Untitled (Pop Shop IV - D), 1989
Untitled (Pop Shop IV - D), 1989
Untitled (Pop Shop IV - D), 1989
Untitled (Pop Shop IV - D), 1989
Untitled (Pop Shop IV - D), 1989

Untitled (Pop Shop IV - D), 1989

Medium: hand-signed silkscreen
Signature: signed and dated 'K. Haring '89' and annotated lower right vertical
Framed size: 22 x 25"
Price on Request
Details
Medium: hand-signed silkscreen
Year: 1989
Edition: 250

Sheet size: 13.5 x 16.5"
Image size: 11.5 x 14.5"
Framed size: 22 x 25"

Signature: signed and dated 'K. Haring '89' and annotated lower right vertical
Reference:
Cantz pg.146

Literature:
Littman, K. Keith Haring: Editions on Paper 1982-1990. New York: Hatje Cantz Publishers, 1993. pg. 146, bottom.


About the Work
"Untitled (Pop Shop IV - D)" is a silkscreen on wove paper created by Keith Haring in 1989 for his 'Pop Shop IV' series. From the edition of 250, the artwork is signed and dated 'K. Haring '89' and annotated lower right vertical. The artwork is framed in a contemporary black frame and has a framed size of 21.5 x 24.5". The artwork ships framed and accompanied by a certificate of authenticity.

Keith Haring’s "Pop Shop" series stands among the most emblematic achievements of his career, encapsulating both his visual language and his philosophical commitment to accessibility. Initiated in the mid-1980s and culminating in "Pop Shop IV" in 1989, the series reflects Haring’s desire to dissolve the barriers between high art and popular culture. Named after his retail space in downtown New York, the Pop Shop was conceived as an extension of his practice, a place where art could be encountered, purchased, and lived with by a broad public. The prints that bear its name function as both artworks and democratic objects, reiterating Haring’s belief that art should exist beyond the confines of the gallery.

"Pop Shop IV," produced in the final year of Haring’s life, represents a mature distillation of his iconography. Executed in screenprint, the four-print series features his signature vocabulary of simplified figures, bold contour lines, and radiant energy marks. These compositions are deceptively direct. Beneath their clarity lies a complex symbolic system that addresses themes of life, death, transcendence, and human connection. At this late stage, Haring’s work achieves a heightened balance between joy and urgency, reflecting both the vitality of his imagery and the personal and social challenges that informed his final years.

"Pop Shop IV-D" centers on another of Haring’s most iconic motifs: the radiant baby. In this composition, two figures lift the child upward, their bodies forming a supportive structure beneath it. The infant, surrounded by emanating lines, appears as a source of pure energy and light. Throughout Haring’s oeuvre, the radiant baby functions as a symbol of life, potential, and uncorrupted existence. It is both a literal representation of birth and a more abstract embodiment of creative force.

The act of lifting the child introduces themes of care, collective responsibility, and elevation. The figures do not simply present the baby; they uphold it, suggesting that life itself is sustained through communal effort. This imagery resonates with Haring’s broader commitment to social engagement and his belief in the power of unity. The composition is structurally simple, yet its meaning is expansive. The upward gesture implies hope and continuity, even in a moment marked by uncertainty and loss.

The works within "Pop Shop IV" articulate a vision of interconnectedness that is central to Haring’s legacy. His figures, stripped of individual identity, operate as universal archetypes. They invite recognition rather than distance, encouraging viewers to see themselves within the imagery. The repetition of motifs such as the angel and the radiant baby creates a symbolic language that is immediately legible yet open to interpretation.

As both a continuation of the Pop Shop ethos and a culminating statement of his artistic vision, "Pop Shop IV" occupies a significant place within Haring’s oeuvre. It embodies his insistence that art can be at once accessible and profound, joyful and deeply engaged with the realities of its time. Through these images, Haring offers not only a reflection of the late twentieth century but also a lasting meditation on life, connection, and transcendence.
About the Artist

Keith Haring (1958 – 1990) rose from New York’s subways in the early 1980s to become one of the most recognizable artists of the late 20th century. His bold lines and iconic figures—radiant babies, barking dogs, dancing silhouettes—bridged street culture and high art, carrying urgent messages about equality, public health, and community. Collaborating across fashion, music, and design, and through his Pop Shop, Haring pioneered the idea that art should be accessible to all. In his short career, he addressed issues from AIDS awareness to apartheid, leaving behind a legacy both playful and profoundly political. Today his works are held by leading institutions including MoMA, the Whitney, the Centre Pompidou, and the Stedelijk, and continue to command strong demand in the international market. Haring’s vision remains as resonant as ever: art as a universal language, alive with optimism and activism.

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