New York, 1978, student Keith Haring arrives in the city considered to be the cradle of the graffiti movement. His mind is blown away by the tags, the dubs, the subway car ‘masterpieces’ – the frenetic energy of the illegal art scene.
Years later, and Haring, influenced by this ‘subway art’, draws on the same walls that first inspire him, in white chalk on empty black advertising poster panels – marking his birth as a street artist.
Paris, 2013, last Friday, twenty-three years after Haring passes away, opens the largest retrospective of his work ever brought together, “The Political Line”, at Musée d’Art Moderne de la Ville de Paris, in association with Centquatre – a collection of non-‘street art’.
