What is it about Keith Haring’s art that I have always loved? He was hitting his peak as an artist/street artist in the 70’s/early 80’s, so perhaps it is because, being born in 1976, his art was my introduction to graffiti as art. His designs were cartoonish, in bold colors, simplistic to the average person, and filled with motion. Haring’s work was not only accessible as art, but accessible by being licensed for TONS of products. Cynics could say he was “selling out”, but he believed in the democratization of art, frequently giving away free doodles to fans. Haring’s death in 1990 of AIDS-related illness is an important milestone in my life. His passing, along with Ryan White, turned me into an activist at a young age, constantly following the research and injustice of the early AIDS crisis. (FYI, this is just things I personally remember, not from any official source.)
This should explain why when Princeton University Press reached out to me with regards to reviewing a book about Keith Haring, I didn’t care what it was, I just wanted it! (Also, Princeton University Press, who’s the scholarly blogger?) The book they sent me (which I did know what it was going to be) was “Haring-isms” edited by Larry Warsh. It is part of Princeton’s “ISM” series, where they try to capture the essence of a variety of artists by collecting their quotations into high quality, pocket-sized, hardcover books. Along with “Haring-isms” you can find “Arsham-isms”, “Basquiat-isms”, “Weiwei-isms”, and more.
Editor Larry Warsh writes a personal and informative introduction to “Haring-isms.” After that, it is quote after wonderful quote. Here a just a few of my favorites:
It was a long time before I was successful – or wanted to be. All I ever wanted, and what I want now, is to draw, draw, draw.
I was never good at quite defining what is and what is not art. I mean, eventually everything can be art if we see it like art.
I think if people make art that is in tune with popular culture and comes from popular culture, they should put it back into that culture.
If I was going to draw, there had to be a reason. That reason, I decided, was for people.
Part of the reason that I’m not having trouble with the reality of death is that it’s not a limitation, in a way. It could have happened any time, and it is going to happen sometime. If you live your life according to that, death is irrelevant. Everything I’m doing right now is exactly what I want to do.
Each quote has a number so you can reference its source in the back of the book.
Obviously, I love “Haring-isms”. The only drawback is, other than the icon on the cover, none of Haring’s art is featured in it. I would easily pay twice the price to have these quotes along side images of some of his artwork. However, the lack of art keeps the book at a reasonable price point considering its high-quality formatting. If you’ve ever been inspired by Keith Haring, “Haring-isms” is for you.
Learn more here.
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Have you been spending more time at home? Well, you should be, there IS a pandemic going on after all. I should be using this time to accomplish loads of things, but honestly, I’m not. Sure, some people are learning new skills, or getting shape, but there is nothing wrong with just maintaining. That’s pretty much what I do…. maintain.
This is just the most charming book you could ever hope to see. Lichtenstein takes plants and their properties and pairs them with their crystal soulmates to create a “vibe”. Her book is divided into 4 parts: Fractals of Love, You’ve Got This, No Bad Days, and The Plant & Crystal Diet. Within them you’ll find pairings like “I Feel Pretty” (pink opal and a hibiscus plant), “Your Daily Podcast” (emerald quartz and a jade plant), “Bloom Where You Are” (rose quartz and a sweetheart hoya), and “Supercharged You” (rainbow aura quartz and a monstera). I’ve spent a lot of time Googling plants after reading this book!
The author’s biography is compelling. A freelance illustrator discovers meditation at the age of 24 years old. This leads him to Plum Village, a monastery in France founded by Vietnamese Zen master Thich Nhat Hanh. He eventually received ordination and 3 years later returned to his home country of Italy where he works as an artist for Disney. Who wouldn’t want to see that book?
Paired with her photos are the writings of New Orleans Voodoo Queen Bloody Mary, who some of you may recognize as the author of “Bloody Mary’s Guide to Hauntings, Horrors, and Dancing with the Dead”. Bloody Mary helps provide a frame of reference, a starting point if you will, for the art that Howard creates. Howard presents her interpretation of such Voodoo notables as Papa Legba, Baron Samedi, and Marie Laveau. She also pays artistic respect to Voodoo trappings like snakes, the Crossroads, and animal sacrifice.
“Self-Love through the Sacred Feminine: A Guide through the Paintings & Channelings of Jo Jayson” is a thoughtful exploration of what it is to identify as a woman. Jayson explores the lives/folklore and wisdom of Guinevere: The Queen, Mariamne of Magdala: The Magdalene, Brighid: Mother Goddess of Ireland, Isis: One Who is All, Mary: The Mother, Jeanne D’Arc: Maid of Orleans, Miriam: The Prophetess, Guan Yin: Mother of Compassion and Mercy, Morgan Le Fey: The Water Spirit, Artemis: Maiden of The Hunt, Kali Ma: The Dark Mother, Inanna: Star of Heaven and Earth, and Grandmother Spider: The Weaver.
I remember looking through the Weiser Books catalog and seeing “Witchbody” by Sabrina Scott. It was described as a graphic novel about everyday magic. I’m a fan of comic books, particularly in their collected form, commonly referred to as a “graphic novel”, so I had to check it out. Simply put, it’s amazing.
She’s right. In this time of #resistance, Austen’s look at universal spiritual feminism is right on the mark. Respect for the earth, community building, and reclaiming the power womanhood all blend together in “The Heart of the Goddess”. Instead of your typical who’s who of female deities, Austen discusses each goddess from the perspective of a piece of artwork featuring the deity. This allows for a discussion of the origin of the art (geography and date) and with it, the history and culture surrounding the goddess.
