Keith Haring. Journals. Part Three

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Keith Haring
Journals
Introduction by Robert Farris Thompson
Foreword by David Hockney

Penguin Books Classics, 2010, 464 pages

Review by Francesco Mazzaferro. Part Three

[Original Version: January 2019 - New Version: April 2019]

Fig. 11) Some pages of the original notebooks of the Journals of Keith Haring

Source: https://laughingsquid.com/artist-keith-harings-journals-1978-1982/.

Go Back to Part One

Six years passed between the interruption of the Journals (July 26, 1980) and their regular resumption (July 7, 1986). A lot had changed for Keith Haring. Although still very young (28 years old), he had become famous and was travelling around the world to execute commissions. He managed again to write during air travel and waiting times at airports and hotels. Precisely for this reason, the second part of the Journals ended up having the taste of a travel chronicle. New York and his attendance there ended up in the background; in the United States, he reported only the experiences made in Kansas City and Chicago, while ample space was left to stays in Europe and Asia.

Beyond the narration of personal events, the second part of the Journals delved into two important aspects: firstly, it testified to the existence of a network of artists and protagonists of the art world that assisted Haring in almost every part of the world and secondly, clarified how his success - in addition to being due to his qualities as an artist - derived also from his enormous ability to socialize and transform casual encounters in consolidated friendships over time. In an era like ours where the value of artists depends above all on the iconic value of the images they produce, their writings, i.e. artistic literature, recuperate their nature of individuals who always act within well-defined social areas. It cannot only be the dissemination of images on the media - in short - to decide the fate of the artists.

Fragments: Brussels-Amsterdam (1982) and Milan (1984)

Given that the interval in the drafting of the Journals - as mentioned - lasted six years and went from 1980 to 1986, the editors of the artist's memories tried, in some way, to fill this gap by looking for notes scattered among Haring’s papers. A short page written at the Brussels airport was dated March 1982: “It has been a long time since I have written anything down. A lot of things have happened. So many things that I have been unable to write them. I probably should be keeping a daily diary, however I don’t seem to be able to ever start to write” [62]. Keith was facing for the first time European culture. He understood that Europe offered him the same expressive possibilities of urban action as a street artist: “Drawing in the street with chalk in Amsterdam made me realize I can do it anywhere in the world (and with similar results)” [63]. On the other hand, in Europe his 'feeling American' emerged, that is his feeling different from the European culture: “I miss New York. (…) It’s funny, but coming here made me even more glad to be American” [64]. The few lines dated 1982 contained a stern judgment against one of the painters who, in Holland, had been seen for decades as a bridge between European and American pictorial culture, that Willem de Kooning (1904-1997), who was born in Rotterdam, had moved very young to the United States and then had imposed himself (from the 1950s onwards) as one of the main exponents of abstract expressionism: “Looking at Willem de Kooning’s ugly new paintings at the show at the Stedelijk frightens me. I would rather die than become that” [65]. Keith was pleased, instead, of his own style: “However where I am now is feeling rather good. I mean in some ways it is the situation I always wanted or always dreamed of” [66].

It always belonged to these fragments some pages written on the occasion of a trip to Italy in June 1984. On that occasion Haring recalled that this was not the first time he visited our country: the year before he had painted the Fiorucci shop in Milan. (“Our first visit to Milano in 1983 was to spray-paint the entire Fiorucci store. We painted it in 13 hours” [67]). In 1984 Keith was still in Milan to look for materials for an installation that he had to present at the Venice Biennale and also because he intended to create some works destined to a solo exhibition dedicated to him in the Milan gallery of Salvatore Ala (1941-2014). For example, he wanted to paint vases in terracotta and went in this regard to a workshop in the Lombard metropole: “I am accustomed to working in this way; to visit a country and produce art on location utilizing the materials and resources available in that country. (…)  I began by visiting a workshop on the outskirts of Milano where they produce terra-cotta pieces. I chose several vases of different sizes and shapes and began the next day to systematically sand, wash, and then embellish the surface with marking ink. (…) The confrontation between the history of vase painting and the contemporary approach of drawing with marker and the mixture of contemporary and ancient symbols produces an ironic mixture of opposites” [68].

To create the works for the exhibition organized by Salvatore Ala, Keith worked with Angel Ortiz (1967-), an American graffiti artist who was simply signing 'L.A.2'. Together, the two painted some plaster sculptures (bought in Turin), a totem and other wooden structures specially made by a famous furniture company in Milan. Speaking of one of the plaster sculptures purchased in Turin (it was a model of Michelangelo's David), Keith wrote: “I only wish Michelangelo could see them, but then again maybe he will” [69].

Fig. 12) The poster of the exhibition: "Keith Haring - About Art" held at the Palazzo Reale in Milan between 21 February and 18 June 2017

The Italian paintings and sculptures were among the first works that Haring made in fluorescent acrylic (it has been said, in the first part of this post how, that initially the artist’s approach to colour was very guarded): “The paintings, which made up the main body of the show, were my release. These paintings were some of my first works with acrylic paint on a stretched muslin. I chose to begin painting with acrylic because of the wide range of color I had been ignoring in my previous works on vinyl. I think I also just wanted to prove that I could paint, or do anything, if I wanted to. I chose muslin because the surface was smoother and more delicate than canvas” [70].

The tone used to describe the Milanese experience was full of enthusiasm: “In Milano I discovered many new ideas and images that went directly into the work. I stayed in the gallery until late every night painting until my hands hurt from holding the brush (…). Another great thing about the show was the opening. (…) Lots of people came, lots of fun young people, fashion people, and art lovers, and even the mayor of Milano” [71]. The mayor, for the record, was Carlo Tognoli (1938, -). The recent exhibition: "Keith Haring: About Art" held at the Palazzo Reale in Milan was also an opportunity to exhibit again (in addition to many other works) the production of those Italian weeks.

Summer 1986: the renaissance of writing

The actual regular resumption of the Journals took place in July 1986. Haring was in Montreux, Switzerland, where he designed, together with Andy Warhol, the poster for the very famous jazz festival held every summer; Keith was a habitué of the festival, of which he had designed the poster also in 1983: “It has been such a long time since I last tried to write down anything about what has happened (is happening) in my life. It has been moving so quickly that the only record is airplane tickets and articles in magazines from the various trips and exhibitions. Someday I suppose these will constitute my biography” [72]. This is where the idea the Journals might be read by someone in the future appeared for the first time. There was also a reference to the importance of art literature, i.e. artists’ writings: “It is only now that I realize the importance of a biography. I mean I always have realized that I enjoy to read (and have learned many things from) the biographies of artists whom I admire. It is probably my main source of education” [73]. Keith explained that he had stopped keeping his memoirs also due to the merciless critiques received by one of his American teachers; now, however, he rediscovered the quality of his early writings, accrediting to them the ability to explain the development of his style. “In the beginning of my “career” (what an awful word) I was misled by a teacher who thought the things I was writing to be pretentious and self-important. Years later, when I read those things I wrote in 1978, it didn’t seem so pretentious, for almost everything I wrote about “wanting to do,” I actually did in the four or five years that followed” [74].

When he started writing again, Keith tried to explain – also in terms of pictorial style - the reasons why he had been so successful. He attributed the circumstance to the use of the line as a 'primitive' element (even if the term 'primitive' did not fully convince him) that was able to create a link between the individual and his essence: in an age of increasing complexity, simplicity pays. Art plays a fundamental role in defining the identity of people and the painter understood that it has a social value: “The ‘social responsibility’ that I find in my work is found in the LINE itself. The acceptance of my LINE is responsible for my acceptance as a public figure. The connection to ‘primitive’ (I hate that word) culture is the key to understanding how and why my art became completely acceptable and quite natural in an age that finds itself technologically and ideologically very far removed from these so-called ‘primitive’ cultures” [75].

Fig. 13) The volume “Keith Haring in Milan” by Alessandra Galasso, published by Johan & Levi Editore in 2017

In the same page of the diary, Haring focused on his relationship with Andy Warhol. The latter was a very different artist from him, but Keith still considered him as a teacher (and often depicted him, in those years, in the guise of an eccentric Micky Mouse): “My movement consists of only one person. There are several people whose work has similarities to certain aspects or features of what I am doing, but nobody has all of them. Even Andy Warhol, who I am often compared to, is in fact a very, very different kind of artist. Andy has been a big influence as an example of both what to be and what not to be” [76]. He reiterated those words of great respect in 1987, at the news of Warhol's death: “Andy’s life and work made my work possible. Andy set the precedent for the possibility for my art to exist. He was the first real public artist in a holistic sense and his art and life changed the concept we have of “art and life” in the 20th century. He was the first real “modern artist.” Andy was probably the only real Pop artist” [77].

Life and death in the Journals

Among the motivations that drove Keith to start the Journals again, there was the fear of death [78]. Haring talked about it for the first time, writing in Montreaux, in July 1986. Those days were marked by the explosion of the AIDS epidemic. The painter had seen many of his friends die from the disease, probably feared to have contracted it (which actually happened) and was therefore reflecting on the transience of human existence: “Life is so fragile. It is a very fine line between life and death. I realize I am walking this line. Living in New York City and also flying on airplanes so much, I face the possibility of death every day” [79].

Unfortunately, the Journals also displayed the dismal list of deaths of many young friends, which occurred within a few years. Keith dedicates a warm condolence page to Francesca Alinovi (1948-1983) [80], art critic specialized in American graffiti, the victim of a crime of passion in Bologna that at the time caused a sensation. Francesca - in his opinion - made the best interview with him in life. Keith saw the death in the eyes of the designer Martin Burgoyne (1963-1986) [81], a very young friend of his who passed away soon after because of AIDS; he was reached in Japan by the news of the death of the English painter Brion Gysin (1916-1986) [82], historical father of graffiti since the sixties, who died of cancer; he learned in Brazil about the unexpected death of Andy Warhol (1928-1987) [83] after a routine surgical operation. Two other very intimate friends also lost their life because of HIV: his agent and 'guardian angel' Bobby Breslau (1943-1987) [84], manager of the store opened in New York (the Pop Shop) and his former lover and companion Juan Dubose (1988) [85]. Finally, the Journals also reported the absurd departure of the friend photographer, writer and collector Yves Arman (1954-1989) [86], who died in a car accident just as he was traveling from the Côte d'Azur to Madrid to meet Keith. The artist was deeply saddened, so much to dedicate many pages of his memories to the memory of Yves and his family. Much has been written about the atmosphere of death surrounding Haring in those years, even taking into account that he knew he was HIV-positive and that the transition from a 'silent' phase of the disease to the final deadly one was ineluctable at the time. On March 28, 1987, Haring wrote: “My friends are dropping like flies and I know in my heart that it is only divine intervention that has kept me alive this long. I don’t know if I have five months or five years, but I know my days are numbered. This is why my activities and projects are so important now” [87].

I would like to point out that the Journals surprisingly contain no reference, in this bleak list, to the death of Jean-Michel Basquiat (1960-1988). Keith's friend was the victim of a heroin overdose on August 12, 1988. In fact, the Journals did not include any notations between July 31 (the artist was returning from Tokyo to New York) and August 22, 1988 (he was traveling from New York in Paris). Yet Haring defined Jean-Michel as his favourite painter, along with George Condo (it was a statement from March 1987) [88], and reiterated the same judgment in April of the same year [89]. Why did he ignore his death a year later? It must be said that all the pages from 22 August to 6 September (which referred to events held in Paris, Düsseldorf, Antwerp, Lausanne, Geneva, Montecarlo, again Düsseldorf, finally Paris and New York) were a simple sequence of bullet points not developed in a text. Nothing appeared in the Journals between October 1988 and February 1989. Perhaps Keith was so distressed that he did not want to write about the subject; possibly, he could even no longer lay out his thoughts in a logical way. Certainly, in the following months, the artist painted a canvas in memory of Basquiat (entitled 'A pile of crowns') and in November he was one of the speakers in a memorial ceremony organized by his friends, after the funeral rites in August had been kept in strictly private form at the behest of the family [90]. 

The reactions to the disappearance of friends, in any case, were never obvious or trivial: through those experiences, it seems that the artist went along an inner maturation on the theme of death that started well before the conscience, in March 1987, to have symptoms that made him think he had contracted the HIV virus [91]. Here is a short excerpt from the pages that he wrote at the news of the death of Brion Gysin (see above), with whom he had developed a deep sense of aesthetic commonality: “When I arrived in Tokyo I learned that Brion Gysin had died. (…) I’m sure he’s fine. I think a lot of people learned a lot of things from Brion. Unfortunately much of his importance has gone unnoticed or at least unacknowledged. I feel lucky to have met him and enjoyed a few years of his long life. He is a legend” [92].


On the subject, Keith returned months later. For him, Gysin was not only a painter, but also a master of life. Not only that: as a life partner of William Burroughs, Gysin was at the same time one of the first exponents of a gay community that were not afraid to expose themselves to public opinion and one of the heroes of the American beat generation, both in literature and painting. In short, he opened the way for Keith to integrate himself into one of the historical currents of post-war American culture. “Brion Gysin and William Burroughs have had incredible influence on me and provided a lot of inspiration. Brion, after becoming my friend, became a kind of teacher (like Andy). I learned innumerable things from our conversations, but I think equally as much from his “works.” It’s important that his work be available to future generations of artists. Their work gave me a structure from which to build and within which to understand what I had already done” [93].

A Globetrotter life

The following pages of the Journals saw Haring traveling from Switzerland to India (passing through Milan, where he was celebrated at a ceremony at the Castle with a thousand school children [94], and Rome, where he met Grace Jones by chance, with whom he had already worked) [95]. Then he was in Tokyo, and again in New York after a two-day stop in Milan, whose airport was basically a place that allowed him to meet friends in the city [96]. In the pages of those months the reference to the use of cocaine appeared for the first time [97] (in particular during some Italian nights with friends). From New Delhi Keith then he wrote a long letter to the psychologist Timothy Leary (1920-1996) [98], whom until then he knew only by sight, for having met him in a nightclub in New York. He was induced to contacting him by letter by the reading in flight of the psychologist's autobiography, titled Flashbacks. Leary had been supporting for decades, among other things, the therapeutic value of the use - under medical control - of opiates and other drugs, and even theorised that people could expand their personality by looking for the materialization of thoughts that they themselves had generated, through mechanisms of re-imprinting and re-programming. After the letter sent by India, Keith eventually became friends with Timothy and his wife Barbara, dedicating several pages to them in the Journals.

Keith wrote to Timothy that the reading of Flashbacks has changed his life and told him that he had started to draw according to what would become his linear style right only after taking LSD, for the first time, at 15 years [99]. Turning to the topic of re-imprinting, he also explained him about how accidental meetings in life had been crucial in his life (meetings allowed him to create sudden spiritual communities with great minds of the culture of previous generations) and told about his first contact with the great exponents of the American literature of the so-called Beat Generation in 1978. He wrote in particular about the modalities of the first meeting with William Burroughs (1914-1997) - writer and painter -, on the occasion of the accidental participation in an event in New York. Finally, he told of his experiences with Grace Jones (1948-), the singer and model to whom he had not only dedicated drawings, but whose body he had painted at a concert, always in New York at the Paradise Garage in 1985. And he ended explaining that the community of artists that gathered in that night club had become his family. By the way: in the Journals Keith named her grandmother and sister, but never father and mother.

Knokke

Despite what is written about his 'feeling American' in Europe, Keith proved to be more and more attracted by the Old Continent, so much to say to find comfort (“I feel more optimistic after being in Europe and I think it might be a good idea to live longer” [100]). The European events ended up prevailing over the American ones. Up to now there has been much talk of Milan and Italy, but travel also covered Belgium, Holland, Germany and France. These were some of the favourite places of the American painter. In fact, Keith moved between these destinations continuously, as if he could not stay in one place for long. In February 1987, for example, he began a series of trips of several months: they took him from New York first to Knokke (Belgium), Düsseldorf and Munich (Germany) and then back to New York to attend a ceremony in memory of Andy Warhol. From there he left immediately for Paris, went to Tokyo and returned to Belgium (Brussels, Antwerp, Knokke).

In this whole series of capitals and cities, the small Belgian seaside resort of Knokke might seem to be out of tune. In reality, active community of pop artists lived there around Roger Nellens (1937-), painter and collector. For Nellens and his family the sculptor and painter Niki de Saint Phalle built there between 1973 and 1975 a house in the shape of a dragon, the Dragon House. In many ways, the Belgian sea resort became one of Keith's world centres. Just in Knokke Keith seemed to interrupt, at least for short periods, his frenetic movements to find some peace. In June 1987, a retrospective of his art was held at the local Casino (the largest in Belgium). Haring stopped there for a month and, in any case, he always returned there between his trips across Europe; he seemed to be in what he considered a paradise, and did not hesitate to invite other artists to join him there to spend some time relaxing together. He lived as guest of Nellens at the Dragon House; he turned a pub - called Penguin, in front of the casino and once used as a tea house - in his atelier; and wrote in those days with great sense of detail all the feelings he experienced in the town. I believe these were days when he felt part of a big family. The following quotes also document the enormous network of personal contacts that the painter was able to create in Europe, and of the friends who came to visit and celebrate him in Knokke. “There are so many birds here it is amazing. I am sitting outside on a table made by Niki de St. Phalle, which has two huge sculpture people sitting at it also. I am sitting across from the Dragon house, where we are living. It is really surrealistic. Writing quietly, listening to birds and looking at this dragon” [101].

“Wake up. People are already arriving. (…) A lot of friends I have met during the past two months in Europe came for lunch. (…) It was like a wedding party. (…) By the time it was time to go to the Casino I was already exhausted. At the Casino we had to first stand in front of the big mural while people made speeches in Flemish and French and then in English (the mayor). Then Roger made a nice little speech in English and ended by saying, “Let the music begin” (…) It was pretty amazing; I never did this before. It was a great ‘opening’. There was a mad rush of people into the exhibition space, but mostly toward me”  [102].“I walk back to the house and run into Niki de St. Phalle, who has come for my show. She doesn’t like opening galas, but wanted to see the exhibit and also see people living in her Dragon. Nobody has really lived there for the entire time it’s been here—15 years. She liked the show and is interested in trading something sometime” [103].

The summer of 1987 in Knokke ended with a last work, a mural on the beach at the Surf Club. In Knokke he would return, always a guest of Roger Nellens at the Dragon House, in October 1987 [104], in September 1988 [105] and again in June 1989 [106]. The latter would be his last summer before dying.

In France

Keith's presence in France was continuous. In Paris he exhibited at the exposition for the ten years of the Centre Georges Pompidou at the Beaubourg [107]. He met with the leaders of the Cartier Foundation [108] and discussed aesthetic issues with them. Many pages were then dedicated to the days spent in luxury, on the Côte d'Azur, between Nice and Monte Carlo, in the company of his friends: the gallery owner Yves Arman, Claude Picasso (1947-), Pablo's son, and the American painter and great friend George Condo (1957-). The most important Parisian realization was the realization of a mural at the Hôpital Necker. The Necker Hospital is a public clinic for children; the administrative managers of the institution, when they met him for the first time, advised him not to paint unseemly subjects: “Also Hôpital Necker wanted a meeting so we rushed over and had a meeting with the people there. There were several painting experts(?), and we met the hospital directors. Hôpital seemed a bit apprehensive about what I would paint. (…) I drew a quick sketch and explained why I didn’t work from “exact” plans or sketches. They seemed a bit more “assured” ” [109].  In many ways, that of the Parisian mural was a real undertaking, especially from a logistic point of view. The work proceeded (obviously outdoors) even with driving rain and required the use of cranes. The case is that the day scheduled for the inauguration coincided with a general strike by the medical staff. Keith realized that his 'politics' was very different from that of 'ordinary people'. Something incredible even happened: someone drew protest writings on his mural, even before it was inaugurated (a real paradox for those who, like him, had made thousands of not authorized graffiti in New York): “The politics are “outside” of my politics for this painting. I painted it for the enjoyment of the sick children in this hospital, now and in the future. Inevitably the mural will outlive the complications of the moment. I don’t think art is always “outside” of politics, but in this case my mural certainly has no bearing on supporting the politics of either side. Its only politics are in support of a creative input into the healing process and an attempt at changing a previously dull, boring building and giving it life” [110].

Germany and Switzerland

In Germany the main point of reference was the gallerist Hans Mayer (1940-), owner of the homonymous gallery in Düsseldorf, one of the biggest supporters of pop art in Europe. Mayer introduced Haring into high-level environments, making him acquainted, for example, with the Krupps. The American artist exhibited his sculptures in Münster in occasion of the decennial Skulptur Projekte [111]. A few months later he presented the sculptures at the Cologne Art Fair [112]. He discovered in Düsseldorf that the Kunstsammlung Nordrhein-Westfalen had a series of works by Warhol and other American pop artists as it did not exist in the United States: “Went with Hans to Kunstsammlung in Düsseldorf to see incredible collection. Warhols for days! Twombly, Rauschenberg, Beuys . . . Andy gets so much more respect in Europe. Nobody has a Warhol collection in a museum like this in America. Small museum, great light” [113]. In Germany, too, Keith took care of a children's project (called Luna Luna), painting playground rides (it happened first in Augsburg [114] and then in Hamburg [115]). It is still today one of the painter's most famous projects.

In Switzerland, he was often in Lausanne and Zurich. In Lausanne his point of reference was Pierre Keller (1945-), photographer and artist, evidently atypical and foreign to a very conservative urban environment (and Keith remembered how his diffusion of images in the city, reproduced on t-shirts and buttons, on the use of condoms, encountered a lot of hostility) [116]. It should be said that Haring challenged the local decency by immersing himself in the nightlife of a punk nightclub, where he ended up painting naked bodies of men and women and being portrayed by photographers with images that would stir up a sensation [117]. In Zurich he exhibited at the Bruno Bischofberger gallery (1940-) [118] and made cartoons for children [119].

Pisa

The last public work performed by Haring before his death, however, was in Pisa, Italy. Here - according to the Journals - Haring went for the first time for a primary inspection on June 12, 1989. On June 19 he started to realize Tuttomondo, on the outside of the rectory of the church of Sant'Antonio Abate: “Pisa has been amazing. I don’t know where to start. I realize now that this is one of the most important projects I’ve ever done. The wall is really part of the church. It’s attached to the building the friars live in. I had dinner with the friars the other night and visited the chapel. All of the experiences around this painting (the assistants, the friars, the journalists and photographers, the groups of kids from Pisa) have been really positive. (…) The painting took four days. At certain points there were huge crowds of people. I’m staying in a hotel directly across from the wall, so I see it before I sleep and when I wake. There is always someone looking at it (even at 4:00 AM last night). It’s really interesting to see people’s reaction to it. (…) This is really an accomplishment. It will be here for a very, very long time and the city really seems to love it. I’m sitting on a balcony looking at the top of the Leaning Tower. It’s really pretty beautiful here. If there is a heaven, I hope this is what it’s like” [120]. He took advantage of the mural in Pisa to go to Rome (where he admired the Sistine Chapel), Naples, Amalfi and (once again) Milan: “God, I love Italy. This is really one of my favorite places in the world. It just “feels” right here” [121]. The last page of the Journals was still in Pisa and the last sentence on the tower: “The tower is remarkable. We saw it in daylight and then in the light of the full moon. It is really major and also hysterical. Every time you look at it, it makes you smile” [122].

Fig. 14) Keith Haring, Tuttomondo (1989), Convent of Sant'Antonio, Pisa.
Source: Sailko via Wikimedia Commons

End of Part Three
Go to Part Four

NOTES

[62] Haring, Keith – Journals, Introduction by Robert Farris Thompson, Foreword by David Hockney, Penguin Books Classics, 464 pages. Quotation at page 102.

[63] Haring, Keith – Journals, (quoted), p.102.

[64] Haring, Keith – Journals, (quoted), p.102.

[65] Haring, Keith – Journals, (quoted), p.103.

[66] Haring, Keith – Journals, (quoted), p.103.

[67] Haring, Keith – Journals, (quoted), p.115.

[68] Haring, Keith – Journals, (quoted), pp.114-115.

[69] Haring, Keith – Journals, (quoted), p.115.

[70] Haring, Keith – Journals, (quoted), p.116.

[71] Haring, Keith – Journals, (quoted), pp.116-117.

[72] Haring, Keith – Journals, (quoted), p.128.

[73] Haring, Keith – Journals, (quoted), p.128.

[74] Haring, Keith – Journals, (quoted), p.128.

[75] Haring, Keith – Journals, (quoted), pp.128-129.

[76] Haring, Keith – Journals, (quoted), p.131.

[77] Haring, Keith – Journals, (quoted), p.154.

[78] Haring, Keith – Journals, (quoted), p.131.

[79] Haring, Keith – Journals, (quoted), p.131.

[80] Haring, Keith – Journals, (quoted), p.117-118.

[81] Haring, Keith – Journals, (quoted), p.131.

[82] Haring, Keith – Journals, (quoted), p.142.

[83] Haring, Keith – Journals, (quoted), p.149.

[84] Haring, Keith – Journals, (quoted), p.150.

[85] Haring, Keith – Journals, (quoted), p.318.

[86] Haring, Keith – Journals, (quoted), p.317.

[87] Haring, Keith – Journals, (quoted), p.162.

[88] Haring, Keith – Journals, (quoted), p.161.

[89] Haring, Keith – Journals, (quoted), p.173.

[90] See Hoban, Phoebe – Basquiat. A Quick Killing in Art at the address:

https://archive.nytimes.com/www.nytimes.com/books/first/h/hoban-basquiat.html.

[91] Haring, Keith – Journals, (quoted), p.162.

[92] Haring, Keith – Journals, (quoted), p.142.

[93] Haring, Keith – Journals, (quoted), p.191.

[94] Haring, Keith – Journals, (quoted), p.136.

[95] Haring, Keith – Journals, (quoted), p.138.

[96] Haring, Keith – Journals, (quoted), p.142.

[97] Haring, Keith – Journals, (quoted), p.137.

[98] Haring, Keith – Journals, (quoted), p.138-142.

[99] Haring, Keith – Journals, (quoted), p.141.

[100] Haring, Keith – Journals, (quoted), p.223.

[101] Haring, Keith – Journals, (quoted), p.205.

[102] Haring, Keith – Journals, (quoted), pp.216-217.

[103] Haring, Keith – Journals, (quoted), p.218.

[104] Haring, Keith – Journals, (quoted), p.241.

[105] Haring, Keith – Journals, (quoted), p.304.

[106] Haring, Keith – Journals, (quoted), p.351.

[107] Haring, Keith – Journals, (quoted), p.187.

[108] Haring, Keith – Journals, (quoted), p.188.

[109] Haring, Keith – Journals, (quoted), pp.166-167.

[110] Haring, Keith – Journals, (quoted), p.180.

[111] Haring, Keith – Journals, (quoted), p.197.

[112] Haring, Keith – Journals, (quoted), p.266.

[113] Haring, Keith – Journals, (quoted), p.169.

[114] Haring, Keith – Journals, (quoted), p.174.

[115] Haring, Keith – Journals, (quoted), p.197.

[116] Haring, Keith – Journals, (quoted), p.233.

[117] Haring, Keith – Journals, (quoted), p.236.

[118] Haring, Keith – Journals, (quoted), p.238.

[119] Haring, Keith – Journals, (quoted), p.239.

[120] Haring, Keith – Journals, (quoted), pp.352-353.

[121] Haring, Keith – Journals, (quoted), p.363.

[122] Haring, Keith – Journals, (quoted), p.367.