Hardcover | 17 x 0.8 x 22.3 cm | 44 pp
1997 | Galerie Jérôme de Noirmont
Dedicated fans may well be surprised to encounter the variety and the monumentality of Keith Haring's sculptural achievements. Between the showing of his first free-standing steel pieces at Leo Castelli's Greene Street gallery in 1985 and the artist's death in 1990, he evolved some 100 individual motifs, either as maquettes or as finished works in a variety of formats.
Like virtually every other aspect of his comet-like career, they reveal a formal evolution of break-dance speed. If his Red Dog of 1985 is a bright cut-out like those in a pop-up book for children, the jazzing Julia of 1987 is conceived in terms of counterpoised and counterbalanced volumes. It also utilises a spritely interplay of positive and negative space - a principle about which Haring reflected in his Journals as early as 1978.
This catalogue was published to accompany an exhibition at Deitch Projects, New York in 2005 and features an essay - Dancing Down Park: The Sculptural Legacy of Keith Haring by David Galloway.
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