Art and Merchandise in Keith Haring’s Pop Shop

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1980s
1980s Art
A01=Amy Raffel
agency
Aid Activism
Aid Virus
AIDS
art activism strategies
art history
Art Merchandise
art merchandising and social change
Art Multiples
Art Stars
artist-run spaces
Author_Amy Raffel
Broome Street
Campbell's Soup Cans
Campbell’s Soup Cans
capitalism
Category=AB
Category=AGA
Category=JBCC1
Category=JBCT
Category=JBFN
Category=JBSF
Category=JBSF2
Category=JBSJ
Category=JHB
Category=JMJ
Category=KCA
Category=KCZ
Claes Oldenburg
collecting
Community activism
consumer
consumerism in art
contemporary art
contemporary art theory
Crack Cocaine
downtown
Downtown Scene
East Village
East Village Art
economics
enterprise
eq_art-fashion-photography
eq_bestseller
eq_business-finance-law
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Fashion Moda
Gran Fury
HIV
Kaikai Kiki
Keith Haring
Keith Haring's Pop Shop
Lower East Side
market
mass media
mass produced
Michael Gross
MOCA
Mudd Club
Museum Gift Shop
New York City
Nuclear Disarmament
objects
Occupy Wall Street
ownership
participation
politics
pop art
Pop Shop
populism
products
Self-aware involvement
street art scholarship
Times Square Show
visual culture studies
Young Man

Product details

  • ISBN 9780367858735
  • Weight: 807g
  • Dimensions: 171 x 246mm
  • Publication Date: 31 Dec 2020
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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As one of the first academic monographs on Keith Haring, this book uses the Pop Shop, a previously overlooked enterprise, and artist merchandising as tools to reconsider the significance and legacy of Haring’s career as a whole.

Haring developed an alternative approach to both the marketing and the social efficacy of art: he controlled the sales and distribution of his merchandise, while also promulgating his belief in accessibility and community activism. He proved that mass-produced objects can be used strategically to form a community and create social change. Furthermore, looking beyond the 1980s, into the 1990s and 2000s, Haring and his shop prefigured artists’ emerging, self-aware involvement with the mass media, and the art world’s growing dependence on marketing and commercialism.

The book will be of interest to scholars or students studying art history, consumer culture, cultural studies, media studies, or market studies, as well as anyone with a curiosity about Haring and his work, the 1980s art scene in New York, the East Village, street art, art activism, and art merchandising.

Amy Raffel, Ph.D., is an independent scholar who currently works in museum interpretation and education.

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