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  • Literature

    Edition Schellmann pp.144-145

  • Catalogue Essay

    “The drawings I do have very little to do with classical, post-renaissance drawings, where you try to imitate life or make it appear to be life-like. My drawings don’t try to imitate life; they try to create life, to invent life. That’s a much more so-called primitive idea, which is the reason that my drawings look like they could be Aztec or Egyptian or Aboriginal… and why they have so much in common with them. It has the same attitude towards drawing: inventing images. You’re sort of depicting life, but you’re not trying to make it life-like. I don’t use colors to try to look life-like, and I don’t use lines to try look life-like. It’s also much more Pop, I guess, after growing up in a really carbon-and comic-dominated period. And, also, growing up with Pop art.“
    -- KEITH HARING

  • Artist Biography

    Keith Haring

    American • 1958 - 1990

    Born in Reading, Pennsylvania, Keith Haring moved to New York City in 1978 at the age of 20 to study at the School of Visual Arts. By the early 1980s, Haring rose to prominence for his graffiti drawings made in the New York subways and streets. Alongside his friends Jean-Michel Basquiat and Kenny Scharf, who he met at the SVA, Haring became a leading figure of the East Village art scene through the 1970s and 1980s.

    Best known for his cartoon-like imagery developed through bold lines and vibrant colors, Haring refined a visual language of symbols that simplified forms to their most essential elements. Exploring the themes of birth and death, sex and war, social inequality, and love, his art bridged the high and low, erasing the distinctions between rarefied art, political activism, and popular culture. Despite his tragically brief career, Haring created a universal visual language embraced throughout the world, and his works are housed in many major collections including the Museum of Modern Art, New York, Los Angeles County Museum of Art, Art Institute of Chicago, Musée d’Art Moderne de Paris, Ludwig Museum, Cologne, and Nakamura Keith Haring Collection in Hokuto, Japan.

    View More Works

42

Totem

1988
Carved plywood painted with enamel in colours,
183 x 55.7 x 4.8 cm (72 x 21 7/8 x 1 7/8 in.)
signed, dated '88' and numbered 7/35 in black felt-tip pen on a plaque affixed to the reverse (there were also 7 artist's proofs), published by Edition Schellmann, Munich and New York.

Estimate
£70,000 - 100,000 

Sold for £134,500

Contact Specialist
Robert Kennan
Head of Sale, Editions
London
+44 207 318 4075

Evening & Day Editions

London Auction 22 January 2015 2pm & 6pm