Jackson Arn reviews “Radiant: The Life and Line of Keith Haring,” Brad Gooch’s new biography of the graffiti artist who conquered the gallery world.
What was still novel was the idea that graffiti could sell for real money. At the end of the summer, the stock market began its famed five-year sprint, yanking the art market behind it. A newly loaded clientele went south of Fourteenth Street, where the principal crops included cocaine, rancid apartments, and most of the worthwhile culture within the city limits. In a single year, more than twenty galleries sprouted in the East Village alone.
In footage of his early graffiti stunts, the images themselves don’t really seem to be the point, any more than the color and curvature of rubber balls are the point of juggling. His chalk drawings are almost always very crude, so as not to interfere with the whooshing immediacy of the performance or the nervous allure of the performer. In “Painting Myself Into a Corner,” a video Haring created while still at S.V.A.
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