Heller Group Untitled, 1er juin ,8 x 238,8 cm, courtesy Skarstedt Gallery, New York Untitled, 5 juin 1984 Émail sur bois gravé 216 x 200 cm, courtesy Galleria Salvatore Ala, Milan Untitled, 11 juin 1984 Triptyque : 238,8 x 716,3 cm (ensemble), courtesy Enrico Navarra, New York Untitled (David), 11 juin 1984 Encre et émail fluorescent sur buste en plâtre 118 x 80 cm, courtesy Galleria Salvatore Ala, Milan Untitled, 13 juin panneaux ; 238,7 x 477,5 cm (ensemble)., courtesy Max Lang Saint Sebastian, 21 août ,4 x 152,4 cm Untitled, 20 octobre 1984 Diptyque : 152,4 x 304,8 cm (ensemble), courtesy Tony Shafrazi Gallery, New York Untitled (Paris Metro), 20 décembre 1984 Marqueur sur papier marouflé sur toile 309,9 x 405 cm, courtesy Lio Malca, New York Slide Light Boxes with Photos (Keith Haring and Tseng Kwong Chi), New York Subway Drawings, photographies de Tseng Kwong Chi, vers boîtes lumineuses avec ektachromes 26 x 50 x 65 cm (chacune) Collection Muna Tseng Untitled, 1984 Émail et marqueur sur plaque métallique Coca Cola 111,8 x 111,8 cm Untitled (Subway Drawing), 1984 Poster de métro et craie sur papier noir, 126,4 x 123,8 x 10,2 cm Untitled (Subway Drawing), x 114 cm Untitled (Subway Drawing), x 115 cm Collection Tony Shafrazi Gallery, New York The Bomb, 1984 Stylo-feutre sur papier 34,9 x 50,2 cm Untitled, x 365 cm Stedelijk Museum, Amsterdam Untitled, 1984 Acrylique et émail sur toile 304,8 x 457,2 cm The Broad Art Foundation, Santa Monica Portrait of Andy Warhol, ,4 x 152,4 cm, courtesy Enrico Navarra, New York Untitled, 1984 Acrylique sur mousseline 10

11 152,4 x 152,4 cm, The Tree of Monkeys, ,4 x 152,4 cm Courtesy Fondazione Orsi The Marriage of Heaven and Hell, x 1103 cm Untitled, 1984 Acrylique sur bois 2 panneaux ; 408 x 352 cm (ensemble) Musée d Art moderne de la Ville de Paris Andy Warhol et Keith Haring Untitled (New York Postfront Page-Madonna), Acrylique et encre sérigraphique sur toile de lin. 50,8 x 40,6 cm The Andy Warhol Museum, Pittsburgh, Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. Untitled (Jean-Michel s Party), 6 janvier ,8 x 375,9 cm Untitled (Self-Portrait), 2 février ,9 x 121,9 cm Untitled, 9 avril ,4 x 152,4 cm Untitled, 25 mai x 457 cm Collection Sophie Guillet Untitled, septembre ,16 cm (diamètre), courtesy The Heller Group Untitled, 15 septembre x 303 cm Ludwig Forum für International Kunst, Aix-la-Chapelle Untitled, 25 septembre 1985 Acrylique et émail sur toile 304,8 x 457,2 cm Glenstone Untitled, 10 octobre 1985 Encre de Chine sur vase en terre cuite Pièce unique 93 x 41,5 x 41,5 cm, courtesy galerie Jérôme de Noirmont, Paris Untitled, 17 octobre 1985 Huile sur toile 91,4 cm (diamètre) Collection André Safe Sex, 20 octobre ,8 x 304,8 cm Self-Portrait, novembre x 151 cm Collection Daniela Morera The Ten Commandments, décembre 1985 Émail et acrylique sur toile 10 panneaux ; 769,6 x 502,9 cm (chacune) Untitled (Subway Drawing), 1985 Craie sur papier noir 220,9 x 114,3 cm 99 Cents Fine Art, New York, et collection particulière, Europe Untitled (Subway Drawing), x 114 cm Beat Museum, 1985 Encre sur papier 27,9 x 33,7 cm Untitled, 1985 Encre sur papier marouflé sur toile 271,8 x 660,4 cm Moses and the Burning Bush, ,8 x 365,8 cm Courtesy Gladstone Gallery, New York et Bruxelles Keith Haring et Andy Warhol Madonna : I m Not Ashamed, 1985 Polymère synthétique et acrylique sur toile 50,8 x 40,6 cm Untitled, x 122 cm Untitled, ,8 x 365,8 cm, courtesy Tony Shafrazi Gallery, New York Andy Mouse New Coke, ,5 x 296,5 cm Courtesy Galerie Gmurzynska Twin Cities New York Tokyo (Sister Cities), ,3 x 302,3 cm, Michael Stewart USA for Africa, x 367 cm Collection Lindemann, Miami Beach Untilted, x 122 cm 99 Cents Fine Art, New York, et collection particulière, Europe Untitled, x 361 cm Untitled, ,4 x 152,4 x 2,8 cm Untitled (Red Arching Figure), 1985 Émail sur acier 127 x 96,52 x 76,2 cm Collection Jose et Servane Martos Untitled, 14 septembre 1986 Acrylique et peinture-émail sur toile 240,7 x 481,3 cm Collection Sender Untitled, 23 septembre ,8 x 243,8 cm, courtesy galerie Jérôme de Noirmont, Paris Money Magazine Andy Mouse Bill, 1986 Stylo-feutre sur papier 27,9 x 35,6 cm Keith Haring et Jenny Holzer Protect Me from What I Want, 1986 Affiche. 45,7 x 35,6 cm Untitled (Croc Head), ,8 x 243,8 cm, New York Untitled (Mural), panneaux ; 305 x 1524 cm (ensemble), Untitled (Car), 1986 Peinture à l émail sur une Buick Special x 180 x 480 cm Collection Justin Warsh Untitled (Stacked Figures), 1986 Émail sur acier Pièce unique 610 x 335 x 254 cm Galerie Jerôme de Noirmont, Paris Untitled (Mask), janvier 1987 Émail sur aluminium 190,5 x 134,6 x 53,3 cm Staatliche Museen zu Berlin, Nationalgalerie, Sammlung Marx, Berlin Untitled, 1987 Stylo-feutre sur papier vélin 31,8 x 45,7 cm Costumes for Interrupted River, 1987 Collage de coupures journaux 49,5 x 64,8 cm Costumes for Interrupted River, 1987 Collage de coupures journaux 49,5 x 64,8 cm Costumes for Interrupted River, 1987 Collage de coupures journaux 49,5 x 64,8 cm Untitled (Head Through Belly), 1987 Acier peint 750 x 640 x 630 cm, King & Queen, 1987 Acier corten Pièce unique 700 x 500 x 325 cm Galerie Jérôme de Noirmont, Paris Untitled (Burning Skull), 1987 Émail sur aluminium 111,8 x 78,7 x 22,9 cm Collection Cindy Chu Untitled, mai x 91,5 cm Untitled, 7 mai x 549 cm 11

12 Untitled, 10 juin x 305 cm, courtesy Tony Shafrazi Gallery, New York Untitled, 8 novembre x 305 cm The Great White Way, 27 novembre ,7 x 114,3 cm Tokyo Pop Shop (Container), 1988 Technique mixte sur bois et containers d acier 1200 x 500 x 220 cm, Untitled (from Pop Shop Tokyo), 1988 Émail sur métal fixé sur bois 182 cm (diamètre), Lightbox (from Pop Shop Tokyo), 1988 Métal et plexiglas peint 137 x 55 x 55 cm, Untitled (Painted Cat) (from Pop Shop Tokyo), 1988 Encre sur céramique 48 x 33,5 x 31 cm, Untitled (Lamp) (from Pop Shop Tokyo), 1988 Encre sur lanterne chinoise 81 x 43,5 cm (diamètre), Prophets of Rage, ,8 x 457,2 cm Untitled, ,8 cm (diamètre) Silence = Death, ,3 x 304,8 x 274,3 cm A Pile of Crowns for Jean-Michel Basquiat, ,8 x 304,8 x 304,8 cm Untitled (Billet), 1988 Marqueur et collage sur billet de banque de 50$ encadré 26 x 32 x 3 cm Untitled (Billet), 1988 Marqueur et collage sur billet de banque de 50$ encadré 26 x 32 x 3 cm Collection Susan Hawes Yanosick Untitled (Billet), 1988 Peinture dorée, marqueur et collage sur billet de banque de 100$ encadré 26 x 32 x 3 cm Collection Georges Horner, Brooklyn, New York Untitled (Billet), 1988 Marqueur et collage sur billet de banque de 50$ encadré 26 x 32 x 3 cm Untitled, 4 février ,4 x 152,4 x 10,14 cm Collection Elliot K. Wolk 2012 Family Trust Untitled (For James Ensor), 5 mai panneaux ; 100 x 100 x 1,5 cm (chacun) courtesy Arario Gallery, Corée Untitled, 24 juin 1989 Acrylique sur vase en terre cuite Pièce unique 91,5 x 51 cm, courtesy galerie Jérôme de Noirmont, Paris Untitled, 24 juin 1989 Acrylique sur vase en terre cuite Pièce unique 91,5 x 51 cm, courtesy galerie Jérôme de Noirmont, Paris Against All Odds, 3 octobre 1989 Encres sumi sur papier de lin artisanal. 24 dessins ; 63,5 x 76 cm (chacun) Collection Rubell Family, Miami Untitled, 1989 Acrylique et émail sur toile 182,9 x 243,8 x 8,9 cm Walking in the Rain, 1989 Acrylique et émail sur toile 182,9 x 244,1 x 8,9 cm Brazil, 1989 Acrylique et émail sur toile 183 x 183 cm Glenstone Unfinished Painting, x 100 x 10 cm Collection Katia Perlstein Untitled (Dancing Dog), 1989 Peinture polyuréthane sur acier A ,5 x 322,6 x 31,8 cm, Untitled, 1989 Acrylique et émail sur toile 180,3 x 180,3 x 8,9 cm Keith Haring, ARC/Musée d Art moderne de la Ville de Paris, décembre 1984 DVD, 10 minutes Courtesy Album Production Drawing the Line, A Portrait of Keith Haring, 1989 DVD, 28 minutes Courtesy Élisabeth Aubert Schlumberger Maripol Sélection de polaroids 12

13 Sponsors and partners of the exhibition at Musée d Art moderne de la Ville de Paris With the backing of : Mécène de l exposition Partners Media 13

14 Practical information Musée d Art moderne de la Ville de Paris 11, avenue du Président Wilson Paris Tél : / Fax : Transports Métro : Alma-Marceau ou Iéna RER : Pont de l Alma (ligne C) Bus : 32/42/63/72/80/92 Station Vélib' : 3 av. Montaigne ou 2 rue Marceau Opening hours Tuesday to Sunday, 10 am 6 pm (ticket office closes at 5.15 pm) Late night opening: Thursday until 10 pm (ticket office closes at 9.15 pm) Closed on Monday and bank holidays The exhibition is partly accessible for handicapped people.. Admissions to the exhbition Keith Haring, the Political Line Full rate : 11 Concessions : 8 Half-price : 5,50 Under 14 : free Ticket Danh Vo. GO MO NI MA DA + Keith Haring, the Political Line : 12 / 9 / 6 Booking on Le musée is also presenting Linder Femme/Objet : à l Arc until 21 april 2013 Apartés 2013 : 18 may - 13 october 2013 Danh Vo. GO MO NI MA DA : à l Arc 24 may - 18 august 2013 Tapis, tapisseries d artistes: à l Arc Automn 2013 Zeng Fanzhi : 18 october february 2014 Serge Poliakoff : 18 october february 2014 Lucio Fontana : Spring 2014 Contact presse Musée d Art moderne de la Ville de Paris : Maud Ohana Tél / maud.ohana@paris.fr 14