{"id":1061,"date":"2022-08-19T22:21:05","date_gmt":"2022-08-19T22:21:05","guid":{"rendered":"https:\/\/haringgallery.com\/?post_type=artworks&p=1061"},"modified":"2023-10-23T23:13:15","modified_gmt":"2023-10-23T23:13:15","slug":"stones-2","status":"publish","type":"artworks","link":"https:\/\/haringgallery.com\/artworks\/stones-2\/","title":{"rendered":"Stones 2"},"content":{"rendered":"
Crafted in 1989, Stones 2<\/em> 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.<\/p>\n 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.<\/p>\n 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<\/em> 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.\u00a0Stones 1<\/a>,<\/em> though similar, exhibits slightly more of Haring’s roots in graffiti, showing a cartoonesque hand with a bracelet, and an emphasis on the middle.<\/p>\n 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.<\/p>\n See also:\u00a0Stones<\/a>, Stones 3<\/a>, Stones 4<\/a>,\u00a0<\/em>and\u00a0Stones 5<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" 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 […]<\/p>\n","protected":false},"featured_media":564,"template":"","meta":{"_acf_changed":false,"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"decades":[10],"acf":[],"yoast_head":"\n