Although a bit difficult to comprehend for the average consumer, this new collaboration between the Keith Haring Foundation and PROPER ATTIRE makes a bit more sense to those who followed the life of late artist Keith Haring. Honoring World AIDS Day, a new set of Keith Haring for PROPER ATTIRE condoms look to premiere December 1, 2009 at the exclusive Mondrian in South Beach throughout Art Basel and at the Mondrian in Los Angeles in the new Kiki Di Montparnasse store.

Via: Hypebeast

My blog entry Street Art & Galleries attracted a lot of comments some of them espoused a non-commercial ideal for street art. However, much of the free art on the streets appears to be advertising for street artist’s highly commercial enterprises, (see my blog entry Advertising & Graffiti). Street art is the most commercially accessible of contemporary movements; street art is far more commercial than even the Surrealism.  Street artists produce art from the high to low price range, from museum quality pieces to badges, and this allows anyone to purchase the artist’s work. Keith Haring opened shops in New York and Tokyo for his merchandise and generations of street artists have followed his example.

The marketing strategy of street artists is similar to that of KISS, the most commercially successful rock band ever. KISS gave extravagant concert tours at less than cost ticketing, as a promotion for the band’s t-shirts, figurines and other marketing spin offs that is KISS’s main revenue stream. Like fashion designers many of these artists also produce diffusion ranges – the number of sneaker, t-shirts and figurines by street artists is incalculable. Collectable is a sales feature for these limited editions designed by street artists.

Toys, miniatures and street art are not something that I’ve paid a great deal of attention to although I know that many well-known street artists make limited edition toys. It is not that I don’t understand that models making and miniatures are an art, especially after painting many models in my teenage years, it just isn’t my scene anymore. Dean Christ, who I met when he was exhibiting at the Melbourne Stencil Festival, sent me a link to some of his toys. These are not cute, they are very much boys toys. Dean Christ combines military vehicles with insect forms.

Street artists make many other promotional deals: from minor deals like putting a business’s name or logo on a legal work to major deals like local artist, Phibs’ YouTube video promotion for VB Raw. These many different income sources means that street artists, unlike most other artists, are not entirely dependent on gallery sales, arts council grants or other institutional funding.

Now I’m not opposed to artists making money and I am not criticizing these street artists mentioned for any of their commercial work. I am opposed to the idealism that generates the denial that street art is not commercial; a denial that is not unique to street art but is encountered in so many areas of the arts. Parts of the art world are reluctant to talk about money, as they want to be seen placing certain ideals above financial concerns. Medieval knights and royalty were not meant to engage in business or industry and some artists ape these antique manners. However, this is to deny the reality that art is connected to life, where artists have to live and make a living.

I am impressed with the marketing of street artists; many artists in history would envy their success. Many modern art groups wanted to be able to market their art democratically so that people of different income could afford it, however the technology and distribution market often did not support these enterprises. Marcel Duchamp tried producing men’s shirts, travel chess sets and picture discs (records with op art images) but there he was no internet to help generate international sales for him and none of these enterprises made a profit. The success of street art, an art movement that has spread around the world, is in part due its ability to be commercial successful.

Nel 1989 Keith Haring realizzò a Pisa, su una delle pareti del Convento di Sant’Antonio, un gigantesco murale che si intitola “Tuttomondo”. E’ il più grande murale che l’artista abbia mai creato e l’ultima opera pubblica della sua vita. Leggo da molte parti che questo affresco è ispirato “alla pace”, ma non sono completamente d’accordo nel senso che la storia che vi vedo rappresentata è la lotta che ogni essere umano combatte con la vita, anzi con le due grandi forze in grado di attirarlo: il bene e il male.

Tuttomondo ha un particolarità: parte delle figure che lo compongono venne colorata, sotto la supervisione di Keith Haring (che aveva disegnato i contorni), da volontari. Per cui non è soltanto un’opera che esce dai musei per andare in mezzo alla gente, ma è anche un’opera che la gente ha contribuito a realizzare.

Clicca qui per vedere le fotografie

Formichetti, Van Sant, Haring, Clark, Warhol, Korine, Mapplethrope, Slimane, Trevelyan, & Jarman

(UK) I had a chat with one of my favorite artist right now, the über sexy Jaiden rVa James cult Menswear label designer shows naiveboy.com readers a glimpse on the people who inspires him. Two American painters, four American filmmakers and one British, one fashion director and his assistant, an American photographer and a Tunisian-French photographer. Ladies and gentlemen enjoy the scrumptious visual feast in the mind of designer Jaiden Jeremy James.

_____________________

1. Keith Haring
(American artist and social activist)
http://en.wikipedia.org/wiki/Keith_Haring

_____________________

2. Gus Van Sant
(American film director, screenwriter, photographer, musician, and author)
http://en.wikipedia.org/wiki/Gus_Van_Sant

_____________________

3. Andy Warhol
(American painter, printmaker, and filmmaker)
http://en.wikipedia.org/wiki/Andy_Warhol

_____________________

4. Nicola Formichetti
(British fashion director, editor, and wardrobe stylist)
http://www.nicolaformichetti.com/

_____________________

5. Harmony Korine
(American film director, producer, screenwriter, and author)
http://en.wikipedia.org/wiki/Harmony_Korine

_____________________

6. Anna Trevelyan
(British wardrobe stylist and Nicola Formichetti’s assistant)
http://annatrevelyan.blogspot.com/

_____________________

7. Larry Clark
(American film director, photographer, writer and film producer)
http://en.wikipedia.org/wiki/Larry_Clark

_____________________

8. Robert Mapplethrope
(American photographer)
http://en.wikipedia.org/wiki/Robert_Mapplethorpe

_____________________

9. Hedi Slimane
(Tunisian-French fashion designer and photographer)
http://en.wikipedia.org/wiki/Hedi_Slimane

_____________________

10. Derek Jarman
(English film director, stage designer, artist, and writer)
http://en.wikipedia.org/wiki/Derek_Jarman

http://jaidenjames.blogspot.com/

More Trespass highlights, these photos from 1980s New York City.

Crash & John Fekner, New York City, Photo: Lisa Kahane

David Wojnarowicz, “Burning House”, New York City, Courtesy PPOW

Keith Haring, New York City, 1982, Photo: Tseng Kwong Chi

Jean-Michael Basquiat, New York City, 1982, Photo: Martha Cooper

David Hammons, “Blizzard Ball Sale”, New York City, 1983

Richard Hambleton, New York City, 1982, Photo: Franc Palaia

Stay tuned for another preview next Friday!

Ich dachte mir, ich poste mal dieses mehr als interessante Video/Film über Keith Haring!

Die Doku heißt “Das Universum des Keith Haring”…schauts euch einfach an.

…Ein genialer Künstler kann ich nur sagen! Respekt.

Enjoy!

So she climbed the extra three stories to the twenty-fifth floor.  She took the stairs, as to not arouse suspicion.

Jeff Koons' Rabbit, Tate Modern, Bankside, Southwark, SE1

Even though she didn’t know the people who lived on those floors, she did not want anyone, familiar or not, interrupting.

Tate Modern, Bankside, Southwark, SE1

Her chosen route proved to be the most discreet option; during the ascent she did not see or hear one resident.

Tate Modern, Bankside, Southwark, SE1

As the stairs wound around above the final residential floor, they ended abruptly at a locked door. It was a compelling sight.

Takashi Murakami's Akihabara Majokko Princess, Tate Modern, Bankside, Southwark, SE1

It was a plain, white door; no different any other one. But it was doused in an ominous blue haze, which seeped around its edges. An electric blue.

Miroslaw Balka's How It Is, Tate Modern, Bankside, Southwark, SE1

A crescendo of noise had built as she went up the steps. A menacing hum enveloped her and each time she got higher it grew thicker around her.

Keith Haring tag, Tate Modern, Bankside, Southwark, SE1

At the very last step she tried the handle but the door didn’t budge. Warning signs littered the stairwell, yet were unable to prevent her from lingering curiously.

Back to work this week but its always good to see some shows to get the ol motivation going. We headed for The Sacred Made Real show at the National Gallery on Monday, an exhibition of 17th century Spanish paintings and sculpture. Savage stuff. Especially the polychrome sculptures, really reminded me of all those Sundays at mass as a young-fella bored out of my brains staring at all the Catholic imagery on the walls and behind the alter. I’ve never really considered these sculptures as high art before, maybe because I’ve never seen them in a museum or because I just associate them with boring Sundays in the 80s but  they are quite real and arresting.

And then across the river to Tate Modern, to see ‘Pop Life, Art in a Material World’. Such a shame they didn’t go with the provisional ‘Sell Out’ title. Anyway, it included much of the expected – Warhol, Koons, Hirst, Murakami blah blah blah but a few interesting pieces from the equally brash but a little less known Martin Kippenberger.

Its a bit of a visual shock to go from looking at Velasquez at the National Gallery to Koons’ larger than life porn photos at Tate Modern but I think the contrast heightened each show, bringing out both the best and the worst of their respective genres with both shows highlighting what people worshiped then and what people worship now. The National Gallery was dark and solemn, the Tate was as busy as Tesco’s with blaring 80’s music. I reckon I spent about 5 times more time in front of each piece at the Sacred show, whereas the energy in the Tate kept us shuffling along to the next piece and the next piece and the next.. 

The most striking similarity was between Gregorio Fernandez’s Dead Christ (1630) and Jeff Koons’ Dirty – Jeff On Top (1991). Both are relatively real, of similar size and depict quite shocking imagery with strong religious symbolism. Fernandez’s Christ died for our sins, Koon’s shagging self-portrait represent Adam and Eve after she’s eaten the apple but feel anything but guilty. Bring on the sin, hell yeah, high 5’s all round!

Na pré-história o homem desenhava nas cavernas, um modo de expressar suas experiências e seus hábitos, séculos depois de tanta evolução o ser humano parece continuar ligado ao passado. O graffite é originário de Nova Iorque, nos Estados Unidos. Naquela época gangues disputavam demarcando becos, muros e trens com seus nomes. Aos poucos a demarcação foi tomando segundo plano para uma verdadeira e nova forma de expressão artística, o que se tratava de vandalismo hoje e batizado de arte urbana contemporânea.   

O Museu de Arte Brasileira da FAAP apresenta a exposição “Vertigem”, dos irmãos Gustavo e Otávio Pandolfo, conhecidos como OSGEMEOS.

Nascidos no bairro do Cambuci começaram sua trajetória na street art em meados dos anos 1980, retratando as culturas regionais do Brasil nos muros de São Paulo. Anos depois entraram no cenário internacional da arte urbana contemporânea, comercializando suas obras para diversos países representados pela Deitch Projects, a mesma galeria de Keith Haring e Jean-Michel Basquiat.

Em 2007, OSGEMEOS foram convidados a pintar o castelo histórico de Kelburn, em Ayrshire, um dos mais importantes da Escócia. Não para por aí, o sucesso deles é enorme e suas obras estão em galerias do mundo. Não Percam é realmente incrível, quem sabe a gente não se encontra por lá…

Exposição“Vertigem”, de OSGEMEOS

 Data: de 25 de outubro a 13 de dezembro

Local: Museu de Arte Brasileira da FAAP

Endereço: Alagoas, 903 – Higienópolis

 Horário: de 3a a 6a feira, das 10h00 às 20h00

Sábados, domingos e feriados, das 13h00 às 17h00

Fechado às 2as feiras, inclusive quando for feriado.

Informações: (11) 3662-7198      

Visitas Educativas: agendamento (11) 3662-7200       

Entrada Gratuita 

Os músicos, 2008 - mista - fotoLostArt

Finally made it downto the TATE for the POp expo that’s on -had a very jolly time! It’s not particulaly ground breaking, but was a lot of fun. A personal highlight – I got to be in a room full of Keith Haring, recreating pop shop -HERO WORSHIP! There are also some great Koons… Was also lucky enough to be brought a dog, who now sits on my door…

Fittingly, the shop is wicked for this show too, including…..

CHeck it out further at the POP LIFE (link!). There is also a talk on the 7th Dec about the curration, which i’m going to try and go along to, if you’re interested….

HX

Oh and NOTE: its very expensive, so don’t forget to borrow your friends members card first (sorry tate – i think this is an  illegal move ….) !

“Cherry pickers, with satin brushes big as a door, inch through Wall Street leaving a vast souvenir postcard of the Grand Canyon. Water-trucks slosh out paint. Outlaw painters, armed with paint pistols, paint everything and everyone in reach. Survival artists, paint cans strapped to their backs, grenades at their belts, paint anybody and anything within range. Skywriters dogfight and collide and explode.”

William S. Burroughs (“Apocalypse” from an illustrated catalogue in collaboration with Keith Haring, 1989) Amongst his many crimes and peccadillos, William Burroughs was caught doing graffiti on a NYC subway. He had written: “Ah Pook was here”, Ah Pook is the Mayan god of destruction.

Unknown artist - St. Kilda Rd.

I have seen some street art using trees, is very uncommon, this one on St. Kilda road had charcoal marks applied to it. Trees are a common feature of the urban environment; they are rarely touched by street artists but I have seen some good site-specific art on trees by street artists. And after much talk about the possibilities of street art with moss I finally saw some near East Richmond station however it had not been grown but glued to the wall.

unknown artist - details of moss antlers

After lots of comic book characters the aerosol street artists are now doing lots of large realist faces, mostly images from cinema history. Some of the best of these faces can be seen along Hoddle St. in Collingwood.

I went back to look at Croft Alley in Chinatown about two months after the Don’t Ban the Can event. There was one graffiti writer at work in the alley when I visited on a warm Saturday afternoon on my way to yum cha. It was hard to see all the walls because of all the garbage bins, but they are, along with other services why these alleyways have been constructed. It looked good and fresh, in contrast to the smell of garbage. There are a great variety of styles from the old school, wild-style, characters and beyond. I say “beyond” because there were also work there that really pushed the techniques and ideas of what aerosol art could be. I could see more of it and there was more to see then when I was there for the painting.

“Style in ornament is analogous to hand in writing, and this is it literal signification.”

Ralph Nicholson Wornum (The Principles of Ornamentation, 1858)

Ann Magnuson; image courtesy of papermag.com

When I originally started thinking about artists who might expand the definition of what a diva is, the first person who came to mind was the subject of this post. Who else but a diva could be seen in concert halls and magazines as well as museum exhibits, obscure sitcoms, and cultish b-movies? Campy, profane, versed in popular culture, obsessed with the fragmented nature of female personae, and tailed by a devoted audience, Magnuson definitely seems to meet the requirements of being diva.

Like Wynne Greenwood (aka Tracy + the Plastics), Magnuson made a name for herself through the available art scene, specifically by managing Club 57 in the East Village during the early 1980s. At the time, Club 57 — which originally claimed its residence in a church basement — was a burgeoning scene comprised of folks like Keith Haring, Kenny Scharf, the B-52s, Klaus Nomi, and Fab Five Freddy. Magnuson and her patrons were obsessed with the radioactive kitsch of their Cold War-era adolescence and she would often arrange theme nights like day-glo erotic art show and Elvis Presley hootenannies or turn the venue into a putt-putt golf or a tiki lounge. During this time, she also became a part of Pulsallama, a percussion-based girl group that Magnuson thought of as an anti-band rebelling against the “fashionable primitivism” Malcolm McLaren was espousing with Bow Wow Wow, who he was managing (re: manipulating) at the time. Magnuson had left the group by the time they made “The Devil Lives in My Husband’s Body,” but you can get a good sense of what they were about in the music video below.

A key trait for any diva to me seems to be the ability to inhabit various roles, sometimes in opposition to one another, through performance. Folks might be quick to offer up a better-known pop icons like Madonna, Christina Aguilera, and Beyoncé, but let’s not forget Magnuson who often differed from these women by using her chameleon-like ability to create characters that poked fun at female stereotypes, materialism, confessionalism, and the hollowness of fame. Pairing up with Tom Rubnitz, she put together “Made for Television” in 1981 for PBS’s Alive From Off Center. The 15-minute piece, which simulates late-night channel surfing, features believeable send-ups of televangelism, soap operas, and game shows with Magnuson playing all the parts. Particularly with regard to how hollow and alienating our collective fixation of fame can be, it reminds me of Eileen Maxson’s “Lost Broadcasts,” which depicts the artist as a reality show hopeful whose staggeringly candid audition tape is being fast-forwarded and talked over by a disinterested casting agent fielding a phone call.

I cannot locate ”Made For Television” online, but I have seen it in exhibition. If you hear about it coming to your town, I suggest you see it. If you find it on the Interwebz, share with the group.

In the mid-1980s, Magnuson got together with Mark Kramer to form Bongwater, a band where this kind of performance was all too common.   

Ever the actress, she would off-set duties with Bongwater with turns in the ABC Jamie Lee Curtis/Richard Lewis sitcom Anything But Love, The Adventures of Pete and Pete, and The Hunger as well as Susan Seidelman’s beloved Desperately Seeking Susan and Making Mr. Right (which totally looks like a movie I should see).

In 1995, Magnuson released her first solo album, The Luv Show, which was apparently inspired by the mad-cap narratives, sex-crazed vixens, and pop-art shine of Russ Meyer movies. It certainly explains the cover, though no explanation needs to be given for songs like “Miss Pussy Pants.”

Ann Magnuson, ever the saucy minx; image courtesy of salon.com

While Magnuson was never going to be a mainstream talent, it’s heartening to know that our media culture had room for a smart, cheeky lady all too willing to represent in the margins. Actually, they still seem to have the room for her, as Magnuson released her second solo album Pretty Songs & Ugly Stories in 2006, embarks on cabaret tours, and does occasional film work. More importantly, Magnuson seems all too willing to deconstruct the very idea of the diva, who she is, who she pretends to be, who she represents, and where her markers of identity blur and splinter. She might be Cindy Sherman’s kind of diva. She’s definitely my kind of diva.

Zara Man has recently revealed the Keith Haring collection – Collection inclusive of exclusive tees with pop art graphics by the late legendary artist and social activist Keith Haring. The collection consisting of four tees and two sweatshirts will go on sale this week at Zara locations in over 60 countries. Love the tees not the hoodies though.

UPDATES:  THEY DON’T HAVE IT?! was my reaction when I was told that the Zara store at the Corso Buenos Aires, 54 Milano did not have this collection in their store. WTF? Spain is just few miles away from Italy,  the collection has not arrived yet? Or maybe they do have the collection in another Zara store in Milan – was too lazy to take the train to another Zara store. Let’s hope they do – it’s impossible they dont have it.

Trevor Horn is everywhere. He produces your favorite English acts, he designs your synthesizer, he keeps your career intact despite shifting musical trends, and he kills your radio stars. In the early ‘80s, his name was so ubiquitous in the liner notes of English music that young Grebos likely checked their cereal boxes to make sure he wasn’t an ingredient in there, too.  Before making it big with The Buggles, Horn originated the Fairlight synthesizer, which revolutionized the technique of sampling. He created the sound for ABC and countless “New Pop” acts, and hoisted the notorious joke upon an unaware America by creating Frankie Goes To Hollywood, and their hit “Relax”. Don’t forget T.a.t.U, perhaps the best argument for a re-Sovietization of Russia (watch it – I already have “Dancing with the Czars” copyrighted).

As 1979 came to a close, Horn and co-Buggle Geoff Downes were rehearsing in the same studio as prog-rockers Yes. Late ’70s Britain was not hospitable to that Yes sound anymore, with punk grabbing the imagination of the kids. By coincidence, Rick Wakeman and Jon Anderson had just left the band, taking their stacks of Moog synths and ocean topography with them. (Wakeman would release fourteen solo albums in the 1980s, including The Six Wives of Henry VIII, which is awesome).  After crossing paths between rehearsals, Horn was recruited to serve as the substitute lead singer for Yes, and Downes was brought in to play keyboards. This “trade” completely changed the personality of the band, especially with the more dance-and-punk-oriented Horn at the front. In 1980, this new lineup recorded the perfectly-named Drama. Horn was not a good singer, but his skills with recording allowed his shortcomings to be overcome with gadgetry (you can thank him for the wonders of Auto-Tune and the upcoming Megan Fox record), and Downes was the best non-robed keyboard player outside of East London. Any true Yes fan must have crapped their pants when they first heard the twisted punk-reggae-disco of “Tempus Fugit”. Lyrics such as “Don’t surround yourself with yourself” gave way to “Die like a dead beaten speed-freak”, and for the first time, Yes was getting play – gulp – on the dance floor. This was NOT your father’s – or more likely, your sister’s boyfriend’s – Yes. While it lacked the The Fall’s rawness or Gang of Four’s “de Stijl” rhythm section, Drama was a serious ass-kicking statement of relevance for a genre that was becoming a caricature of itself. If one was ever so geeky that they chose to compare Yes to Canadian counterparts Rush, it would be quite appropriate to call Drama the Grace Under Pressure of their catalogue. Both records feature an abrasiveness that was quite new to each band, serving as an appropriate soundtrack for the regrettable decisions of misfit teens everywhere.

While the music was quite good, rock stardom was not for Horn, and he absconded the stage for the drink-in-one-hand, knob-in-the-other life of a producer. Downes and guitarist Steve Howe were recruited by John Wetton to join Steve Carrell’s favorite supergroup, Asia. Only time will tell if their decision was well thought out, or merely made in the heat of the moment. (Sorry.) Did that mean the end of Yes?

After several rehearsals with some unknown studio cat named Jimmy Page, last-men-standing Chris Squire on bass and drummer Alan White decided that following Bonzo and JPJ may not be the best career move. (Quick – name the drummer for Wings). Back when a young Vincent Gallo was obsessing over his every move, Squire recorded a solo track called “Brown Bunny”, which sold only one copy. Actually it was called “Fish Out of Water”, but as Tony Wilson once said, when there is doubt between the truth and the legend, print the legend. By the end of 1981, Squire was introduced to South African guitarist Trevor Rabin, who topped the charts in his native country with the band Rabbitt (I promise this is not another Gallo joke). Rabin hopped out of his apartheid-laden warren for jolly-ol’ England, joining Squire and White to form Cinema. Soon, Jon Anderson was alerted to this trio’s new sound, and like David Putty receiving a call from Elaine, The “bump into” always leads to the backslide. Jon and old pal Tony Kaye were back – all they needed was a producer. Re-enter Trevor Horn.

Horn’s return to the fold as producer gave him a big stage to display all his new recording wizardry. Rabin brought him the perfect song for the time – “Owner of a Lonely Heart”. How would Horn treat this opportunity? If you guessed “He’d make the song sound like a pinball machine”, unfortunately you would be right.

There is a recent trend in journalism to refer to anything excessive as “___-porn”. Producer/schlockmeister Michael Bay is guilty of making “Destruction-porn”. You could cite a majority of The History Channel’s programming as “War-porn”. I’d even go as far and say that most episodes of “Oprah” could be categorized as “Empathy-porn”. (Vivid Entertainment? Totally “Pornography-porn”.) Trevor Horn decided to add his own entry to the list – “Sound-Effects-porn”.

“Owner of a Lonely Heart” begins with a flanged drum sample and Chris Squire’s signature bass slide. Then the guitar kicks in, giving one the idea that, hey, this sounds like a prototypical early-80s rock song – somewhat forward-looking, but prototypical. Twenty seconds in, it all goes to pot. First the crazy high-pitched stabs that sound like a tire-less El Camino screeching to a stop. Then the “where the hell did that come from?” guitar flourish, shorter than the sound-bite allowed to a liberal on Fox News. Then that screech again, like a wasp that won’t leave the car until it lands on your junk. After about two minutes of the main riff being repeated often enough, one might mistake the song for an automated train schedule, it just gets plain weird. A breakdown-style bridge, featuring multiple stabs, is imitated by Jon. No, this isn’t another “cha cha cha” like “Sound Chaser” – he’s more into imitating a saxophone here. Then Rabin gives us THAT solo – each note harmonized in 4ths. “Don’t deceive your freewill at all?” WTF? Exactly.

And then there’s the video, which is topped by the tourfilm, 9012Live – the Solos.  Watch bad-ass drummer Alan White, with his patented “stick lips out, bob head” maneuver, like Mick Jagger doing “The Rooster” while seated on a circular chair. And when did the art directors for Square Pegs gain control over a band’s attire (or maybe they were sending in an early audition tape for Punky Brewster”)? All that’s missing is a “FRANKIE SAY RELAX” shirt from Horn’s ZTT closet.

I get it – you have Steven Soderbergh behind the boards, and the whole Keith Haring vibe is still considered avant-garde, so who is going to protest? In 1983, MTV had a program called “Friday Night Video Fights”, which pit two song clips against one another. All MTV’s viewers  - yes, they were mostly 8-year-olds whose entire social life revolved around Knight Rider, Airwolf and neighborhood games of Hide-N-Seek – were asked to make a 69-cent call to MTV to choose their winner. When Journey released “Separate Ways (Worlds Apart)” – oh, the days of parenthetical song titles – viewers gave that fire-pantomiming, warehouse-abandoning anthem enough love to keep it in the victor’s chair for six straight weeks. Then came Yes, teaching us that fist-pumping indoors beats fist-pumping outdoors, every damn time.

For those big Keith Haring fans out there (I am certainly one of the more hardcore ones), check out an exclusive video of Into The Groove from what’s-her-face’s very very very successful Sticky and Sweet Tour.

Also, the Tate Modern has resurrected a makeshift Pop Shop, hocking Haring’s goodies. If anyone is going to London anytime soon, please let me know. I miss the New York store so much, it hurts.

Keith Haring and Madonna have always had a collaborative relationship. Even now from the dead. I think they’re both similar in many ways. Both are pop icons. Both did controversial work. Both are prolific. Both came out of the NYC art scene. Both are unforgiving talents.

I have this framed on my nightstand. And Madonna recently told Rolling Stone she had a print of this framed in her home.

I think I’m going to wear one of my many many many Keith Haring shirts tomorrow.

i like Keith.

As you know, Keith Haring was able to paint on anything and make it look beautiful. Having first started his career sprawling his prodigious line work in the New York subway system he went on to form an incredible international art career in his devastatingly short lifespan.

And that’s why when his art is ON the body, I expect a job well done.

Sorry little lady but sloppy here is a grave impropriety.

…then again it’s pretty hard to carry-on with grace when in the shadow of GRACE.

When Keith painted Grace Jones for her music video “I’m Not Perfect” the results were undoubtedly sexy:

Keith Haring: Untitled (Figure Balancing on Dog) 1989

Taken with my iPhone, near South Ferry, New York City.

Vogue Paris 11/2009 – Isabeli Fontana fotografada por David Sims

Ai, ai Carine…

Rodarte feelings.

(via Diorette)