{"title":"Featured Works by Keith Haring","description":"","products":[{"product_id":"haring-growing-1988-2","title":"Growing #2, 1988","description":"\u003cdiv\u003e\u003cspan\u003e\"Growing #2\" is a unique trial-proof screenprint created by Keith Haring in 1988 for his 'Growing' series. From the edition of 192, the unique trial-proof is signed and dated 'K. Haring 88' lower right. The artwork is framed in a custom, closed-corner, gold leaf frame and has a framed size of 39 x 49\". The artwork ships framed and accompanied by a certificate of authenticity. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eDubbed “a child of Pop Art,” Keith Haring rose with remarkable speed in the 1980s to occupy a central position within the movement’s expanded field. His instantly recognizable line-work and saturated palette draw upon the visual language of mass media, yet his work resists mere appropriation. Instead, Haring forged a distinct pictorial system that merged accessibility with urgency, collapsing the boundaries between fine art, street culture, and social activism.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eWhile much of Haring’s output engages weighty themes such as the AIDS crisis, apartheid, and systemic inequality, the 1988 \"Growing\" suite offers a luminous counterpoint. Here, the emphasis shifts toward vitality, rhythm, and collective joy. Across the series, bodies pulse and expand in a choreography that recalls the kinetic energy of 1980s dance culture, from breakdancing to vogue. Movement becomes both subject and structure, animating each composition with a sense of continuous transformation.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eAs Jeffrey Deitch observed, Haring’s work emerges directly from the body, a physical extension of the artist’s gesture and presence. This corporeal immediacy is central to \"Growing.\" Figures stretch, multiply, and interlock, suggesting processes of evolution and interdependence. Circular forms function fluidly as heads, torsos, or generative seeds, reinforcing themes of origin and growth. In several compositions, a single figure proliferates outward like a branching organism, while in others, stacked bodies emphasize support, ascent, and communal becoming.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eFormally and conceptually, \"Growing\" resonates with Haring’s \"Pop Shop\" series while advancing a more explicit meditation on transformation. The figures are stripped of hierarchy and identity, achieving an archetypal clarity that underscores Haring’s belief in shared humanity. This universality is not abstract but lived. Haring bridged disparate cultural spheres, from South Bronx hip hop to downtown club culture and conceptual art circles, synthesizing them into a unified visual language.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eEqually significant is Haring’s embrace of printmaking as a democratic medium. By translating his drawings into screenprints, he enabled wide dissemination without sacrificing immediacy. Within this framework, experimentation remained vital, particularly in unique impressions that explore bold and subtle variations in color. These works blur the boundary between print and original, offering collectors both the cultural resonance of an iconic series and the rarity of singular expression.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eHaring’s regular editions are desirable in their own right, as in \"Growing #1,\" the most popular image in the series. However, three of these particular prints are unique trial-proof screenprints. \"Growing #2,\"\"Growing #3,\" and \"Growing #5\" feature experimental combinations of color — subtle variation in #3 and bold departure in #2. Unlike the regular edition prints, each trial proof is one of a kind, effectively blurring the line between printmaking and unique work.   Collectors prize trial proofs for exactly this reason: they carry the aura of originality while also belonging to an iconic series. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003eTaken as a whole, the \"Growing\" suite encapsulates Haring’s enduring vision. It is a celebration of connection, movement, and shared existence, rendered with a clarity and optimism that continue to resonate.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/div\u003e","brand":"Keith Haring","offers":[{"title":"Default Title","offer_id":16945898061895,"sku":"GRHARTP9002","price":285000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1551\/3581\/files\/GRHARTP9002__P-Image_growing_2_grhartp9002_tp331copy_ed_bl.jpg?v=1760648433"},{"product_id":"growing-1988-3","title":"Growing #3, 1988","description":"\u003cdiv\u003e\u003cspan\u003e\"Growing #3\" is a unique trial-proof screenprint created by Keith Haring in 1988 for his 'Growing' series. From the edition of 192, the unique trial-proof is signed and dated 'K. Haring 88' lower right. The artwork is framed in a custom, closed-corner, gold leaf frame and has a framed size of 39 x 49.12\". The artwork ships framed and accompanied by a certificate of authenticity. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eDubbed “a child of Pop Art,” Keith Haring rose with remarkable speed in the 1980s to occupy a central position within the movement’s expanded field. His instantly recognizable line-work and saturated palette draw upon the visual language of mass media, yet his work resists mere appropriation. Instead, Haring forged a distinct pictorial system that merged accessibility with urgency, collapsing the boundaries between fine art, street culture, and social activism.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eWhile much of Haring’s output engages weighty themes such as the AIDS crisis, apartheid, and systemic inequality, the 1988 \"Growing\" suite offers a luminous counterpoint. Here, the emphasis shifts toward vitality, rhythm, and collective joy. Across the series, bodies pulse and expand in a choreography that recalls the kinetic energy of 1980s dance culture, from breakdancing to vogue. Movement becomes both subject and structure, animating each composition with a sense of continuous transformation.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eAs Jeffrey Deitch observed, Haring’s work emerges directly from the body, a physical extension of the artist’s gesture and presence. This corporeal immediacy is central to \"Growing.\" Figures stretch, multiply, and interlock, suggesting processes of evolution and interdependence. Circular forms function fluidly as heads, torsos, or generative seeds, reinforcing themes of origin and growth. In several compositions, a single figure proliferates outward like a branching organism, while in others, stacked bodies emphasize support, ascent, and communal becoming.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eFormally and conceptually, \"Growing\" resonates with Haring’s \"Pop Shop\" series while advancing a more explicit meditation on transformation. The figures are stripped of hierarchy and identity, achieving an archetypal clarity that underscores Haring’s belief in shared humanity. This universality is not abstract but lived. Haring bridged disparate cultural spheres, from South Bronx hip hop to downtown club culture and conceptual art circles, synthesizing them into a unified visual language.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eEqually significant is Haring’s embrace of printmaking as a democratic medium. By translating his drawings into screenprints, he enabled wide dissemination without sacrificing immediacy. Within this framework, experimentation remained vital, particularly in unique impressions that explore bold and subtle variations in color. These works blur the boundary between print and original, offering collectors both the cultural resonance of an iconic series and the rarity of singular expression.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eHaring’s regular editions are desirable in their own right, as in \"Growing #1,\" the most popular image in the series. However, three of these particular prints are unique trial-proof screenprints. \"Growing #2,\"\"Growing #3,\" and \"Growing #5\" feature experimental combinations of color — subtle variation in #3 and bold departure in #2. Unlike the regular edition prints, each trial proof is one of a kind, effectively blurring the line between printmaking and unique work.   Collectors prize trial proofs for exactly this reason: they carry the aura of originality while also belonging to an iconic series. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eTaken as a whole, the \"Growing\" suite encapsulates Haring’s enduring vision. It is a celebration of connection, movement, and shared existence, rendered with a clarity and optimism that continue to resonate.\u003c\/span\u003e\u003c\/div\u003e","brand":"Keith Haring","offers":[{"title":"Default Title","offer_id":17857796767815,"sku":"GRHARTP9103","price":285000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1551\/3581\/files\/GRHARTP9103__P-Image_Growing_3_GRHARTP9103_TP0019_ed_bl.jpg?v=1760648901"},{"product_id":"people-ladder-1985-three-lithographs","title":"\"People Ladder\" (Three Lithographs), 1985","description":"\u003cdiv\u003e\u003cspan\u003e\"\"People Ladder\" (Three Lithographs)\" is a lithograph created by Keith Haring in 1985. From the edition of 107, the artwork is signed and dated 'K. Haring 85 +' and annotated, lower right vertically. The artwork is framed in a contemporary white frame and has a framed size of 45 x 37.5\". The artwork ships framed and is accompanied by a certificate of authenticity.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eCreated in 1985, at the height of Keith Haring’s rapid rise, \"People Ladder\" is one of three large-scale prints from the \"Three Lithographs\" portfolio. Rendered in Haring’s unmistakable vocabulary of bold black line, white space, and a vivid red border, the image transforms a simple arrangement of bodies into a charged symbol of movement, collectivity, and urban rhythm.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eTwo vertical towers of figures rise from the dotted ground, each body balanced on the next. At first glance, the work reads as an emblem of cooperation: people literally supporting one another, forming human ladders through shared strength. Haring’s faceless figures erase individual distinction, presenting humanity as a linked, democratic body. No one is isolated; each figure is both supported and supporting, both climber and foundation.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eYet \"People Ladder\" is more than a straightforward image of communal uplift. The two stacks face one another like opposing crews, and the radiating motion lines around each body give the scene a pulsing, performative force. The figures seem to bounce, lock, climb, pose, and answer one another. This energy connects the print to the New York street culture that shaped Haring’s early work: subway graffiti, hip-hop, club performance, and especially the physical language of breaking. Haring’s own subway drawings emerged between 1980 and 1985 in the public arena of New York transit, where speed, visibility, audience, and risk were central to the work’s meaning. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSeen through this context, the “ladder” becomes not only a metaphor for support, but also a visual echo of breakdance battling: call and response, competition, balance, display, and rhythmic escalation. Haring was described by art historian Robert Farris Thompson as a “Degas of the B-boys,” an artist who translated electric boogie and breakdance into his own graphic idiom. In \"People Ladder,\" that translation is especially vivid. The image is communal, but not passive. It suggests a community built through motion, challenge, performance, and mutual recognition.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eThe red border frames the action like a stage, intensifying the sense that we are witnessing a public event. Within it, Haring compresses social energy into its most direct form: bodies in motion, bodies in relation, bodies rising together. The result is both joyful and competitive, playful and structured, accessible and deeply layered.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\"People Ladder\" endures because it holds these meanings at once. It is a celebration of solidarity, but also of urban performance and creative contest. In Haring’s hands, the human figure becomes a sign of collective power—graphic, rhythmic, hopeful, and unmistakably alive.\u003c\/span\u003e\u003c\/div\u003e","brand":"Keith Haring","offers":[{"title":"Default Title","offer_id":39438219804743,"sku":"GRHAR501700","price":285000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1551\/3581\/files\/GRHAR501700__P-Image_people_ladder_grhar501700_nu46_ed_bl.jpg?v=1760648810"},{"product_id":"free-south-africa-1985-2","title":"Free South Africa (#2), 1985","description":"\u003cp\u003e\"Free South Africa (#2)\" is a lithograph created by Keith Haring in 1985 for his series 'Free South Africa.' From the edition of 82, the artwork is signed and dated 'K. Haring '85' and annotated vertically lower right. The artwork is framed in a contemporary white frame and has a framed size of 37 x 44.5\". The artwork ships framed and accompanied by a certificate of authenticity. \u003c\/p\u003e\n\u003cp\u003eKeith Haring was a celebrated artist as well as staunch social activist, who used his art as a primary source of advocacy for the LGBTQ community, AIDS, and racial and social justice around the globe.  He would join various groups for international causes including the Anti-Apartheid movement struggling against the oppressive South African government. After centuries of racial, social, and economic oppression, the liberation movement reached a turning point in the 1980s as even more separatist laws and policies were being put in place.  \u003c\/p\u003e\n\u003cp\u003eThe ‘Free South Africa’ series is composed of three lithographs that depict the tension between the black and white populations of South Africa. The white figure is a much smaller size, representing the small group of white elites that held power within the nation. The black figure represents the black majority population, fighting for their equality and rights. Movement lines scatter about the page emphasizing the struggle between the two figures in their battle. The small white figure, despite the battle, still tries to maintain its grasp on the restraint around the black figure’s neck, as a final attempt to maintain control and dominance.\u003c\/p\u003e\n\u003cp\u003eThe image exemplifies Haring’s unique ability to convey a message and communicate through simple and direct images. Haring often spoke frankly about his view of the effects that colonization and racism have on the world - these were issues of paramount importance to him. This fact spurred him to recreate these images in lithograph form, allowing for much wider distribution. He circulated around 20,000 posters around New York City in support of the Anti-Apartheid movement. In a journal entry from March 28, 1987, Haring wrote, “Control is evil. All stories of white men's ‘expansion’ and ‘colonization’ and ‘domination’ are filled with horrific details of the abuse of power and the misuse of people.”   \u003c\/p\u003e","brand":"Keith Haring","offers":[{"title":"Default Title","offer_id":39735256645703,"sku":"GRHAR502002","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1551\/3581\/files\/GRHAR502002__P-Image_Free_South_Africa_1985_2_GRHAR502002_NU0014.jpg?v=1773338539"},{"product_id":"free-south-africa-1985-3","title":"Free South Africa (#3), 1985","description":"\u003cp\u003e\"Free South Africa (#3)\" is a lithograph created by Keith Haring in 1985 for his series 'Free South Africa.' From the edition of 82, the artwork is signed and dated 'K. Haring '85' and annotated vertically lower right. The artwork is framed in a contemporary white frame and has a framed size of 48.75 x 41.25\". The artwork ships framed and accompanied by a certificate of authenticity. \u003c\/p\u003e\n\n\u003cp\u003eKeith Haring was a celebrated artist as well as a staunch social activist, who used his art as a primary source of advocacy for the LGBTQ community, AIDS, and racial and social justice around the globe.  He would join various groups for international causes including the Anti-Apartheid movement struggling against the oppressive South African government. After centuries of racial, social, and economic oppression, the liberation movement reached a turning point in the 1980’s as even more separatist laws and policies were being put in place.  \u003c\/p\u003e\n\n\u003cp\u003eThe ‘Free South Africa’ series is composed of 3 lithographs that depict the tension between the black and white populations of South Africa. The white figure is a much smaller size, representing the small group of white elites that held power within the nation. The black figure represents the black majority population, fighting for their equality and rights. Movement lines scatter about the page emphasizing the struggle between the two figures in their battle. The small white figure, despite the battle, still tries to maintain its grasp on the restraint around the black figure’s neck, as a final attempt to maintain control and dominance.\u003c\/p\u003e\n\n\u003cp\u003eThe image exemplifies Haring’s unique ability to convey a message and communicate through simple and direct images. Haring often spoke frankly about his view of the effects that colonization and racism have on the world - these were issues of paramount importance to him. This fact spurred him to recreate these images in lithograph form, allowing for much wider distribution. He circulated around 20,000 posters around New York City in support of the Anti-Apartheid movement. In a journal entry from March 28, 1987, Haring wrote, “Control is evil. All stories of white men's ‘expansion’ and ‘colonization’ and ‘domination’ are filled with horrific details of the abuse of power and the misuse of people.”\u003c\/p\u003e","brand":"Keith Haring","offers":[{"title":"Default Title","offer_id":46047463342397,"sku":"GRHAR502003","price":118500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1551\/3581\/files\/GRHAR502003__P-Image_grhar502003_untitled_nu0037_ed_bl.jpg?v=1760648693"},{"product_id":"untitled-dedicated-for-jim-k-haring-82-1982","title":"Untitled (dedicated \"For Jim-K. Haring '82\"), 1982","description":"\u003cp\u003e\"Untitled (Dedicated \"For Jim-K. Haring '82\")\" is a felt tip pen on paper drawing created by Keith Haring in 1982. The drawing is signed, dated, and dedicated 'For Jim - K. Haring '82' lower right vertical. The artwork ships framed in a contemporary black frame and has a framed size of 13 x 16\".\u003c\/p\u003e\n\n\u003cp\u003eCommunicating larger ideas with simple imagery has always been a strength of Haring. Along with enticing subject matter and his ability to introduce strange imagery, his true strength lies in his curation of symbols. In this untitled early work from 1982, Haring’s re-imagining of symbols forces the audience to ask what internal attributes of a bird match with the metamorphosed figure and how does the external imagery (the crowd) relate to the subject and to themselves. Birds and flight are symbolic of freedom or the yearning to be free, and here we have a half-human, half-bird wielding a primitive ‘stick’ to a crowd, a powerful united front against oppression. The stick is a common symbol in Haring’s art and coincides with personal and individual power, he uses it as a way to activate figures and objects in his works with strength.\u003c\/p\u003e","brand":"Keith Haring","offers":[{"title":"Default Title","offer_id":49205341749565,"sku":"ORHAR198233","price":195000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1551\/3581\/files\/ORHAR198233__P-Image_Untitled_1982_ORHAR198233_OR0001_sm.jpg?v=1737737535"},{"product_id":"flowers-red-1990","title":"Flowers (Red), 1990","description":"\u003cdiv\u003e\u003cspan\u003e\"Flowers (Red)\" is a silkscreen on Wove paper created by Keith Haring in 1990. From the edition of 133, the artwork is signed and dated 'K. Haring '90' vertical lower right. The artwork is framed in a contemporary black frame and has a framed size of 44.25 x 56\". The artwork ships framed and accompanied by a certificate of authenticity. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eKeith Haring’s \"Flowers\" series, created in 1990, reimagines one of art’s most familiar subjects as something bold, urgent, and alive. In the red version, Haring reduces the image to a single monumental flower: an orange bloom rising from a green stem against a charged red ground. The result is simple at first glance, but powerful in its impact — part flower, part symbol, part burst of energy.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eWhat makes the image so compelling is the way Haring refuses to treat the flower as merely decorative. This is not a quiet botanical study. The flower feels animated, almost bodily, with Haring’s black line giving it weight, rhythm, and personality. Set against the saturated red field, the orange and green forms push forward with the immediacy of a poster, a sign, or a public message.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eThe surface also gives the print its distinctive character. Rather than relying only on flat, clean color, Haring allows painterly marks and vertical drips to remain visible across the composition. These marks are part of the printed image, creating a productive tension between editioned screenprint and handmade gesture. The work has the polish and scale of a major print, but it still carries the feeling of touch, movement, and spontaneity.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eCreated in the final year of Haring’s life, the \"Flowers\" series naturally carries emotional weight. Yet the red version does not feel mournful. It feels assertive. The flower becomes an image of resilience: fragile in subject, but forceful in presence. It suggests growth, beauty, renewal, and survival without becoming sentimental.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eThat balance is part of what makes the work feel so relevant today. Flowers remain universal symbols — used to celebrate, mourn, remember, protest, and express care. Haring understood the power of a simple image to speak across boundaries, and here he turns the flower into something immediate and contemporary: a sign of life standing boldly against intensity.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\"Flowers (Red)\" is visually direct, emotionally open, and unmistakably Haring. It combines the accessibility collectors love in his work with the depth and poignancy of a late series. Bright, graphic, and full of presence, it is an image of beauty under pressure — and of life insisting on being seen.\u003c\/span\u003e\u003c\/div\u003e","brand":"Keith Haring","offers":[{"title":"Default Title","offer_id":50539420385597,"sku":"GRHARF167RD","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1551\/3581\/files\/GRHARF167RD__P-Image_Flowers_1990_GRHARF167RD_NU0051_sm_ed_bl.jpg?v=1760648499"}],"url":"https:\/\/martinlawrence.com\/collections\/featured-works-by-keith-haring.oembed","provider":"Martin Lawrence Galleries","version":"1.0","type":"link"}