Haring Catalogue
Haring Catalogue
Haring Catalogue
FALL 2019
EARLY INVITATIONS
During his earliest years in New York City (1978-1981), Keith Haring designed,
printed, and hand cut numerous flyers and invitations for his exhibitions, including
the legendary one-night only installations at Club 57. Most of these materials
were distributed by hand, occasionally stapled or wheat pasted to facades,
fewer were sent by mail. Not unlike his early xerox art and chalk subway drawings,
these pieces were meant to be ephemeral, therefore surviving examples are
exceptionally rare.
1 OPEN STUDIO EXHIBITION P.S. 122 1980 An original announcement card to Haring’s historic
open studio at P.S. 122, which ran from October
Offset lithograph 18–19, 25–26 and November 1–2, 1980. P.S. 122 was
4 ¼ x 5 ½ inches founded that same year in the abandoned Public
10.8 x 14 cm School 122 building at 150 First Avenue and East 9th
Street in the East Village. One of the first documented
exhibitions of Keith Haring’s artwork in NYC, hence
one of the earliest known pieces of Haring ephemera.
Transparency
3 x 4 inches
7.6 x 10.2 cm
Postcard
4 x 5 ¼ inches
10.2 x 13.3 cm
Xerox
11 ¼ x 14 inches
28.6 x 35.6 cm
(Framed)
Offset lithograph
24 x 18 inches
61 x 45.7 cm
Original unpublished transcription of Keith Haring Some light staining and age toning to the first and last
interviewing Kenny Scharf in 1984, recorded on pages and a slight creasing to the first three pages.
one of Scharf’s customized radios. Presumably Interior pages are clean and unmarked. Overall, a
transcribed by the company “Soho Typing”, the text well-kept piece of scholarly ephemera, which gives
follows a casual interview between the two friends us a rare, unedited view of Scharf and Haring’s
in an intimate setting. The two artists recall their time friendship.
at SVA together, including an anecdote about how
Scharf wrote a fake note for Jean-Michel Basquiat to
join in on their classes. Scharf also speaks in detail
about his “customization” process and various
philosophies about painting and art making. An
interesting and telling conversation.
“I find the most interesting situation for me is when there is no turning back.
Many times I put myself in situations where I am drawing in public. Whatever
marks I make are immediately recorded and immediately on view. There are no
‘mistakes’ because nothing can be erased.”
Near fine.
11 KEITH HARING, JEAN-MICHEL BASQUIAT, ROY
LICHTENSTEIN, YOKO ONO, ANDY WARHOL 1985
Original postcard announcing an exhibition of two of A very bright and clean copy with no visible markings
Haring’s sculptures, one untitled and the other called besides two very small pinhole marks to the lower left
“Blue Curling Dog” on display at Dag Hammarskjold corner.
Plaza in Manhattan from January 20–May 4, 1986. The
sculptures were also displayed in Riverside Park from
May 1988 to May 1989.
13 INTERNATIONAL VOLUNTEER DAY
(CACHET FIRST DAY COVER) 1988
Memorial card handed out on the occasion of Slight spots of foxing to cover, gutter and verso, else
Haring’s memorial service at the Hope Evangelical sharp and nearly fine.
Lutheran Church of Bowers, Pennsylvania. This family
arranged memorial preceded the larger one held at
the Cathedral of Saint John the Divine in May of the
same year. Featuring videotapes and slides of his
work for attendees to view while celebrating Haring’s
life in the small Pennsylvanian town a mile or so from
where he grew up.
1 OPEN STUDIO EXHIBITION P.S. 122 $3,000
18 ICONS 4 $40,000
For more information, please contact Bryan Leitgeb, Hope Christerson, or Matt Folden at [email protected].
© 2019 Mast Books
Catalogue design by Hope Christerson