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Journal articles on the topic 'Haring, Keith'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Herring, S. "Keith Haring and Queer Xerography." Public Culture 19, no. 2 (2007): 329–48. http://dx.doi.org/10.1215/08992363-2006-039.

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2

Bush, Elizabeth. "Keith Haring: The Boy Who Just Kept Drawing by Kay A. Haring." Bulletin of the Center for Children's Books 70, no. 6 (2017): 269. http://dx.doi.org/10.1353/bcc.2017.0109.

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3

Almeida, Vinicius Santos. "O Contra Modelo da Heteronormatividade em Keith Haring (1958-1990)." Cadernos de Gênero e Diversidade 4, no. 3 (2018): 89. http://dx.doi.org/10.9771/cgd.v4i3.24892.

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Este ensaio procura discutir a representação da heteronormatividade em homens gays feita pelo artista plástico Keith Haring. Ao mesmo tempo em que expôs uma imagem hipermasculinizada desses sujeitos na Nova Iorque dos anos 1970 e 1980, Haring desconstruiu tal imagem com o objetivo de acabar com a cisão e hierarquia entre os homens gays que estavam dentro do padrão másculo e viril e aqueles que estavam fora desse padrão. Para isso, ele criou o personagem One Man, a partir do qual exalta a superficialidade dos comportamentos da masculinidade exacerbada, reprodutora de uma norma heterossexual. Co

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4

Chica Díaz, Marcos. "Arte y Ciudad en la Educación Infantil. Keith Haring." Revista Contexto & Educação 31, no. 99 (2017): 99. http://dx.doi.org/10.21527/2179-1309.2016.99.99-115.

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5

Dickens, Jenny, Antonio Rava, Maria Perla Colombini, Marcello Picollo, and Will Shank. "Keith Haring in Pisa and Melbourne: Controversy and conservation." Studies in Conservation 61, sup2 (2016): 29–37. http://dx.doi.org/10.1080/00393630.2016.1193691.

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6

Cras, Sophie. "Les isotypes de Keith Haring : du graffiti au graphisme communicationnel." Histoire de l'art 70, no. 1 (2012): 113–22. http://dx.doi.org/10.3406/hista.2012.3404.

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7

Vasil, Martina. "Hip-Hop and Haring: Pop Culture and Interdisciplinary Learning for the General Music Classroom." General Music Today 34, no. 1 (2020): 6–13. http://dx.doi.org/10.1177/1048371320901541.

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Teachers are searching for accessible, relevant, and engaging lessons for students as elementary classrooms grow more diverse and high-stakes testing constrict curricula and recess time. General music teachers may consider implementing lessons that blend popular culture with collaborative, interdisciplinary projects. Artist Keith Haring was inspired by 1980s hip-hop music and drew break dancing figures in much of his artwork. Both Haring’s artwork and hip-hop culture have broad appeal and are accessible to students. The purpose of this article is to share an exploratory series of lessons that

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8

Montez, R. ""TRADE" MARKS: LA2, Keith Haring, and a Queer Economy of Collaboration." GLQ: A Journal of Lesbian and Gay Studies 12, no. 3 (2006): 425–40. http://dx.doi.org/10.1215/10642684-2005-005.

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9

Soliani, Caterina. "The graffiti art and the discover of the Keith Haring’s mural in Amsterdam." Revista Eviterna, no. 8 (September 22, 2020): 236–49. http://dx.doi.org/10.24310/eviternare.vi8.8979.

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The purpose of this work is to contribute to the continuous growth of the art world (Street Art in particular) and to discuss how it is essential for the discovery of artists. These artists have been pioneers and forerunners of new pictorial techniques, freeing creative and psychological flair, and combining the latter with the artistic technology that promises great things despite limited materials.  The intention of this article is to consider the elements of artistic expression that are less commonly subject to discussion, such as the world of Street Art. This form of artwork has not

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10

Bush, Elizabeth. "Art Is Life!: The Life of Artist Keith Haring by Tami Lewis Brown." Bulletin of the Center for Children's Books 74, no. 3 (2020): 124. http://dx.doi.org/10.1353/bcc.2020.0738.

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11

Yolanda Martínez-San Miguel. "Queer Latino Testimonio, Keith Haring, and Juanito Xtravaganza (review)." Arizona Journal of Hispanic Cultural Studies 12, no. 1 (2009): 261–62. http://dx.doi.org/10.1353/hcs.0.0006.

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12

La Nasa, Jacopo, Sibilla Orsini, Ilaria Degano, Antonio Rava, Francesca Modugno, and Maria Perla Colombini. "A chemical study of organic materials in three murals by Keith Haring: A comparison of painting techniques." Microchemical Journal 124 (January 2016): 940–48. http://dx.doi.org/10.1016/j.microc.2015.06.003.

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13

Smith, Jason A. "Keith Haring, Felix Gonzalez-Torres, Wolfgang Tillmans, and the AIDS Epidemic: The Use of Visual Art in a Health Humanities Course." Journal of Medical Humanities 40, no. 2 (2018): 181–98. http://dx.doi.org/10.1007/s10912-018-9506-4.

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14

Cucci, Costanza, Giovanni Bartolozzi, Marco De Vita, Veronica Marchiafava, Marcello Picollo, and Francesca Casadio. "The Colors of Keith Haring: A Spectroscopic Study on the Materials of the Mural Painting Tuttomondo and on Reference Contemporary Outdoor Paints." Applied Spectroscopy 70, no. 1 (2016): 186–96. http://dx.doi.org/10.1177/0003702815615346.

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15

Clifforth, Stephen R. "ABC of Wound Healing. Edited by Keith Harding and Joseph Grey." World Journal of Surgery 31, no. 6 (2007): 1364. http://dx.doi.org/10.1007/s00268-007-9026-2.

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16

Basteri, Rendy Pandita, Patra Aditia, and I. Dewa Alit Dwija Putra. "KAJIAN SEMIOTIKA PADA KARYA KAWS x UNIQLO TAHUN 2019." Desain Komunikasi Visual, Manajemen Desain dan Periklanan (Demandia) 5, no. 2 (2020): 281. http://dx.doi.org/10.25124/demandia.v5i2.2660.

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Saluran seniman untuk mempublikasikan karyanya pada sekarang ini sangat beragam, dari mulai ruang galeri, media sosial, pameran kolaborasi hingga produk derivatif yang kerap berkolaborasi dengan merk tertentu. Media derivatif ini adalah hasil kerja sama antara seniman dan merk tertentu yang menghasilkan produk yang terjangkau oleh masyarakat luas. Ini merupakan salah satu strategi publikasi seorang seniman sekaligus strategi pemasaran sebuah merk. Uniqlo sudah memulai kolaborasi dengan seniman-seniman besar lainnya, seperti Basquiat, Keith Harring, dan Sol Lewitt. Untuk cakupan seniman Indones

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17

Queen, Douglas. "Professor Keith Harding, Editor-in-Chief of theInternational Wound Journal, honoured for his services to healthcare." International Wound Journal 10, no. 1 (2013): 1. http://dx.doi.org/10.1111/iwj.12031.

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18

Drasdo, N. "Photo sensitive epilepsy G. F. A. Harding and P. M. Jeavons New edition, Mac Keith Press London, 1994, £17.95." Ophthalmic and Physiological Optics 17, no. 5 (1997): 444–45. http://dx.doi.org/10.1016/s0275-5408(97)90008-9.

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19

Lafferty, George, and Anthony van Fossen. "The Pioneer and the Cosmopolitan: Contrasting Approaches to Tourism Development and Regulation in Queensland and Hawaii." Queensland Review 5, no. 1 (1998): 69–77. http://dx.doi.org/10.1017/s1321816600001720.

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With the rise of economic globalisation and the increasing power of supra-national forces (particularly major corporations), the capacities of national governments to regulate economic development have declined. However, the role of sub-national governments, particularly state governments, has grown, as national governments have looked to local and regional areas to achieve greater international competitiveness (Harding 1996: 645–647). Major corporations operate according to a global, ‘borderless’ rationale, while local and regional policy makers are very much bound by their spatial location (

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20

Cane, Graeme. "Book Review: HARDING, Keith, English for Specific Purposes (Oxford: Oxford University Press, 2007) pp. xiii + 170. ISBN-13 987 019 442575 9 (pbk)." RELC Journal 38, no. 3 (2007): 399–400. http://dx.doi.org/10.1177/00336882070380030804.

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21

Dorrett, Jess. "Trauma and Pain in Wound Care Richard White Trauma and Pain in Wound Care Keith Harding Wounds UK Publishing 1st 210 &24.99 0 9549193 7 8 0954919378." Primary Health Care 17, no. 1 (2007): 8. http://dx.doi.org/10.7748/phc.17.1.8.s16.

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22

Phillips, Gordon. "Labour's War: The Labour Party during the Second World War. Stephen Brooke , M. H. Keen , H. C. G. Matthew , H. M. Mayr-Harting , P. Langford , A. J. Nicholls , Keith Thomas." Journal of Modern History 67, no. 3 (1995): 718–19. http://dx.doi.org/10.1086/245196.

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23

Tackett, Timothy. "The End of an Élite: The French Bishops and the Coming of the Revolution, 1786-1790. Nigel Aston , M. H. Keen , P. Langford , H. C. G. Matthew , H. M. Mayr-Harting , A. J. Nicholls , Keith Thomas." Journal of Modern History 66, no. 4 (1994): 811–12. http://dx.doi.org/10.1086/244963.

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24

De La Vega, Alfonso García. "EL PAISAJE Y LA EDUCACIÓN AMBIENTAL." Revista Contexto & Educação 31, no. 99 (2017): 3. http://dx.doi.org/10.21527/2179-1309.2016.99.3-8.

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<p align="right"><strong> </strong></p><p>En este ejemplar de la revista Contexto y Educaçao se presentan media docena de trabajos relacionados con el tema: el paisaje y la educación ambiental, que se aborda desde una perspectiva multidisciplinar, aunque con especial atención al enfoque geográfico. La geografía siempre ha ofrecido una visión global de la relación entre el ámbito natural y las intervenciones humanas, cuyas transformaciones han generado paisajes culturales singulares. En el mundo mediterráneo, los campos de olivares constituyen un paisaje cultural c

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25

Baert, Rémi. "Keith Haring." Critique d’art, July 2, 2020. http://dx.doi.org/10.4000/critiquedart.62663.

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26

Gustavino, Berenice. "Keith Haring/Journal." Critique d’art, December 14, 2012. http://dx.doi.org/10.4000/critiquedart.5590.

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27

Drugeon, Fanny. "Keith Haring: The Political Line." Critique d’art, April 18, 2014. http://dx.doi.org/10.4000/critiquedart.13274.

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28

"Keith Haring: the political line." Choice Reviews Online 52, no. 08 (2015): 52–4014. http://dx.doi.org/10.5860/choice.188975.

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29

"Queer Latino testimonio, Keith Haring, and Juanito Xtravaganza." Choice Reviews Online 45, no. 09 (2008): 45–5279. http://dx.doi.org/10.5860/choice.45-5279.

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30

Vernier, Angélique, and Anne Crémieux. "Le MAC de Lyon s’ouvre à l’univers de Keith Haring." Transatlantica, no. 1 (July 28, 2008). http://dx.doi.org/10.4000/transatlantica.3743.

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31

Gaillard, Hélène. "Keith Haring et l’héritage de la peinture américaine du XXème siècle." Cahiers de Narratologie, no. 29 (December 26, 2015). http://dx.doi.org/10.4000/narratologie.7399.

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32

Ярцева, Ольга Александровна. "Jean-Michel Basquiat and the 1980s New York art scene." Искусство Евразии, no. 1(16) (March 30, 2020). http://dx.doi.org/10.25712/astu.2518-7767.2020.01.025.

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Статья посвящена творчеству американского авангардиста Жана-Мишеля Баскиа и его взаимосвязи с художественными процессами на нью-йоркской арт-сцене в предпоследнее десятилетие XX века. Это время ознаменовалось становлением американского постмодернизма. Наряду с неоэкспрессионизмом развивался так называемый граффитизм , берущий свое начало в уличном искусстве. Все они нашли свое отражение в ранних и зрелых произведениях Баскиа. Автор уделяет внимание как материалам и поверхностям для произведений, так и тематическому развитию работ художника, а также сплаву стилистических направлений в его творч

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33

Hope, Cathy, and Bethaney Turner. "The Right Stuff? The Original Double Jay as Site for Youth Counterculture." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.898.

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On 19 January 1975, Australia’s first youth station 2JJ (Double Jay) launched itself onto the nation’s airwaves with a NASA-style countdown and You Only Like Me ‘Cause I’m Good in Bed by Australian band Skyhooks. Refused airtime by the commercial stations because of its explicit sexual content, this song was a clear signifier of the new station’s intent—to occupy a more radical territory on Australian radio. Indeed, Double Jay’s musical entrée into the highly restrictive local broadcasting environment of the time has gone on to symbolise both the station’s role in its early days as an enfant t

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34

Green, Lelia, Leesa Bonniface, and Tami McMahon. "Adapting to a New Identity." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2647.

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   Apart from its negative literary connotations, the notion of adaptation generally carries an optimistic connotation in the sense that it is most often associated with an improved outcome in the face of challenging circumstances. However, this is not an inevitable response to an adaptive imperative: there are often indicators of significant failure to adapt. In short, there is often evidence of maladaption. Examples include the spiralling rates of heart disease, obesity and adult-onset diabetes that have characterised richer western populations over the past half-century. A

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