In one such reminiscence, Doonan watches as Haring units up one of his installations as a backdrop at Paradise Garage—though whether or not it was for a Grace Jones efficiency or a Larry Levan DJ set, he can’t fairly recall. “Keith was a bit hurt because people ignored it and carried on dancing, but I remember standing there and watching him install it,” Doonan says. “It was a chaotic period, but it was always fun.”
All the identical, for Doonan, the pleasure in retelling Haring’s story lies much less in the frisson of his interactions with the artist and extra in highlighting the features of his observe that had been, in hindsight, astonishingly forward of their time. Haring’s radically democratic understanding of what artwork could possibly be—realized via tasks like the Pop Shop and the subway graffiti items he delighted in seeing members of the public snatch away earlier than the police obtained to them—could also be well-known now, however in his ’80s heyday, it was a blurring of excessive and low that scandalized the artwork world.
Not that Haring actually cared. He beloved trend too, whether or not portray Grace Jones from head to toe (with equipment by the late David Spada to cowl her modesty) or lending his prints to Vivienne Westwood and Malcolm McLaren on the different facet of the pond to combine into their chopped-and-screwed punk trend fantasies. “Historically, art and artists have stayed very far away from fashion,” Doonan notes. “But this was a time when style, fashion, art, music, hip-hop, breakdancing, graffiti all fell into this blender of New York City, and it was a tremendously energized period.
“Everyone approached it with no preconceived ideas,” he continues, “so you ended up in a situation where Madonna, Keith Haring, Warhol, and Grace Jones were the new aristocrats of this movement, this new collaborative collision that was taking place in lower Manhattan.”
Of course, Haring’s legacy as one of the most vital artists of the Eighties is now sacrosanct—however for Doonan, half of the enjoyable of revisiting his physique of work was imagining how keenly at dwelling Haring can be in the campy, hyper-saturated celeb tradition of the current day. In the guide’s epilogue, he footage Haring working with Louis Vuitton in the identical vein of the personalized purses created by Marc Jacobs in collaboration with artists like Yayoi Kusama and Richard Prince, or hanging out with Kanye West and Kim Kardashian at their dwelling in Calabasas. The unusual matrix of celeb, artwork, and trend that Haring quietly predicted has now, very loudly, come to cross.