Keith Haring’s Democratic Art Practice

The 1980s saw a notable shift in the way art was conceived, displayed and engaged with. Public art – works created for and within the public domain – experienced a resurgence during this decade, propelled by various cultural, political and social dynamics. The late 1970s and 1980s witnessed the rise of Street Art as a form of artistic expression, especially in cities like New York. Artists such as Haring and Jean-Michel Basquiat  believed in making art accessible to everyone, irrespective of their socioeconomic status, and used the medium to comment on social issues, express individuality or beautify their surroundings. The streets became their canvas, allowing for direct engagement with the public, fostering dialogue and making art a part of daily life. Their popularity allowed them to transition from “mere graffiti artists” to being recognised as pivotal figures in the art world – signalling the increasingly blurred boundaries between “high” and “low” art that began with the work of Andy Warhol.

Cultural democratisation was an important theme of the decade, as art was no longer restricted to galleries, museums or the elite. Additionally, many cities at the time were looking for ways to rejuvenate their urban landscapes. Public art became a tool for revitalisation, transforming derelict spaces into lively hubs of creativity as murals, sculptures and installations sprang up, changing the face of neighbourhoods and creating spaces for community interaction. While the 1980s saw some pushback against public art, often due to the controversial nature of graffiti, there was also increased support. Both private institutions and government bodies began to recognise the value of public art, offering grants and initiatives to support artists and their projects.

Haring's art is instantly recognisable, characterised by its use of bold lines, bright colours and strong kinetic energy. Beyond its visual appeal, Haring's work is deeply symbolic, with a visual language that conveyed complex messages in seemingly simple forms. This language allowed him to communicate with a wide audience, transcending barriers of language, age and education.

Perhaps one of Haring's most iconic symbols is the Radiant Baby, which represents innocence, purity and hope. Often depicted surrounded by lines that resemble rays of light or energy, this symbol was one of Haring's signatures and a representation of life and its boundless potential. A ubiquitous feature in Haring's work are the Dancing Figures, animated characters that capture the joy of life, movement and humanity's interconnectedness. They embody Haring's belief in the celebration of life, love and the human spirit. Another recurrent motif, the Barking Dog symbolises a warning or a call to action; it's a representation of an alert, often seen alongside Haring’s other symbols. Haring often utilises groups of three, such as the Three-Eyed Monster – which can be interpreted as a representation of vision, awareness, or a higher consciousness – or his recurring group of See No Evil, Hear No Evil, Speak No Evil figures.

Haring’s genius lay in his ability to convey profound messages using these deceptively simple symbols. While many of his symbols had specific interpretations, the beauty of Haring's visual language was its openness to interpretation, allowing viewers to derive personal meanings and connect with the art on an individual level.

Haring's meteoric rise from the subways of New York to the world's most prominent art stages is a testament to his unparalleled talent, vision and determination. His journey showcases not just the evolution of an artist but also the transformation of art's relationship with the public and urban spaces.

Haring first arrived in New York City in 1978, and began drawing chalk on empty advertising panels in the city's subway stations. These temporary public pieces – often created in a matter of minutes – featured his now-iconic, cartoonish figures and symbols. This underground canvas allowed Haring to reach a diverse audience, from daily commuters to fellow artists, gaining him early recognition and establishing his reputation as a democratic artist. By 1982, Haring had achieved fame in the world of fine art, which enabled collaborations with like-minded artists and luminaries including Basquiat, Warhol and Grace Jones. These partnerships expanded his reach, introducing his work to broader audiences and solidifying his place in the global art scene.

Throughout his career, Haring was commissioned to paint numerous public murals around the world. From the famous Crack is Wack mural in Harlem to the vibrant work he carried out at the Berlin Wall, his works often carried social and political messages. He used his art as a platform to address issues such as AIDS awareness, children's programs, apartheid and drug addiction.

In 1986, Haring took a bold step that would challenge the very fabric of the art world's traditional boundaries: he opened the Pop Shop. More than just a retail outlet, it was a radical fusion of art and commerce, an experiment that sought to make art as attainable as buying a t-shirt and a manifestation of his belief that art should be widely accessible. By offering posters, clothing, toys and various other items adorned with his imagery, Haring sought to break down the elitist barriers of the art world. His aim was not just commercial success but a genuine desire to bring art into everyday life, have his messages reach broader audiences and redefine where and how art could be experienced.

The Pop Shop was an immersive experience, as Haring painted the shop's interior from floor to ceiling with his vibrant motifs and turned the space itself into a piece of art. Visitors were greeted by a holistic Haring environment, an extension of his gallery shows and public installations. Despite its popularity, the Pop Shop was not without its detractors, as critics argued that Haring was commercialising and diluting his art while aligning his revolutionary messages with capitalist ventures. To Haring, however, the Pop Shop was a natural progression of his democratic approach to art. In his eyes, it was a challenge to the status quo, a means of subverting the exclusive and often pretentious art market.

The Pop Shop became an integral part of Haring’s legacy. It operated in New York until 2005, outliving the artist by 15 years. Even after its closure, the shop’s ethos continued through the Keith Haring Foundation and through the Haring estate’s contemporary collaborations with brands around the world.

Haring's artistic journey was never just about aesthetics. Instead, it was deeply rooted in his commitment to social activism. Haring believed in the power of art to raise awareness and catalyse change. His works often touched upon pressing issues of his time, turning public spaces into platforms for dialogue and reflection.

As an openly gay man, Haring was a passionate advocate for LGBTQ+ rights. His artworks often celebrate love and sexuality, challenging societal prejudices and championing acceptance and equality. After being diagnosed with AIDS in 1988, Haring became a vocal advocate for awareness and education on the illness. His art became a tool to fight against the stigma associated with the disease, and works like Silence Equals Death poignantly conveyed the urgency of the AIDS crisis and the need for compassion and understanding. Haring was also deeply affected by global issues of racial discrimination and oppression. His famous Free South Africa series, featuring a black figure breaking free from white oppressors, is a striking commentary against apartheid and a call for racial equality. Haring was also attuned to issues on a domestic level. Living in the shadow of the Cold War, Haring was acutely aware of the global threat posed by nuclear weapons, and symbols of atomic explosions and radiating energy in his work underscored the fragility of life in the nuclear age and the need for disarmament.

For Haring, public art was a medium of protest, education and engagement. By placing his activist artworks in public spaces, he ensured they were accessible to all, fostering dialogue and challenging viewers to confront the issues head-on.

Haring's commitment to democratising art went beyond making it merely accessible. He actively engaged communities in the creation and participation of his art. This inclusive approach was not just about amplifying his own voice but empowering others, especially children, to express themselves through visual language.

Haring's belief in the transformative power of art for young minds led him to collaborate on several mural projects with children; these were hands-on, interactive sessions where children became co-artists. By allowing children to paint alongside him, Haring was instilling confidence, encouraging creativity and fostering a sense of community. These murals became symbols of collective expression, bearing the marks of numerous young artists guided by Haring's vision. Famous examples include the 1987 Carmine Street Swimming Pool Mural in New York, where Haring worked with nearly 900 children; and one of Haring’s final public projects, the 1989 Chicago Public Schools Mural, where he worked with over 500 students from Chicago to create a mural that captured the city's spirit and the aspirations of its youth.

Haring chose public spaces for these collaborative murals for a reason. Schools, parks and community centres were places of gathering and learning. By transforming these spaces, Haring and the children were reclaiming them, turning them into vibrant focal points that resonated with local identity and pride. Haring's community-centric approach was revolutionary for its time, shifting the narrative of what art could be, who could create it and where it could exist. Today, many artists and community leaders draw inspiration from Haring's model, understanding that art, when rooted in community participation, has the power to transform spaces and uplift spirits.

While his life was tragically cut short by AIDS in 1990, Haring's influence remains palpable. His commitment to public art, community engagement and activism has left a last mark on the art world. His foundation, established in his name, continues to support causes he believed in. Today, his murals, sculptures and artworks are celebrated worldwide, not just for their aesthetic appeal but also for the powerful messages they carry.

In tracing Haring's journey from the subway's ephemeral canvases to enduring worldwide murals, one witnesses the profound impact of an artist who believed in the power of art to inspire, challenge and transform societies.