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Untitled (with Sean Kalish) I by Keith Haring

Untitled (with Sean Kalish) I by Keith Haring

Taglialatella Galleries




Edition Size: 33

Sheet Size: 14 x 12 1/2 inches


Condition: Pristine

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Keith Haring’s “Untitled (with Sean Kalish) I” is the ninth of a series of eleven etchings on paper. The black and white print is part of an edition of 33. This print depicts a figure through various lines, cross-hatching, and curves. The abstract figure holds an X-marked can and shoots a lightning bolt from its other hand. Leaving the print untitled allows viewers to develop their own interpretations of this collaborative series and its meaning. “Untitled (with Sean Kalish) I” is signed and stamped, and it is authenticated by the Executor of the Keith Haring Estate. The limited edition etching has a height of 14 inches and a width of 12 1/2 inches.

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Keith Haring, born on May 4, 1958 in Reading, Pennsylvania, and was raised in nearby Kutztown, Pennsylvania. He developed a love for drawing at a very early age, learning basic cartooning skills from his father and from the popular culture around him, such as Dr. Seuss and Walt Disney. Upon graduation from high school in 1976, Haring enrolled in the Ivy School of Professional Art in Pittsburgh, a commercial arts school. He soon realized that he had little interest in becoming a commercial graphic artist and, after two semesters, dropped out. While in Pittsburgh, Haring continued to study and work on his own and in 1978 had a solo exhibition of his work at the Pittsburgh Arts and Crafts Center. Later that same year, Haring moved to New York City and enrolled in the School of Visual Arts (SVA). He found an active scene of young musicians and artists, including Kenny Scharf and Jean-Michel Basquiat, with whom Haring became fast friends. Perhaps more importantly, he found art moving out of galleries and into public life. New York at that time was a place of new trends like the rise of hip-hop, diverse club scenes, and graffiti art. Haring embodied the city’s energy, tirelessly taking his art wherever he was as his drawings and paintings were often created in minutes. Haring developed his trademark style working on the black surfaces used to cover up old advertising logos in the New York subway, where his drawings were seen by thousands each day and the momentum of Haring’s practice soon found him working in any medium that provided a proper context for his images or could hold a mark. Haring became a recognizable figure in New York, attaining somewhat of a celebrity status that drew much attention to his gallery shows, public projects, and merchandising. During a brief but intense career that spanned the 1980s, Haring’s work was featured in over 100 solo and group exhibitions. In 1986 alone, he was the subject of more than 40 newspaper and magazine articles. He was highly sought after to participate in collaborative projects and worked with artists and performers such as Madonna, Grace Jones, Bill T. Jones, William Burroughs, Timothy Leary, Jenny Holzer, Yoko Ono, and Andy Warhol, just to name a few. By expressing universal concepts of birth, death, love, sex and war, using a primacy of line and directness of message, Haring was able to attract a wide audience and assure the accessibility and staying power of his imagery, which has become a universally recognized visual language of the 20th century.

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Keith Haring

For Keith Haring, printmaking was an ideal “middle ground,” a means of bridging his original artwork with the affordable clothing, posters, buttons, and other commercially produced items that featured his artwork.

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