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  • Village Voice

    The Great Walls of Chinatown

    With the exception of the electric rice cookers, this Bowery tenement could have come straight from the Nineteenth Century.

    By Elizabeth Dwoskin

  • Houston Press

    Getting Off

    DUI attorney Tyler Flood wins 80 percent of his trials--even if his clients were 100 percent drunk.

    By Mike Giglio

  • Miami New Times

    Park or Die Tryin'

    From the homeless parking mafia to the meter fairy, finding a spot in Miami has taken a turn toward the surreal.

    By Gus Garcia-Roberts

  • City Pages

    The Baddest Men on the Planet

    Straight from the Sam's Club tire shop, Brett Rogers prepares to meet Fedor Emelianenko in mortal combat.

    By Bradley Campbell

PICK The Universe of Keith Haring: Honoring the Art-World Star of ’80s New York

By Brian Miller

Published on September 16, 2008 at 9:08pm

Equally a portrait of the artist and of a decade, this celebratory documentary makes the short, accelerated life of Keith Haring (1958–1990) inseparable from that short, accelerated period we know as '80s New York. He arrived there, like his idol Andy Warhol, a small-town boy from Pennsylvania. He swiftly became an art-world star, known for vibrant, optimistic cartoons and murals—often executed in subway stations, graffiti-style, and on sidewalks—and as something of a gay icon. Madonna performed at his birthday party, in a dress covered with his scribbles. He painted a mostly nude Grace Jones, whom we see performing here—among many other period clips—at the famed Paradise Garage. Near decade's close, Haring was commissioned to paint the Berlin Wall—a reminder of how that era was to end so abruptly. AIDS, of course, was its punctuation note. Haring was an activist before he fell ill, and he continued to create and lecture—with generous excerpts shown here—right up to the inevitable end. With family and other members of the Keith Haring Foundation interviewed here (plus Yoko Ono, Kenny Scharf, and various scenesters), Universe is not a critical appraisal of Haring's work or legacy. I lived in Manhattan during those years, and his youthful energy surely made the city a better place. Today his work holds up less well on museum walls than as cheerful hospital murals—instruments of healing, Haring believed. Maybe that's ironic, or maybe we just live in unhealthier times.