フランス革命 200 周年を祝う飛行船、 カレー ( フランス ) にて 1989 年 ◎ The Estate of Keith Haring ヘリングとフランス革命 200 年祭の飛行船、パリ郊外 1989 年 ◎ The Estate of Keith Haring BMW にペイントするヘリング、デュッセルドルフ 1990 年 : 可 The Estate of Keith Haring サン・タントニオ教会の壁画、ヒ。サ ( イタリア ) 1989 年 ◎ The Estate of Keith Haring 0 The Estate of Keith Haring 111

いは突如として襲った「現代のベスト」そのものに対する恐怖からか、彼との交際を断ち切った人々 もいた。作品の値段の動きといい、ヘリングの元へは寄り付かなくなった人々の対応といい、まるで そうしなければこの街では生き残れないといわんばかりに、ニューヨークの反応は素早くそしてタフだ。 多くの友人の死、そしてついには自らの工イス発病に直面したヘリングは、ローリング・ストーン誌 のインタビューのなかで「 ( こういったことが起こるたびに ) 人間は少しずつ敏感になり、そして同時 に強くなる」と語っている ( 13 ) 。「人生に苛立ちはないか」という質問に対し、「いや、どんなことでも大 切に思えてくるからね。・・・・これもゲームのひとっさ」 ( 14 ) と答える彼もまた、「今」を目一杯生きるリ アリストだ。 「 ( 工イズに罹ったから ) 子供たちとのワークショップにはもう呼んでもらえないだろう」と嘆くへリ ング。さらに彼はこの病の末期症状の悲惨さを思って、「どんな状態に陥ろうと最後の最後まで戦う のと、 ( そうなる前に ) 威厳をもって自らの命を断つのとでは、どちらが子供たちによい影響を残して いけるだろうか」 ( 15 ) と自らに問い掛ける。常に子供たちを愛したヘリングの彼らに対する優しさは、 死を目前にしても変らない。 「今は完璧にワークホリック ( 仕事中毒 ) の状態です」 ( 16 ) と語った彼は、それから約 1 年半の間に 6 つ の展覧会と 10 以上の大きなプロジェクトを世界中で行った。そして 1990 年 2 月 16 日、キース・ヘリン グは 31 才の若さで亡くなったのである。彼の生と死は、スピードとエネルギー、自由と渾沌、緊張と恐怖、 快楽と残酷、そして挑戦と夢に溢れたニューヨークという街そのものでもあった。 ヘリングの死の直後、彼を讚えそして偲ぶグラフティーが摩天楼の街を飾った。 ( 1 ) Keith Haring : The u 物併レ ed Bioqraphy. John Gruen, First Side, New Yo 「 k. 1991. p. 32 ( 2 ) ワイルド・スタイル、カズ葛井、』 CC 出版、 1983 年、 p. 10 ラップ・グループ、グランド・マスター・フラッシュの曲を引用した上記の出典より、著者が少し手を加えた。 ( 3 ) Keith Haring : The u 物 0 「レ ed B / oq 「 ap わ y. p. 46 ( 4 ) 同上、 p. 91 ( 5 ) Keith Haring, ホイットニー美術館カタログ、 "Songs of lnnocence at the Nuclear Pyre",Elizabeth Sussman. p. 1 2 ( 6 ) Keith Haring : The u 物 0 「レ ed 30q 「 ap わ y. John Gruen. pp. 55,56 ( 7 ) 日 0 / ″ hg Stone, "Keith Haring", David Sheff. 1998 , Augst, No. 558. p. 64 ( 8 ) Keith Haring : The u 物 0 「レ ed Bioqraphy. John Gruen. p. 69 ( 9 ) 同上 p. 60 ( 10 ) 同上 p. 86 ( (1) 同上 p. 120 ( 12 ) 同上 p. 39 ( 1 3 ) Rolling Stone, "Keith Haring", p. 66 ( 14 ) 同上 p. 102 ( 15 ) 同上 p. 102 ( 16 ) 同上 p. 102

ever-present penis, WhiCh can be as cute as a Disney character or as menacing as a missile. Haring's signature "scrawls" could take over the wall Of an entire apartment and, as his fame boomed, anything from the faqade Of a hospitalto a large stretch Of the Berlin wall. For, eventually, Haring added tO his roles as graffiti artist, propagandist, and "fine artist", that Of an artist volunteering tO work with museums, universities, and government agencies. But these apparent contradictions are precisely what's most interesting about HaringIs ro . Though Haring came 10 be known mainly for his signature black-and-white style, he proved tO be an exuberant, masterful colorist ー one clearly situated in the "high-art" tradition. Some Of his figure compositions have the graceful expansiveness Of MatisseIs cut-outs; his work for the Höpital Necker ( 1987 ) , the forceful urban elegance Of LegerIs murals. And Often, especially in his later work, the universe Of the radiant child, TV screens, and flying saucers is displaced by the imagery Of old-master art ー by the agony Of St. Sebastian, Moses and the Burning Bush, or the Fires Of Hell. his muralfor the Gay and Lesbian Community Center in New York ( 1989 ) , the raunchiness Of bathroom graffiti merges with the Arcadia Of CIassical art, as Haring recreates a lOSt Golden Age Of anonymous sex in bath houses and menls 「 ooms cut short by AIDS. Keith Haring, the typical AII American BOY, escaped suburban PennsyIvania in the late seventies and delved intO the underground culture Of New York. Barely a decade later, at the height Of his fame, he succumbed tO AIDS. His memorial service would have suited an artist of the stature of Peter-PauI Rubens. は was a major social event, attended by the rich and famous ー rock stars, art-world divas, financial tycoons, fashion models and the Mayor Of New York. 旧 different ways, BasquiatIs and HaringIs careers lay bare the shifting, unresolved place Of the artist within the eighties artworld. Basquiat, the "real" graffiti artist, ended up fitting the ro 厄 Of the painter more neatly than Haring ー a SO Of Postmodern version Of the van Gogh myth. He died young but rich, a victim not Of failure but, possibly, Of fame, after a drug overdose. Haring was a IOt harder tO pin down. He brought the territoriality Of cave painting and the self-consciousness Of ads tO the New York subways. His political posters offered an ideological update tO the tradition Of propaganda art, hinting at its transformation in the hands Of alternative institutions, such as ACT UP. His paintings, collected by the major museums in the world ー and perhaps even more SO, the wide catalogue Of Keith Haring T-shirts, buttons, stickers, toys, watches and calendars SO 旧 by the "POP Shop ー both revived and gave an unexpected twist tO the cult Of the 0 切 d ・ art. And yet, from these seemingly incongruous arenas ー graffiti and propaganda, "fine arts" and me ℃ handise ー Haring managed tO voice concerns that couldnit have been more historically relevant: the threat Of nuclear destruction, the race struggle, and the devastation Of AIDS. AII the same, one wonders how HaringIs art will be remembered. His work puts one in mind of a maxim attributed tO Horace twenty centuries ago and which one can still read on the faqades Of art schools: ARS LONGA VITA BREVIS ( life is short, but art is eternal). HoraceIs words remind us that art outlives the people whO make it, which is not surprising, when an artistls life is as brief as Haring ・ s ー but which is complicated when his death is as historically specific as his a . But therels more, fO 「 HaringIs multi-faceted career so calls into question 訓 traditional means used in the West to measure artls value, atleast since Horace. The point is not whether his art wi 旧 ast, but rather, which aspect will turn out tO be the most important. Will it be the Haring in a museum collection, the memory Of his subway graffiti or his posters in our consciousness, or, simply, a "radiant child" sticker on the walls Of a junior high? Haringls main contribution tO art history might well be to make us ponder that.

KEITH HARING

彡 0 101 ◎ The Estate of Keith Haring

( の The Estate of Keith Haring つずン・ りのイ

無線装置の前のヘリング 1969 年 9 The Estate Of Keith Haring

パラダイス・ガレージ閉店の夜、ニューヨーク 1987 年 ( 0 ) The Estate of Keith Haring

10 歳のヘリング、カツッタウンにて 1969 年◎ The Estate of Keith Haring ◎ The Estate of Keith H ari ng

キース・ヘリング展 監修 : キース・ヘリング財団 福のり子 企画 : 株式会社ア - ト・ライフ Exhibition: KEITH HARING SeIected and supervised by The Estate Of Keith Haring and Norik0 Fuku ReaIized by Art Life Ltd. キース・ヘリング展カタログ 監修 : 本文 : 福のり子 アメリア・アレナス、福のり子、那須孝幸 翻訳・編集 : 株式会社アート・ライフ デザイン : 山鹿真琴 製作 : 発行 : 瞬報社写真印刷株式会社 株式会社アート・ライフ ( 01999 CataIog 0f Exhibition Supervised by NorikO Fuku Essay: AmeIia Arenas, NorikO Fuku, Takayuki Nasu TransIated and edited by Art Life Ltd. Designed by Mak0t0 Yamaga Printed by Shumposha co. , Ltd. Published by Art Life Ltd. 01999 132