Do Go On - Do Go On Presents: Arty Facts - The Keith Haring Mural

Episode Date: August 21, 2022

One day back in 1984, American artist Keith Haring went to work painting a mural at a Melbourne school. And decades later, the mural still stands today. Dave Warneke tells the story of Keith Haring's Melbourne mural in this episode of 'Do Go On Presents: Arty Facts'.Watch the video of this podcast: https://youtu.be/spfghk_RNco 'Do Go On Presents: Arty Facts' is a joint production from Stupid Old Studios and the Do Go On podcast.Do Go On are Dave Warneke, Jess Perkins and Matt Stewart.Stupid Old Studios is an independent production house based in Melbourne Australia who specialise in making fine, handcrafted nonsense.Twitter: http://twitter.com/stupidoldInstagram: http://instagram.com/stupidoldFacebook: http://facebook.com/stupidoldstudiosThis production was made possible with support from the Community Broadcasting Foundation. Find out more at http://cbf.org.auREFERENCES AND FURTHER READING:https://www.ngv.vic.gov.au/essay/fragile-memories-keith-haring-and-the-water-window-mural-at-the-national-gallery-of-victoria/ https://melbourneharingmural.com.au/buckleyhttps://www.haring.com/!/about-haring/transitionshttps://www.broadsheet.com.au/melbourne/art-and-design/article/keith-haring-painted-iconic-mural-collingwood-1984-now-its-come-out-hiding https://www.ngv.vic.gov.au/keith-haring-mural-is-restored/ Hosted on Acast. See acast.com/privacy for more information.

Melbourne and Canada, we got exciting news for you. And we should also say this is 2026. Jess, what year is it? 2026. Thank God you're here. Right now, I'm in Melbourne doing my show with Serenji Amarna, 630 each night at the Cooper's Inn Hotel, having so much fun. We'd love to see you there.

Canada, we are visiting you in September this year. If you've somehow missed the news, we are heading up Vancouver, Calgary, Montreal, and Toronto for shows. That's going to be so much fun. Tickets for all this stuff, I believe, are online. And I'm here too. You're listening to Artifacts, a show that dives into the fascinating history of famous artworks and painters.

Broadcast on C-31, Stupid Old Studios YouTube channel, and the Community Radio Network. Every now and then an artist comes along, whose work connects so much with the public that they seem to just explode. They're on TV shows, they're on the cover of magazines, their art is just everywhere. And in the 1980s, that artist was Keith Haring. In 1984, just as everything was kicking.

off for him. He came right here to a school in Melbourne. Hello and welcome to Artifax. My name is Dave Ornicki and I'm here with Matt Stewart and Jess Perkins and today we're at the 1984 Keith Carring Neural. 84, a good year. What a great year. What a great year. One of the best, I would say. Say some things that happened that year. Oof, people were born, people died.

Really? You know what I mean? Keith came here. Keith was he? It's got to be, I think he's got to be one of the coolest kinks. Obviously second only to cool Keith. Cool Keith, yes. Cool Keith.

Yeah, that's just popping in my mind. There's not that many cool Keith's, except for Cool Keith, Keith Haring, maybe Keith Richards gets a mention. Ooh, Keith Richard's third. Interesting. Yeah, can't think of another Keith. I can't think of a single Keith?

Keith. Keith Urban. He's definitely four. My cousin Keith. Cousin Keith? Just bumps Urban down one. Yeah. Keith Flint from the Prodigy.

Okay. All right. He's got to be on the podium something. Yeah. The Keith podium. Anyway, we're here in front of the 1984 Keith having mural and we've got to acknowledge that sadly for the first time in three years we've been told that overnight it was tagged by some graffiti artists. Well I wouldn't really call them artists. Not their best work. But that's not part of the original work, this blue bits. Okay, good to me. So ignore the blue bits if you can't imagine that.

Ignore that and you know if those graffiti artists are out there watching this, I'm going to find you. What are you going to do when you find them? Probably just go. Oh. You know? You don't want that? No, I don't want that. No.

Well, I definitely didn't do it then. Yeah, I think it hurts. To learn more about Keith Herring's awesome mural, I'm here with Wendy. Hey, Wendy. How's it going? It's good, thanks. How are you? Yeah, really good.

How did you get involved with the mural? I first came upon the mural in about 2009. I was rolling down the street. Just came upon this Herring mural out of nowhere. And I questioned whether it was a Keith Herring mural because it was in such a horrible dilapidated state. It was overgrown with vines. There was cracks and water damage at the bottom.

And it just looked neglected like no one had paid any attention to it at all for decades. I contacted his former assistant, Julia Gruen, and she said, you know what? There's another person in Melbourne who has just sent me an email and asked me the same question. And her name is Hannah Matthews and she's a curator. So she gave me her information and Hannah and I met and we decided, look, let's do something. Let's get the mural back to its former glory. We were very lucky to have the voice of the Keith Herring Foundation and Julia Gruen. So she was very supportive of us and we basically were following their advice.

They were firmly of the opinion that it should be repainted in a very empathetic way. taking into consideration the breast strokes, this kind of thing, just as had been done in Pisa in Italy and other places with Keith Herring's murals throughout the world. And we wanted to give back the intent of the message that Keith put out there, the vibrant green, the vibrant red, and the energy of the dancing figures, and this giant computer worm forecasting the doom of the future of the computer world.

Do you guys know much about the second? can call as Keith Keith Herring? I don't actually. I've been seeing his very distinctive style on a lot of clothing and merch, especially very recently. Seems to have a bit of a resurgence. But no, I don't know a lot actually. I assumed he was a tote bag brand.

Well let me tell you about him. Keith Howing was born on May the 4th, 1958 in Reading, Pennsylvania. He began drawing at a young age with his father teaching in basic cartoon skills and young Haring took further inspiration from Disney and Dr Seuss illustrations. After high school he dropped out of the Ivy School of Professional Art in Pittsburgh and moved to New York City where he enrolled in the School of Visual Arts, all the while working on his own work having his first solar exhibition in Pittsburgh in 1978. Was that an Ivy League school or they just cleverly marketed themselves by naming them.

I also thought the same thing. I think it's just the name. That's smart. That's smart. They're taking the league out. Taking the league out. Yeah. Just so they can be like, huh? Yeah.

Should we start a university and call it Harvard? Oh, that's pretty good. So he moved to New York and at the time New York was vibrant. The East Village particularly was exploding with ideas, fresh music and art. Artists from all over the USA flocked to the city where their work responded to urban street culture of the 1980s and a full community developed outside of the traditional gallery

or museum system. They were doing their own thing. Right. They're working in downtown streets, in subways, in punk clubs and former dance halls. Cool. He formed many friendships, including with fellow artist Kenny Scharf and Jean-Michel Basquiar, another famous artist of his generation. Kenny and Keith. That's a power duo.

Yeah, that's a good duo. Cool as Kenny. Yeah, cool as Kenny. Oh, Kenny, you? Oh, okay. It's got to be Kenny Callender. Kenny Loggons. Kenny Loggins, yes.

Kenny Rogers. Kenny Rogers. But that's really because he was associated with Dolly. Yeah. He did nothing. He was my association. Yeah. Kenny is the publican of my favourite bar.

Okay. Kingley's throne of Brisbane. We're really scrubbing the barrel now. My favourite bar in the world is scraping the barrel? Come on, mate. Suckerman. Come here this morning to be disrespected. You are ridiculous, Dave.

With apologies to Kenny. Thank you. Thank you. So he's young, he's part of a thriving art scene and he decided to dedicate his career to creating public art. And in 1980, found a medium to connect with the people of NYC. Toat bags. Toot bags. Everyone needs a bag.

Yeah, how are you going to carry your vegetables? Just in your hands? Great question. Like an idiot. What's your favourite art medium? Mine's tote bags. Mine's magnets. Oh yeah.

The big two. Yeah, yeah. Fantastic. He went with something a little less common. Oh, okay. That's classic heroin. From what I'm getting to know. He noticed that unused advertising boards in the subway were often covered over by black paper when they're not being used.

So he started to draw on them with white chalk drawing simple line figures that would become his trademark. This sort of stuff we can see behind us right now. He drew hundreds of these subway drawings over the next five years, doing as many as 40 in a single day. These unauthorized images quickly created a following for the young artist amongst New York commuters who would often strike up conversation with him. up conversation with him as he was working. He soon discovered that he liked drawing in front of people, liked a crowd. It's a real exhibitionist.

Except when he was being arrested, but you know. Yeah, okay, yeah. But apparently some of the police that stopped him were like, he was like, oh no, and they were like, no, I just wanted to say, I'm a big fan. That's nice. I didn't know who was doing this. Keith was happy to chat to anyone about his work.

And Subwa is in New York when he was doing his works. People always used to come up to him and say, what are you doing? Is this an ad? What does this mean? What does this mean? And eventually he went out and got thousands of buttons or badges printed up so he could hand them out to people. He wanted his art to be accessible to everyone. In his own diary, Harring wrote, I'm interested in making art to be experienced and explored

by as many individuals as possible with as many individual ideas about the given piece with no final meaning attached. The viewer creates the reality, the meaning the conception of the piece. I am merely a middleman trying to bring ideas together. I like that. I like that. Yeah. Because sometimes when you're like looking at art in a gallery or whatever and you're sort

of like I don't know what the meaning here is and I, but I don't know like it feels like the artist is like this is what this means and you go, yeah sure I get that, sure. But here he's like, you make it up. Yeah, what do you think? What do you think? I like that. I reckon it's an aerial view of a mass suicide. Well.

I was going to say a music festival so that's a very interesting kind of vibe we're picking up. Yeah, like chalk outlines. Oh, I see. They look like they're dancing. Having a good time. Well, they were. Okay. They were moments earlier.

Okay. But dance till they died. That's a hell of a music festival. What a way to go. Yeah. Sort of like, you know, the dance. Dancing plague? Yeah.

Yeah, you know what I'm talking about. Yeah. Keith Moon. Keith Moon. Big shout out. Haring soon began to have his own art shows in New York and around the place and started to receive real media attention. And from here, he was really,

his rise was meteoric and pretty soon he was on the cover of Vanity Fair magazine. That's when you know you've made it. Yeah, absolutely. He still wanted to draw on the subway, but by 1984 his drawings were being stolen quickly after he did them, only to be soon up for sale. Oh shit. Because, you know, there was suddenly an art market because he was quite a famous young artist. Oh, how they steal them? Because they're on the black paper. They're just on a piece of paper, so you can just grab them down.

And he put them up there knowing that they wouldn't last forever, but he didn't expect people to nick them within minutes and then sell them. And make a profit from it. on the equivalent of 80's eBay. Yeah. That's pretty gross. It was 80s eBay, the street? Yeah, I was like, hey, what do you think of this? And he's like, I just did that.

Trading post. Trading post. I got six Keith Harrings. 600 bucks or near a soft one. No time wasters. No time wasters. No tie kickers. So what brought Keith to Australia?

John Buckley. Is he right? I believe he travel. by plane. It was the 1980s, not the 1880s. Yeah. Well done, Maddie. Yeah. Well done, Maddie. Yes. Plain. Possibly on an Antsett flight. Oh. Anset was still around? Yeah. That's how, that's all this thing is. John Buckley was the inaugural director of the Center for Contemporary Art, which is later known as the Australian Centre for Contemporary

Art, or ACCA. He was the one who was instrumental in getting Keith to come to Australia. Buckley had first seen Keith's work in the subway in New York in the early 80s. It had instantly grabbed his attention and he soon learned that Herring was responsible. After following to art exhibitions across the world, Buckley was able to meet and convince Herring to come to Australia. Oh, he felt like you just followed him around for a bit. And that sort of shows how hot he was it in the art world. At 23 he's already being invited around the world to exhibit and do murals and things like that. That's really cool. John Buckley had to sort of following, eventually meeting him at a party and was like, hey,

you should come to Australia and he was like, sick, sounds great. Yeah. But it still took two years from that point to get him to actually come. Right. Plains are really slow back then. Yeah, that's right. Yeah. They travelled on the ocean. They were sail planes. At the way for the right breeze. The young artist spent about a month in Australia between February and March 1984 visiting Sydney and Melbourne. He painted an angel mural at Glamorgan School, which is now Geelong Grammar in Turac, because Keith was staying there at the time. That's good that a grammar school. Yeah. It's got a bit of free. It's priceless art.

I think that feels right. That feels right. Because he was staying at the school, he was given a key to the classrooms and at night apparently would pop in and draw images on the blackboards for the kids to find in the morning. Oh, okay. Because I was the whole time going, sure, let him stay at the school. Why give him a key in the classrooms? That feels unnecessary and a bit weird.

Like the fuddy old teachers coming in being like, righto, righto, who's been responsible for this? Wiping off and now priceless piece of work. Yeah, what he should have been doing, as just chopping out that bit of blackboard, putting a frame on it. Herring also painted in more traditional art spaces, painting a huge mural in the Sydney Art Gallery, and the large seven metre high glass water wall of the front of the National Gallery of Victoria,

painting directly onto the glass. Oh, cool. Well, they would have washed away straight away. Well... Depends on what kind of paint. Yeah. Waterproof paint, man. Watercolours.

Yeah. That's how that works. Oh. He was given a scissor lift for the first time in his career, which he'd later used to paint many of his murals. He was like, huh? He was given a scissor lift? Yeah, they're like, take this. That's not going to fit in checked luggage, is it?

Mate, if you're travelling first class, which I assume he wants. Then you can take a scissor left on board. How do you think he got onto the plane? Move these stairs, I've got my own. I've got it from here, thanks very much. He'd spend a lot of his time in oversized baggage collection. Yeah. Worth it though.

Worth it. Yeah, that's true. Yeah, apparently within a few hours he'd mastered it and he was just loving it. He'd loving the freedom. You kind of weigh that up, mate. You go, yeah, I have to spend a lot of time in oversized baggage, but also then like, otherwise I'd have to hire one everywhere I go. And long term. Yeah, that's true.

It's a saving. Yeah, it's a big saving there. That's right. It's a lot up front, but yeah, that works out. Works out. So he's painting onto the glass water wall and just like in the subway, he freestyled it all. He didn't use a plan or a guide or work from sketches. He just went in cold using white, red and black tins.

of sign writer paint. Doing all the white, then the black and finally the red, and it all came together with astonishing precision lining up perfectly across the seven panels. Cool. Red black and white, love those colours. When later asked about how he's able to pull off massive murals without any plans, he replied,

it's probably 20% intuition, 20% experience, and maybe 60% chance. Wow. So. Maybe he's just being humble. Which is cool. I think being humble is cool. Watching interviews with him, he was a really humble guy.

Oh, that's cool. Was a humble guy. This has got a sad ending this story? We'll get to that. Oh. Music was also part of the routine. An old ABC report from 1984 says He constantly works to music emanating from what he calls his ghetto blaster.

Okay. Which is a... A little stereo. Sure. Which his friend had painted. It looks really cool. Oh. He spent two days painting the water wall of the NGV with thousands passing by as he worked, watching him through the glass. Either side you could see him.

As always, that's how glass works? It's how glass works. It's cool. I love glass. I think glass is the real art. Because if you think about this, if he was painting this, even if you were inside, you couldn't see him. Couldn't see him. You wouldn't know.

You've got to be standing right here. There's a second side of this painting that we'll never get to experience. But on that water whirl, that Kevin Costner movie. Water world. That oasis song about the Kevin Costler movie. There's a really crossing a few art mediums together. As always he was incredibly accessible whilst painting the NGV, frequently stopping the painting to talk to groups of school kids or to draw small sketches to new fans before going back to the work. Did it was he charging as he went?

No, he was just going, apparently kids just got it with books and he'd go, there's a little sketch for you. Oh, man. That's awesome. Howing was stoked with how it came together, but tragically it only lasted a few weeks as someone threw a brick through one of the panes of glass. Sadly replacing that bit meant the whole mural had to be taken down earlier than planned. Oh, that sucks. What a dick move. Through a brick.

Through a brick. Gallery director Patrick McCaw here at the time described the mural as, quote, is positively rich with rebirth imagery. Can't you see the phallic symbols all over the jolly place? My God, if you can't see them, I'm too embarrassed to point them out. For these days, the entry... And was he a fan? Yeah, is that a good thing?

He loved it, but he was his point in it. My God. It sounds like he was a wowser, but he was loving it. He was a... He was a... positive wowser. We didn't discuss these wangs. Oh but these days the NGV itself disputes that reading from the old director it writes on its website.

Despite McCorhey's phallic reading, the NGV mural in fact contained no images of sexual activity. That was quite deliberate. While Haring had drawn erotic images from his very early days as an art student, he never placed erotic or homoerotic motifs in his New York subway drawings out of his love and respect for the innocence of children. But the old directors like, check it out, there's penises everywhere. There's Dicks everywhere. Look at them. I'm not showing you where they are. But if you'll look, you'll see him. He's very enthusiastic. He really wants people to see Dix.

Am I the only one seeing this? Come on people, use your eyes to see the Dix. The Mona Lisa, it's just Dix, Dix, Dix. The dick follows you around at the room, the one eye. Yeah, it's funny that he thinks that, you know, it wouldn't want to be. kids to see any drawings of dicks like kids aren't the biggest dick drawers there are. Yeah, that's right. We do want to give him further inspiration. Yeah. One of the last pieces Herring completed on what was to be his only trip to Australia is the outdoor mural behind us.

At the time this was part of Collingwood Technical College. The mural was painted on the 6th of March 1984 and it was all completed in a single day. Wow. The students from the college excitedly gathered and watched his harring painted on a ladder. No scissor lift this time. Okay, left a sizzle lift at home. Yep. This is a little bit of day off. Which I guess is why it's got a cap there. If you had the, maybe a cherry picker, he could have gone all the way out that brick wall. Oh yeah.

John Buckley, who remember was his host, didn't have any discussion with Keith about what he planned to paint. He simply organised the space, grab some duelux paints from up the road and let him have a go. Cool. The kids didn't actually do any of the painting. They did dance moves. They were doing break dancing and talking to Keith about music,

because of course he always had his ghetto blaster. He rocked it out in about a day. I mean, some hours, like four to six hours. And Keith was never very precious about his murals on the street. Before Melbourne, actually, he had done a lot of pieces on paper, but this was one of the first big, large-scale murals that he had done on a wall that was to be permanent. And he was really excited about it.

He wrote in his journals. I'm just so excited because I finally did this piece, and it's a permanent site. This was one of the first paintings Haring ever did where beforehand it was agreed that it would become a permanent work. Ah, that's nice. When it started in the subway, it was accepted that the work had a limited life. But this would hopefully stand the test of time. Wow. That extra pressure.

Yeah. Well, here we are a few decades later. Yeah, it's still there. In the piece you can see a computer, which was taking off in the early 80s computers, obviously. People are seen riding a monster attached, others can be falling down. this technology out of control? Ah, yeah, I see. Well, he later wrote of his time in Australia and the themes of this painting in his diary.

He said, quote, pure intellect without feelings is dangerous, i.e., the computer in the hands of those who wish to control. The problem facing modern man now, the reconciliation of intellect and feelings slash brain and heart slash rational and irrational slash mind and spiritual, etc., is compounded by the increasing power of technology and it's misuse by those in power who wish only to control.

So that's his own reading, but honestly, who are we to put any meaning? Because remember, in Keith's own words, he said, often I am drawing in the subway in New York City, an observer will patiently stand by and watch until I finish drawing, and then quickly, as I attempt to walk away, we'll shout, but what does it mean? I usually answer, that's your part. I only do the drawings.

I really like that. Yeah, it could mean anything you want it to me. Yeah, and again, I think music festival, and they're all having a great time. Yeah, great time. And nobody dies, Matthew. Yeah, I hadn't looked up, actually. Genuinely, I hadn't seen the big human centipede at the top. Or not human, centipede being ridden by humans.

Then the computer, that changes it a lot. Changes a lot. But you said, who is he to put meaning on? I reckon he's probably... He can, yes, but he would say to you that's not up to me. Yeah. No. It's up to the viewer.

Yeah. Yeah, no, I reckon it's people falling off the... Yeah, a computer monster. Falling off. Dancing off. Dancing off. Oh, they're doing a dance off with the computer monster for the fate of humanity. Who's going to win?

Well, I mean, we're still here, aren't we, Dave? See any computer monsters around? I didn't think so. Harron continued to paint around the world throughout the rest of the 1980s, and his star only continued to rise. In 1986 alone, he was the subject of more than 40 newspaper and magazine articles. Wow. People loved him.

He also collaborated with many famous people, including Madonna, Grace Jones, Yoko Ono and Andy Warhol. Wow. In 1986, Haring also opened a retail store called the Pops Shop in New York where he sold his works as well as items of clothing like t-shirts and badges. Possibly tote bags. No confirmation. Surely there were some tote bags in there. He began to feel his work had become expensive in the art market and was only accessible to people with lots and lots of money.

The pop shop meant anyone was able to see and also to buy a piece of his work. Whether it be an original or a t-shirt. Yeah, cool. I hope he would, all the t-shirts were originals. They weren't prints. He wasn't screen printing the t-shirts, was he? Oh, you think he's like there with you. Yeah, just free, freehand-y.

What will I do this one? Well, if anyone had the energy, he'd practice in the subway for hours on end. He was ready to go. Yeah. I reckon that would be the only way to do it. As well as knitting the t-shirts himself. Yeah, yeah, yeah. Is that how you make a t-shirt?

Yeah, you knit them. You knit them. T-shirts. famously a knitted product. Very comfy. Yeah. Tragically for Haring, in 1988, he was diagnosed with AIDS, a condition that had already deprived New York City and the art world of many of his friends and colleagues.

He was very open and candid about his diagnosis and worked to raise AIDS awareness establishing the Keith Haring Foundation in 1989, its mandate being to provide funding and imagery to AIDS organisations and children's programs and to expand the audience for Haring's work through exhibitions, publications and the licensing of his images. Keith Haring died of AIDS-related complications on February 16, 1990. Tragically, he was only 31 years old. But since his death, his renown has only grown as he's been the subject of many international retrospectives.

Having painted 51 murals in his short lifetime, 31 of those still exist, and of those 31, this is considered one of the best and most intact anywhere in the world. Cool. Very lucky to have it. Yeah. Very lucky. But being an outdoor mural, the piece of behind us is subject to the elements and painted with dual-lux house paint was not

really suitable for outdoor exposure. Right. Over the years the work suffered significant damage. In 2004 the mural was added to the Victorian Heritage Register and in 2013 internationally renowned conservator Antonio Rava was contracted to carry out restoration works. Oh this is some yeah this is some Rava's work. I didn't know really was Rava. You didn't get a feel of Rava. Yeah no now that you've said it. That's got Rava's prints all over it. See the Rava influence. Look how conserved it is.

So conserved. Wow, that's cool. Is this a good ad for Julex or not? It's funny that they know the brand of paint. Yeah. Well, they just should have gone for the outdoor Jules. Right, yes. In 2020, a new arts precinct was formed around the painting,

known now as Collingwood Yards. It includes artist studios, a radio station, galleries, offices and performance spaces. And the mural lives on, as does Haring's work. His iconic images can still be seen on T-shirts and other bits. of clothing. I'm sure many people don't even know who the artist is, but he's still connecting with people 30 years after his death. And how great that we have one of his biggest and most intact murals right here in an inner suburb of Melbourne that anyone just can come and look at for free. Yeah, that's really cool. It's great. He wanted his art to be accessible

to everyone and it still is. Yeah, amazing. I mean yeah, I would have seen this hundreds of times and I did not know who he was. There you go. Well now you know the story behind the piece. But yeah, I really, I thought it was, I just, I thought it was a brand or something. Pretty embarrassing. Well, I mean, you know, in a way. I'm trying to help you out here. Yeah. When something becomes that iconic and recognisable, it's very instantly recognisable.

Simple but very recognisable, sort of becomes a brand, yeah. Yeah. We should go buy tote bags. Yeah. Matching tote bags. Oh, that'd be so cute. I feel like he would want us to steal them. Oh yeah, he would want us to steal the tote bags, yeah.

And it should be noted that we're also directly behind the tote hotel. Yeah. So it actually feels like... It actually feels right. That's white to-air. That's why Toe. Yeah, okay, that makes sense. Yeah, it makes sense now.

Yeah, let's say another two icons of Melbourne right next to each other. Right here. So cool. You ever play at the Toad Day? A few times, actually, yeah. Oh, sick. You're so fucking cool. If your name was Keith, you'd be number one.

Oh, come that cool, Keith. Dugan Presents Artifacts has been made with the support of the Community Broadcasting Foundation and is available nationwide on the Community Radio Network. Don't forget to sign up to our tour mailing list so we know where in the world you are and we can come and tell you when we're coming there. Wherever we go, we always hear six months later, oh, you should come to Manchester. We were just in Manchester. But this way you'll never, you'll never miss out. And don't forget to sign up, go to our Instagram, click our link tree.

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