Multiple of the prints show Haring’s figures seemingly battling with the machine of ambiguous purpose, pulling other figures out of the machine’s mouth or punching its side.
Pop Shop III tackles the theme of technology, with depictions of an unknown machine. Pop Shop II shows Haring’s figures in impossible positions or combinations-one does a backbend while another dances on water, a pair of them are combined at the neck, and another is splitting down the middle, with two sets of legs. Pop Shop I contains images of three human figures lifting each other up, embracing, and touching hands through a hole in one of the figure’s torsos. Keith Haring Pop Shop IV (Plate 3), from the Pop Shop IV Portfolio, 1989Įach suite of prints has its own theme that explores an aspect of the artist’s style and technique. The Pop Shop screenprints are truly an exemplary set of works that showcase the best of the best when it comes to Haring’s artistic style.
The flat, punchy color choices that are an important feature of Haring’s practice can be seen in all of the Pop Shop screenprints. The use of thick black graphic lines to outline the simplified, highly geometric figures of both humans and animals is paired with Haring’s frequent use of short lines coming out of his figures that suggest movement or radiance.
KEITH HARING RETROSPECT FULL
All of the artist’s trademark stylistic choices are on full display in these sets of prints.
KEITH HARING RETROSPECT SERIES
All done in Haring’s recognizable graphic style, the Pop Shop screenprints are often thought of as a series of glyphs that represent Haring’s classic and unique visual language. Together, they comprise a set of Haring’s most iconic and important imagery. Keith Haring’s Pop Shop screenprints consist of 6 separate sets of works, each comprising four 11 x 14 inch screenprints. A Certificate of Authenticity will accompany this artwork.įramed to museum-grade, conservation standards, Keith Haring Pop Shop II (Plate 2), from the Pop Shop II Portfolio, 1988 is presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.Haring painting a mural at the Stedelijk Museum in Amsterdam, Netherlands, 1986.Keith Haring: Editions on Paper 1982-1990 (The Complete Printed Works). Keith Haring Pop Shop II (Plate 2), from the Pop Shop II Portfolio, 1988 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work). Also featured in this portfolio are Pop Shop II (Plate 1), Pop Shop II (Plate 3), and Pop Shop II (Plate 4). This body of work depicts some of the artist’s iconic figures in a limited palette of black, orange, blue and pink. Keith Haring’s Pop Shop II (Plate 2) is part of a portfolio of four silkscreens in the artist’s Pop Shop Quad II portfolio of 1988. Today, Haring is still known as an artist who was passionate about access to art and art education.Ĭreated in 1988, this silkscreen on BFK Rives paper is hand-signed and dated in Pencil by Keith Haring (Reading, 1958 – New York, 1990) in the bottom right-side margin, and is numbered from the edition of 200 in pencil in the bottom right-side margin. This shop was opened with the intention of making the artist’s work accessible to the general public. Haring created multiple Pop Shop portfolios during the span of his career and derived the name from his original Pop Shop that he opened in a retail space in downtown New York in 1986. He would use his simple designs to help viewers digest his commentary and get them thinking about the world around them. Haring often delved into pertinent social problems that were troubling the world at the time in his art. The same three colors appear throughout the Pop Shop II portfolio, with a mixture of blue, pink and orange, all complimenting hues that bring out the most depth in Haring’s works. The long, mischievous form has both appendages, hands on the left with the feet placed on the right, framing the composition as the circular movement of the figures shape coordinates and guides our eye through the work. Using his iconic simplistic forms, Haring demonstrates a varied understanding of gestural forms as he contorts the body of a humanoid figure bending backwards.
Keith Haring Pop Shop II (Plate 2), from the Pop Shop II Portfolio, 1988 is the second print in the artists Pop Shop II Portfolio of 1988.
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