Keith Haring, ‘Fertility Plate 1’, 1983, Kings Wood Art

In the fertility series, Haring incorporates his icon imagery as symbols for the maladies of life. Unlike the optimism displayed through color, tension is read through the agitated figures. Haring takes a universal approach to expressing concrete feelings of anxieties present in living.

Haring’s interest in art marketization and the commercialization of his signature icons. These icons became emblems of the artists social view, positive and negative. Struggle and anxiety seem to radiate from the images presented in this series.

Series: Fertility Portfolio

Signature: Hand signed in pencil

About Keith Haring

Bridging the gap between the art world and the street, Keith Haring rose to prominence in the early 1980s with his graffiti drawings made in the subways and on the sidewalks of New York City. Combining the appeal of cartoons with the raw energy of Art Brut artists like Jean DuBuffet, Haring developed a distinct pop-graffiti aesthetic centered on fluid, bold outlines against a dense, rhythmic overspread of imagery like that of babies, barking dogs, flying saucers, hearts, and Mickey Mouse. In his subway drawings and murals, Haring explored themes of exploitation, subjugation, drug abuse, and rising fears of nuclear holocaust, which became increasingly apocalyptic after his AIDS diagnosis. Alongside Jean-Michel Basquiat, Kenny Scharf, and Jenny Holzer, Haring is regarded as a leading figure in New York East Village Art scene in the 1970s and '80s.

American, 1958-1990, Reading, Pennsylvania, based in New York, New York