Untitled
1985
Acrylic and oil on canvas 
Courtesy of The Parker Foundation 
All images © Keith Haring Foundation

Haring grew up and came out as a gay man during a time that encouraged increased freedom of sexual expression, largely fuelled by the counterculture, women’s rights, and gay liberation movements of the 1960s and 1970s. By the early 1980s, a new countermovement emerged that was led by conservative politicians and the religious right. Simultaneously, the AIDS epidemic was growing. 

Painted in 1985, this untitled work responds to these realities, showing a fiery hellscape of sexual aggression and torture. The theme of hell—often depicted with scenes of uninhibited sexuality—has been addressed throughout art history, from Auguste Rodin’s The Gates of Hell (1880–1917) to Hieronymus Bosch’s The Garden of Earthly Delights (1500s). Haring’s version remains true to his signature line, while also depicting a cast of human and animal figures as well as Christian symbols such as frogs, serpents, and angels.

Untitled

The Great White Way 
1988 
acrylic on canvas
The Keith Haring Foundation 
All images © Keith Haring Foundation

Stretched in the shape of a penis, this massive painting is a critical visualization of what author bell hooks described as “imperialist white supremacist capitalist patriarchy.” The pink phallus is decorated with black lines that make up an intricate scene of weapons, violence, torture, and other abuses of power—a visual representation of the problems of Euro-American society. Haring’s title implies the white supremacist ideology underpinning these activities. The painting shows a phallocentric world in which profit and power in the name of “good” and God are used as tools of oppression. The Great White Way is a prime example of what is perhaps Haring’s greatest skill: the ability to make something look like shallow fun—in this case, a massive, cartoonish, pink, candy-striped penis—while simultaneously speaking truth to some of society’s foremost tyrannies.

The Great White Way

Untitled
1988
acrylic on canvas
Private collection
All images © Keith Haring Foundation

This untitled work shows a human figure struggling to walk up a staircase while carrying a massive egg tied to its back. The egg is cracked and a sperm with devil horns bursts from its shell. The painting speaks profoundly to the AIDS epidemic that took the lives of so many within Haring’s community, including his own. Using monumental scale, a palette drained of colour, and graphic imagery, Haring represented the impossible weight of the AIDS crisis.

Rowing

Rosalba Carriera

Maria Clara Eimmart

Susanna Perwich

Luisa Roldan

Audio recorded verbal descriptions provide an accessible and detailed narrative to extend your experience of the AGO. Explore the AGO facade and the artworks outside the building, Henry Moore's Two Forms and Brian Jungen's Couch Monster: Sadzěʔ yaaghęhch’ill. These descriptions, rich in detail and sensory language, provide a vivid exploration of form, texture, and artistic intention, ensuring that all visitors can engage deeply with these celebrated pieces of architecture and public art.

Frank Gehry, AGO Transformation Facade

Humans now change the Earth’s systems more than all other natural forces combined…but are we all equally responsible?

In this episode, Sarain talks to scholars Zoe Todd and Heather Davis about decolonizing the Anthropocene. Then we break down the term “environmental racism” with Dr. Ingrid Waldron, sociologist and author of There’s Something in the Water, and discuss the effects of climate change in the Arctic with Sheila Watt-Cloutier, an Inuit rights advocate and the author of The Right to be Cold. 

For more information:
Heather Davis and Zoe Todd, On the Importance of a Date, or, Decolonizing the Anthropocene: https://www.acme-journal.org/index.php/acme/article/view/1539

Sheila Watt-Cloutier, The Right to Be Cold-One Woman’s Story of Protecting her Culture, the Arctic, and the Whole Planet: https://www.penguinrandomhouse.ca/books/417373/the-right-to-be-cold-by-sheila-watt-cloutier/9780143187646

Ingrid R.G. Waldron, There’s Something in the Water-Environmental Racism in Indigenous and Black Communities: https://fernwoodpublishing.ca/book/there8217s-something-in-the-water

The ENRICH Project: https://www.enrichproject.org/

This episode was produced by Nadia Abraham, Shiralee Hudson Hill and Matthew Scott at the Art Gallery of Ontario. For more information on the podcast and the Anthropocene exhibition, visit our website: www.ago.ca

Episode 03 - Whose earth is it anyway? Decolonizing the Anthropocene

The Art Gallery of Ontario in Toronto is one of North America's leading art collections. Come visit and experience more than 4,000 artworks across 110 galleries. Visit https://ago.ca

Episode 03 - Whose earth is it anyway? Decolonizing the Anthropocene

Art Gallery of Ontario

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