Jack Chambers. Diego Reading, 1976–1977. oil and synthetic paint in natural resin varnish on plywood, Overall: 93.5 × 93 × 5.7 cm. Purchase with the assistance of the Judith Rachel Harris Foundation and Ethel Harris, 2007. © Estate of Jack Chambers. 2007/92
The title of the work is Diego Reading (Sunday Morning No.5), created in 1976 to 1977 by the artist Jack Chambers. Painted in a hyper-realistic style, this oil on wood painting is square-shaped, measuring 91.4 cm squared. 
A child sits reading a book in a living room decorated for Christmas. As viewers, we are in the middle of the room, facing a window that looks out onto a snowy suburban street.
The photorealistic painting has the muted warm glow of a faded photograph.
The young white brunette boy sits with his back to the window, facing us. He sits with his left leg crossed over his right on an armchair with plush sea green upholstery as he reads a comic book. He is dressed in a red turtleneck sweater, brown slacks, and matching red socks.

Behind the boy, on the beige wall, two framed images hang on either side of sea green drapes, which are pushed aside to reveal a large, glass-paned window. Neighbouring snow-covered houses, lawns, and the street make up the scene outside. Towering conifers and a large leafless tree reach out of the snow. 
Inside, a small television set rests on the floor to the left of the boy. A remote controller and a small glass of water are placed on top of it. Beside the television, to the far left side of the painting is a full, pear-shaped Christmas tree adorned with a number of red, blue, yellow, and silver ornaments.
A three-tiered red and gold fringed tree topper hangs from the ceiling, resembling a floating birthday hat above the Christmas tree.
A table, covered with a red tablecloth the same shade as the boy's sweater, sits in the foreground of the Christmas tree. Only one corner of the table is shown as the rest is cropped by the left edge of the painting. Nativity scene figurines sit on the table, and directly under the table is a potted bouquet of bulbous marigold-like flowers. 
To the right of the boy, there is a large red poinsettia plant on the floor, next to another armchair with light yellow and green vertical-striped upholstery. A white and red floral upholstered piece of furniture is cut off in the right foreground.

An ornate red, yellow, blue and white rug is placed in the middle of the room and foreground. It acts as a bridge leading the viewer into the scene. This painting is part of the Our House section of the exhibition, evoking memories of childhood, holiday rituals, and familiar domestic spaces.

Jack Chambers - Diego Reading

The AGO is home to the Thomson Collection of Ship Models: over 130 examples of miniaturized ships spanning hundreds of years of maritime history.

One of the most important models in the collection is George Stockwell’s (1729-1805) 1774 model of the Bristol. Designed in 1768 and completed in 1775, the Bristol was a 50-gun fourth-rate ship of the line built for the Royal Navy amidst England’s war to suppress the independence movement in its American colonies.

Image credit:
British fourth-rate two-decker 50-gun warship: Bristol (detail)
1774
George Stockwell, (British, 1729-1805)
Georgian Model, scale1:48
The Thomson Collection
Art Gallery of Ontario, Toronto

Why the Bristol became a prison hulk.

Tree of Life 
1985
acrylic on canvas tarpaulin with metal grommets
Private collection
All images © Keith Haring Foundation

This large painting is hung in landscape orientation and is approximately 10’ high x 12’ wide. It is created in Haring’s instantly recognizable style which repeats brightly coloured and stylised shapes outlined in black . Tree of Life is a painting of a large green tree contrasted against a bright pink background, underneath it, four yellow dancing figures are shown from the waist up. It is mounted directly to the wall with screws through grommets, 13 across and 11 high.

The top two thirds of the painting are taken up by the trees leaves which sprout off two main branches that split off at the trunk. The branches corkscrew, as do twiggy offshoots. Each offshoot results in either an oval leaf shape with one line down the centre indicating the fold of the leaf shape or, sprouts a similar shape with an added round head and pumping arms with rounded hands on the ends. In total there are 9 tree leaf figures with arms bent at elbows and raised up and there are 12 leaves. The crown of the tree is painted so that it fills up the canvas giving it a rectangle shape. Outlining the tree leaves and bodies, are stacks of dashes which indicate movement and seem to cause the tree to visually quiver, vibrate and shake in a chorus of celebratory movement. Filling up all the available space around these shapes, Haring adds another familiar element. Straight black lines radiate outward around the heads of the tree leaf figures, using a visual shorthand for what could be interpreted as awareness, enlightenment, anger,  confusion or something else. The following exhibition wall quote speaks to this: “I am interested in making art to be experienced and explored by as many individuals as possible, with as many different individual ideas about the given piece with no final meaning attached.” Keith Haring.  

Spread out in the lower third of the work are the head, torso and arms of four larger figures, two on each side of the tree trunk. Their arms are raised up with elbows bent, motion lines in effect. Their yellow bodies are filled in with a pattern of brighter orange squares. In the centre of their round heads in face position is a single black “x” shape.

Some of Haring’s favorite party music can be heard emanating from a nearby room which celebrates his use of Day Glo paints. Day-Glo colors are shades of orange, pink, green, and yellow which are so bright that they seem to glow.

The walls outside this room and in close proximity to Tree of Life are vertically striped in orange paint and pink Dayglo paint. They back a pair of architectural columns that Haring created and painted in a similar style. 

Also close by is a large triangular canvas entitled, “A Pile of Crowns for Jean-Michel Basquiat”, in which Haring pays homage to his contemporary, artist Jean Michel Basquiat. Haring has painted Basquiat’s signature symbol, a three pointed crown, in a triangular mound of crowns. It has black lines emanating outward around the pile. He includes a small letter c copyright symbol in the lower right corner of this work.

Tree of Life

Untitled
1984
acrylic and enamel on canvas
The Broad Art Foundation, Los Angeles
All images © Keith Haring Foundation
 
During the 1980s, wealth inequality in the United States grew significantly under Ronald Reagan’s neoliberal trickle-down economics policies known as Reaganomics. Haring criticized greed and capitalism in several works featuring the image of the “capitalist pig.” This tarp painting portrays a pig spewing money-green vomit made up of computers, televisions, clocks, airplanes, and other modern-day objects. The green bile pools on the ground from which little figures climb, suckling the sickly pig’s teats. This work is a monstrous depiction of the struggle of production in an era when everything was deemed consumable.

Untitled

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.

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

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Jack Chambers - Diego Reading

Art Gallery of Ontario

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