Crafted in 1989, Stones 2 stands as a prime representation of Keith Haring’s embrace of lithography in his later works. This piece, rendered on white paper, features striking thick white lines set against a deep black background. The predominant design resembles a labyrinth, resonating with hints of tribal patterns, evoking Aztec and pre-Columbian art.
Within the maze-like composition, the viewer’s gaze is drawn towards three concentric circles. At the apex of these circles, a form reminiscent of a dancing human can be discerned, with a pronounced triangle at its heart. This vibrant imagery, paired with Haring’s astute play on line and space, exudes an air of mystique and captivation.
There’s a distinct echo of Haring’s formative years here. The contrasts and the chalk-like white lines are reminiscent of his guerrilla artistry in New York’s subway stations, where chalk drawings adorned black advertising boards. Yet, Stones 2 showcases a more mature and focused Haring. While the subway graffiti had a fleeting life, hinting at impermanence, this lithograph, with its precision and depth, suggests endurance and permanence. Stones 1, though similar, exhibits slightly more of Haring’s roots in graffiti, showing a cartoonesque hand with a bracelet, and an emphasis on the middle.
The masterstroke of intertwining age-old lithographic practices with contemporary art sensibilities, as seen in Stones 2, underlines Haring’s adeptness at blending time-honored techniques with his modern, avant-garde vision. The piece serves as a vivid testament to art’s ability to transcend medium and time, bridging the ancient with the now.
