Radiant Quotes

“content in the paintings, though Haring had been dealing with apocalypse, nuclear disarmament, authoritarian control, and technological manipulation since his first show at Club 57 in 1980, albeit in deceptively”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“sexy scenarios. She was revolving around the hip-hop scene and hung out at the Roxy, the main downtown dance floor for break dancing, the “home of hip-hop.” “Keith and I are sort of two sides of the same coin,” Madonna said. “And we were very”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“crash into the basement. “The opening attracted a remarkable mix of Puerto Rican kids from the neighborhood and the elite of the art world,” said Jeffrey Deitch. Haring’s simple invite was a nod”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“Fun was entirely in the spirit of “Clubism.” Said Haring, “My exhibition at Fun Gallery was really a reference to the whole Hip-Hop culture,” as he and LA II “bombed” the gallery in spray paint”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“coincided with (or caused) a definite shift in the social pattern of the last two years. . . . Fun is the apotheosis of what Edit deAk has called ‘Clubism,’ but just happens to be taking place in an art gallery.” Keith did not need to show his work at Fun Gallery. His big opening”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“Patti. Come home. Come on. She’ll be straight with you.” (Basquiat spent most of his opening in a corner, arguing with his new girlfriend, Madonna, known for her performance at Haoui Montaug’s No Entiendes cabaret at Danceteria.) Yet the point of Ricard’s piece was”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“pegged to Kenny Scharf’s second exhibition at Fun Gallery—that appeared in Artforum in November 1982. Ricard was not a neutral critic. He had dropped by Fun Gallery each morning for a coffee and had convinced Basquiat to show at the gallery, saying, “Jean, chill”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“Evening News segment on Haring, introduced by Dan Rather and narrated by Charles Osgood, that aired on October 20. A TV crew trailed the artist, in round horn-rimmed glasses and his sleeveless bright yellow T-shirt printed”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“Rauschenberg. Yet most startling was the fusion of people from the club scene, the art scene, the graffiti scene—three or four thousand in a party atmosphere. “I had girls serving Coca-Cola in little bottles, because”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“as well. “I’d never seen a crowd like that in a gallery,” Donald Baechler says. “I remember Edit deAk showing up for the opening. She was writing for Artforum. At that moment, she and Rene Ricard”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“Apollinaire, Max Jacob. With Keith, there was the Keith Haring Band. I traveled around with the whole Keith party. He was a real energizer who built community around him.” Their collaboration—and”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“credibility.” The catalog, the show, like much else in Haring’s career, was a group effort. “It was never”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“crucial way for Haring’s career by Rene Ricard in an article in Artforum in December 1981 titled—and forever dubbing Haring as—“The Radiant Child.” Having appeared in several 1960s Warhol films, including Chelsea”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“Another introduction made by Diego Cortez at the time was to the Italian painter Francesco Clemente, who was in New York City for the first time in the spring of 1981, staying with his family”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“About the time the two of them chanced upon Paradise Garage, they also made their way one balmy August evening through the East Village beyond Avenue B, one of the most desolate neighborhoods in the city, wandering around, hoping to score some dope. “I was just”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“1981, the year Haring showed up, Levan took an obscure new release, “Heartbeat” by Taana Gardner, and by slowing down the beat in his club mix to a heavy ninety-eight beats per minute and letting the previous”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“Haring tried to reflect this mix of the raunchy and the slick in a series of drawings begun in the loft on March 30, 1981, the day Ronald Reagan was shot and wounded by John Hinckley Jr., who was”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“I realized I could probably start living from my work. I also realized I didn’t ever have to do menial work again. And so, I quit. I think that because of the graffiti show, I went out with glory. I didn’t know it then, but working at the Mudd Club would be my last job where I would ever”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“Mass had never been the ideal boss for Keith or for any of the Club 57 crew. “We were young kids who didn’t like authority,” Magnuson said, “and he was an authority figure.” Brathwaite felt that “Steve Mass treated Keith so bad. I remember one day he was going to be paid. Steve”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“a graffiti convention.” As Brathwaite recalled, “Nobody had heard or seen anything like it. These clubs were 95% white on any given night, so when you had a lot of young African American males and Puerto Ricans in the mix it just changed the dynamics—”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“with was Beyond Words, billed as a survey of “what Graffiti has created and how its influence continues.” Opening night, April 9, was a “Music Jam,” deejayed by Afrika Bambaataa, with “some of the top rap vocalists of the South Bronx scene.” Keith invited Fab 5 Freddy”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“the radical inventions like public art and graffiti. When we think of the eighties, we think more about the music than the art in popular culture. We think about Madonna. Keith and Jean were right there with Madonna, Bowie, Eno. That may be the core of the eighties. I”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“exploration of the cross-influences of punk music, club life, and art and the mixing of high and low mastered in the sixties by the presiding genius of the show, Andy Warhol. “Keith and Jean fell outside that eighties painting thing,” Cortez says, “and were more connected with”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“conceptualism. (Of the seventies, Cortez said in an interview at the time, “You’d go to openings and find white walls, white people, and minimal white art.”) Yet none of the young Mary Boone painters had appeared in New York/New Wave, conceived by Cortez as “neo-pop,”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“covered in Plexiglas and laid across the floor for everyone to walk over. The final, prime gallery was given over to Jean-Michel Basquiat, with fifteen paintings on canvas, wood, paper, or steel, in paint and crayon. New York/New Wave”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“Club 57, the first exhibit to acknowledge the club’s importance in the art scene. (Also enshrined in a timely memorial of photographs was John Lennon.) Haring had ten or fifteen works in the show, including a long scroll of abstract, curvilinear shapes that Cortez”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“rooms held photography and artwork by rock stars (David Byrne, Chris Stein, Alan Vega); photographs by Robert Mapplethorpe (of Patti Smith) and Nan Goldin; works by the venerable (William Burroughs and Ray Johnson); and one gallery devoted to twenty artists associated with”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“Kooning Drawing. Like many in Haring’s circle, Cortez, having grown up in the suburbs of Chicago as “Jim Curtis,” invented his tag of a street name. His purposely aslant show at P.S. 1 of more than 600 works by 119 artists, with no frames or labels, was designed to feel more”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“creating at a frenetic pace and living every day like it was our last.” Photographed by Tseng Kwong Chi, the SoHo News piece presented Keith Haring and Dany Johnson as “the Bothroids,” a yuppy suburban couple in L.L.Bean–style fashion, in front of their”
― Brad Gooch, Radiant: The Life and Line of Keith Haring

“director of “It’s a Reagan World,” a preposterous and giddy fake lifestyle spread in the SoHo Weekly News. “We were fully convinced Reagan was going to start a nuclear war with Russia,” Magnuson wrote of a palpable quickening of the pulse downtown, “so we”
― Brad Gooch, Radiant: The Life and Line of Keith Haring