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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by fingerz on Dec 21, 2010 14:12:42 GMT 1, there a bit special arnt thay ... 
there a bit special arnt thay ... |
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artylang
New Member
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December 2010
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by artylang on Dec 21, 2010 14:33:56 GMT 1, Go down to the Bowery and you can get stuff like this for a tenner.
Go down to the Bowery and you can get stuff like this for a tenner.
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afroken
Junior Member
๐จ๏ธ 1,018
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February 2009
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by afroken on Dec 21, 2010 14:44:56 GMT 1, With all due respect, I don't get this guy's work at all. It's incredibly contrived and totally unimaginative. And the comparison to Basquiat is incredibly misplaced in this context.
I am open to being persuaded otherwise by other forum members. There are obviously at least 18 of you who strongly disagree with me so keen to know why?
With all due respect, I don't get this guy's work at all. It's incredibly contrived and totally unimaginative. And the comparison to Basquiat is incredibly misplaced in this context.
I am open to being persuaded otherwise by other forum members. There are obviously at least 18 of you who strongly disagree with me so keen to know why?
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saint
Junior Member
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September 2010
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by saint on Dec 21, 2010 14:47:57 GMT 1, Go down to the Bowery and you can get stuff like this for a tenner.
First off, you cant.
Secondly, LA2 is a legend in this scene.
Thirdly, well done Wearology for offering something like this to the forum. A chance to own a piece of work by an old school legend, a chance like this doesnt come up to often IMO.
(and no, i'm not buying one and trying to hype it, i've just spent all my money elsewhere.... ;D)
Go down to the Bowery and you can get stuff like this for a tenner. First off, you cant. Secondly, LA2 is a legend in this scene. Thirdly, well done Wearology for offering something like this to the forum. A chance to own a piece of work by an old school legend, a chance like this doesnt come up to often IMO. (and no, i'm not buying one and trying to hype it, i've just spent all my money elsewhere.... ;D) |
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by fingerz on Dec 21, 2010 14:54:29 GMT 1, have you bought me 1 saint ... 
have you bought me 1 saint ... |
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by bazzj04 on Dec 21, 2010 14:54:37 GMT 1, I must admit i dont really get these, but each to there own
I must admit i dont really get these, but each to there own
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saint
Junior Member
๐จ๏ธ 4,887
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September 2010
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by saint on Dec 21, 2010 14:56:21 GMT 1, have you bought me 1 saint ...
Of course, 1 of each size for you mate, gonna send them by sleigh and reindeer so i imagine delivery to your chimney on or abouts xmas day.....
;D
have you bought me 1 saint ... Of course, 1 of each size for you mate, gonna send them by sleigh and reindeer so i imagine delivery to your chimney on or abouts xmas day..... ;D |
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Brushstrokes 75 on Dec 21, 2010 15:32:31 GMT 1, Like this part of the article Silky provided (criticism page) :
In the summer of 1980, a little-known 22-year-old artist named Keith Haring was painting a mural in a Lower East Side schoolyard when he was approached by a 13-year-old boy named Angel Ortiz. The youth identified himself as LA II, a graffiti artist about whom Haring had been curious. At first, Haring could hardly believe that the work he'd admired had been created by a teenager, but after watching Ortiz scrawl his tag, the older artist was convinced. That evening, Ortiz helped Haring carry a ladder back to his studio on Broome Street, near the Bowery. A few days later the two collaborated there on a piece of art, combining their signature styles on a yellow metal panel that had once been part of a taxi. When a collector paid $1400 for the piece, Haring gave half the money to Ortiz.
It was the beginning of a partnership that would last six years, produce hundreds of pieces of art, and include joint shows in New York, Tokyo, and Europe. But while Haring went on to wide acclaim, the years following the collaborations were not as kind to Ortiz. His current exhibit, at the Clayton Patterson Gallery on Essex Street through the end of the month, is his first since a 1984 show with Haring in Milan. For most of the intervening years, Ortiz says, the Haring Foundation, which was created shortly before the artist died and now exhibits his work, has largely ignored Ortiz's part in Haring's history, sometimes allowing works he helped create to be exhibited without crediting him, and selling work he alone created without permission. Even more painful, he feels he has been denied attention.
"Why are they turning their back on me?" the 35-year-old artist asked recently, sitting on the floor of the Patterson Gallery. "It isn't right."
From 1980 until 1986, Haring and Ortiz met often in the Broome Street studio, painting and drawing for up to 15 hours at a stretch on both canvas and urban detritus like statues, urns, and pieces of metal. The partnership was recognized by both artists to be an equal one, Ortiz says, because their artistic styles complemented each other. Ortiz's calligraphic, interlocking lines vitalized and filled out negative space between Haring's cleanly drawn shapes. And while Haring was older and far cannier, the energy of Ortiz's graffiti-like markings brought freshness and street credibility to his work.
The association was important personally as well as artistically, particularly to Ortiz, who had never experienced life outside the Lower East Side before meeting Haring. He left school at the age of 16 to create art full-time and was thrilled to receive attention from artists and collectors around the world. The two formed a strong relationship, which Haring likened to that of an older and younger brother. Haring invited Ortiz to clubs like Roxy and the Pyramid, where the young artist met Andy Warhol and Boy George. Ortiz took Haring to a Brooklyn train yard where they spray-painted subway cars. Even after the collaboration ended, as Haring's increasing renown led him to concentrate on solo work, the two remained friendly.
By the time of his death, in 1990, Keith Haring had become one of the most famous artists of his generation. His work had been bought by numerous collectors and included in permanent collections at the Whitney Museum and the Museum of Modern Art. Haring had also become rich. But during the 1990s, as the Haring Foundation amassed millions more from the sale and licensing of Haring's work, Angel Ortiz went through difficult times. Socially unsophisticated, and lacking a fine arts education, he could not navigate the art world alone. While continuing to paint and draw, he slept on couches on the Lower East Side and supported himself by working as a bicycle messenger and in a pizzeria.
Ortiz said that Haring occasionally gave him sums ranging from a few hundred dollars to $5000, while promising that other money owed to him from the sale of collaborations was being placed in a fund. But after Haring's death, foundation officials told Ortiz such a fund didn't exist.
During those lean years, the Haring Foundation regularly put Haring's solo work up for sale at galleries around the world, often for six-figure prices. But the foundation has yet to offer for sale any of the estimated 10 to 15 collaborations it possesses, depriving Ortiz of potential income, or so he believes. Julia Gruen, the executive director of the Haring Foundation, said that she did not know the value of the collaborations between Haring and Ortiz, and had never felt the need to offer any for sale. She added that she assumed collaborations were owned wholly by the foundation, but did not know whether Ortiz might have a valid legal claim to part ownership.
Some of those collaborations are lent to museums and appear in exhibitions around the globe, but they are not always properly identified. For example, a brochure produced by the Haring Foundation for a 1997 show depicts on its cover a vase painted in black, white, and orange credited exclusively to Haring despite the fact that it prominently features a tag used by OrtizโLA Rockโthat first attracted the attention of Keith Haring in 1980 and can still be seen today on the streets of the Lower East Side. "There were certainly incidents where oversights were committed," said Gruen, responding to the misidentification.
Indeed. Beginning in the late 1990s the Pop Shop, on Lafayette Street, sold T-shirts and umbrellas bearing designs by Ortiz, which were identified and marketed as created by Haring. Ortiz discovered this by accident after wandering into the store. After Ortiz complained, the foundation paid Ortiz a dollar for each of 1800 T-shirts sold for between $15 and $25. The shop also paid him $182 for umbrella sales totaling $1824.
It is not only the potential loss of money, but the lack of acknowledgment that pains Ortiz. He thought of Haring not merely as a business partner, but as a trusted friend and supporter who plucked him from obscurity, encouraged him to create art, and invited him to share in an adventure. The fact that the Haring Foundation appears to prefer keeping him at arm's length puzzles Ortiz and makes him miss all the more the reassuring presence of his former mentor.
"The foundation should've taken care of me, but they didn't," he said. "They show my pieces in museums but never invite me. They give money to charity but they ignore their own."
Others agree. The artist Richard Hambleton, who during the 1980s toured through Europe with Haring and Jean Michel Basquiat, said that the role Ortiz played in Haring's development deserves recognition. "Keith learned to fill in blank spaces on the canvas from LA II and that took his art to a new level," Hambleton said. "The way LA has been treated by the foundation since Keith died is really shameful."
Outside the Patterson Gallery it was raining. Ortiz picked up a Pop Shop umbrella featuring his work and a label bearing Haring's name, then walked to a basement shop selling lamp shades at 325 Broome Street. It was the same spot where he had worked with Haring. Inside, drawings made by Haring, Ortiz, and others were still faintly visible on the walls, in some cases bleeding through a thin coat of primer.
"I still think about all the good times with Keith," Ortiz said before heading back out into the rain. "If he were alive today, he wouldn't forget about me."
At the end of June, the opening for Ortiz's month-long show took place. Dozens of people stood in the gallery, sipping beer and gazing at the 20-odd pieces on display, which ranged in price from $75 to $5500. Included among them were several collaborations between Ortiz and a Lower East Side artist, Marco, whose simple, pop-art line drawings elicited comparisons to Haring.
As salsa music blared from a boombox, members of the Rock Steady Crew and of TNS, a legendary Lower East Side graffiti crew, congratulated Ortiz. Ortiz used a marker to draw his tag on a piece of metal, then smiled.
"It feels real good to be here tonight," he said. "It feels like I'm starting all over again."
Keith Haring's Silent Partner
Graffiti Artist Angel Ortiz Charges the Haring Foundation Has Shut Him Out of Money and Acclaim
Like this part of the article Silky provided (criticism page) :
In the summer of 1980, a little-known 22-year-old artist named Keith Haring was painting a mural in a Lower East Side schoolyard when he was approached by a 13-year-old boy named Angel Ortiz. The youth identified himself as LA II, a graffiti artist about whom Haring had been curious. At first, Haring could hardly believe that the work he'd admired had been created by a teenager, but after watching Ortiz scrawl his tag, the older artist was convinced. That evening, Ortiz helped Haring carry a ladder back to his studio on Broome Street, near the Bowery. A few days later the two collaborated there on a piece of art, combining their signature styles on a yellow metal panel that had once been part of a taxi. When a collector paid $1400 for the piece, Haring gave half the money to Ortiz.
It was the beginning of a partnership that would last six years, produce hundreds of pieces of art, and include joint shows in New York, Tokyo, and Europe. But while Haring went on to wide acclaim, the years following the collaborations were not as kind to Ortiz. His current exhibit, at the Clayton Patterson Gallery on Essex Street through the end of the month, is his first since a 1984 show with Haring in Milan. For most of the intervening years, Ortiz says, the Haring Foundation, which was created shortly before the artist died and now exhibits his work, has largely ignored Ortiz's part in Haring's history, sometimes allowing works he helped create to be exhibited without crediting him, and selling work he alone created without permission. Even more painful, he feels he has been denied attention.
"Why are they turning their back on me?" the 35-year-old artist asked recently, sitting on the floor of the Patterson Gallery. "It isn't right."
From 1980 until 1986, Haring and Ortiz met often in the Broome Street studio, painting and drawing for up to 15 hours at a stretch on both canvas and urban detritus like statues, urns, and pieces of metal. The partnership was recognized by both artists to be an equal one, Ortiz says, because their artistic styles complemented each other. Ortiz's calligraphic, interlocking lines vitalized and filled out negative space between Haring's cleanly drawn shapes. And while Haring was older and far cannier, the energy of Ortiz's graffiti-like markings brought freshness and street credibility to his work.
The association was important personally as well as artistically, particularly to Ortiz, who had never experienced life outside the Lower East Side before meeting Haring. He left school at the age of 16 to create art full-time and was thrilled to receive attention from artists and collectors around the world. The two formed a strong relationship, which Haring likened to that of an older and younger brother. Haring invited Ortiz to clubs like Roxy and the Pyramid, where the young artist met Andy Warhol and Boy George. Ortiz took Haring to a Brooklyn train yard where they spray-painted subway cars. Even after the collaboration ended, as Haring's increasing renown led him to concentrate on solo work, the two remained friendly.
By the time of his death, in 1990, Keith Haring had become one of the most famous artists of his generation. His work had been bought by numerous collectors and included in permanent collections at the Whitney Museum and the Museum of Modern Art. Haring had also become rich. But during the 1990s, as the Haring Foundation amassed millions more from the sale and licensing of Haring's work, Angel Ortiz went through difficult times. Socially unsophisticated, and lacking a fine arts education, he could not navigate the art world alone. While continuing to paint and draw, he slept on couches on the Lower East Side and supported himself by working as a bicycle messenger and in a pizzeria.
Ortiz said that Haring occasionally gave him sums ranging from a few hundred dollars to $5000, while promising that other money owed to him from the sale of collaborations was being placed in a fund. But after Haring's death, foundation officials told Ortiz such a fund didn't exist.
During those lean years, the Haring Foundation regularly put Haring's solo work up for sale at galleries around the world, often for six-figure prices. But the foundation has yet to offer for sale any of the estimated 10 to 15 collaborations it possesses, depriving Ortiz of potential income, or so he believes. Julia Gruen, the executive director of the Haring Foundation, said that she did not know the value of the collaborations between Haring and Ortiz, and had never felt the need to offer any for sale. She added that she assumed collaborations were owned wholly by the foundation, but did not know whether Ortiz might have a valid legal claim to part ownership.
Some of those collaborations are lent to museums and appear in exhibitions around the globe, but they are not always properly identified. For example, a brochure produced by the Haring Foundation for a 1997 show depicts on its cover a vase painted in black, white, and orange credited exclusively to Haring despite the fact that it prominently features a tag used by OrtizโLA Rockโthat first attracted the attention of Keith Haring in 1980 and can still be seen today on the streets of the Lower East Side. "There were certainly incidents where oversights were committed," said Gruen, responding to the misidentification.
Indeed. Beginning in the late 1990s the Pop Shop, on Lafayette Street, sold T-shirts and umbrellas bearing designs by Ortiz, which were identified and marketed as created by Haring. Ortiz discovered this by accident after wandering into the store. After Ortiz complained, the foundation paid Ortiz a dollar for each of 1800 T-shirts sold for between $15 and $25. The shop also paid him $182 for umbrella sales totaling $1824.
It is not only the potential loss of money, but the lack of acknowledgment that pains Ortiz. He thought of Haring not merely as a business partner, but as a trusted friend and supporter who plucked him from obscurity, encouraged him to create art, and invited him to share in an adventure. The fact that the Haring Foundation appears to prefer keeping him at arm's length puzzles Ortiz and makes him miss all the more the reassuring presence of his former mentor.
"The foundation should've taken care of me, but they didn't," he said. "They show my pieces in museums but never invite me. They give money to charity but they ignore their own."
Others agree. The artist Richard Hambleton, who during the 1980s toured through Europe with Haring and Jean Michel Basquiat, said that the role Ortiz played in Haring's development deserves recognition. "Keith learned to fill in blank spaces on the canvas from LA II and that took his art to a new level," Hambleton said. "The way LA has been treated by the foundation since Keith died is really shameful."
Outside the Patterson Gallery it was raining. Ortiz picked up a Pop Shop umbrella featuring his work and a label bearing Haring's name, then walked to a basement shop selling lamp shades at 325 Broome Street. It was the same spot where he had worked with Haring. Inside, drawings made by Haring, Ortiz, and others were still faintly visible on the walls, in some cases bleeding through a thin coat of primer.
"I still think about all the good times with Keith," Ortiz said before heading back out into the rain. "If he were alive today, he wouldn't forget about me."
At the end of June, the opening for Ortiz's month-long show took place. Dozens of people stood in the gallery, sipping beer and gazing at the 20-odd pieces on display, which ranged in price from $75 to $5500. Included among them were several collaborations between Ortiz and a Lower East Side artist, Marco, whose simple, pop-art line drawings elicited comparisons to Haring.
As salsa music blared from a boombox, members of the Rock Steady Crew and of TNS, a legendary Lower East Side graffiti crew, congratulated Ortiz. Ortiz used a marker to draw his tag on a piece of metal, then smiled.
"It feels real good to be here tonight," he said. "It feels like I'm starting all over again."
Keith Haring's Silent Partner
Graffiti Artist Angel Ortiz Charges the Haring Foundation Has Shut Him Out of Money and Acclaim
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by fingerz on Dec 21, 2010 15:36:44 GMT 1, have you bought me 1 saint ... Of course, 1 of each size for you mate, gonna send them by sleigh and reindeer so i imagine delivery to your chimney on or abouts xmas day..... ;D
now that , well thats just the dogs bo***x ... bang tidy... 
have you bought me 1 saint ... Of course, 1 of each size for you mate, gonna send them by sleigh and reindeer so i imagine delivery to your chimney on or abouts xmas day..... ;D now that , well thats just the dogs bo***x ... bang tidy... |
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mmmike
Junior Member
๐จ๏ธ 2,421
๐๐ป 759
March 2010
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by mmmike on Dec 21, 2010 17:28:15 GMT 1, If the Banksy CYW prints were not stupid expensive, it would be nice to give one to LA2 to see what he would add to it.
I hope LA2 starts getting some of the respect he has earned.
Not sure where all the haters are coming from. If you don't appreciate the art, move along. The man has had to deal with enough crap over the years.
Even a blind person can see the influence he had on Haring. If you can't I feel bad for you. He is an important person in the history of NY street art.
For the record I have not ordered any and i do not own any of his work.
If the Banksy CYW prints were not stupid expensive, it would be nice to give one to LA2 to see what he would add to it.
I hope LA2 starts getting some of the respect he has earned.
Not sure where all the haters are coming from. If you don't appreciate the art, move along. The man has had to deal with enough crap over the years.
Even a blind person can see the influence he had on Haring. If you can't I feel bad for you. He is an important person in the history of NY street art.
For the record I have not ordered any and i do not own any of his work.
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by fingerz on Dec 21, 2010 17:49:21 GMT 1, if every 1 liked the same things the world would be a boring place ....
if every 1 liked the same things the world would be a boring place ....
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by des77 on Dec 21, 2010 18:10:34 GMT 1, much better examples
I like these examples more. Clearly the Haring influences are there and I think the association will obviously also draw comparisons. They are not Harings but I do like them.   
much better examples I like these examples more. Clearly the Haring influences are there and I think the association will obviously also draw comparisons. They are not Harings but I do like them. |
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Agent Provocateur on Dec 21, 2010 18:42:04 GMT 1, Have to agree there des, really liking those last three... they remind of Aboriginal art which I love.
Have to agree there des, really liking those last three... they remind of Aboriginal art which I love.
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Wearology
Junior Member
Staff at FatFreeArt
๐จ๏ธ 3,596
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Wearology on Dec 21, 2010 22:12:29 GMT 1, I will post more pictures of his all over tags later - thank you Harveyn for posting these.
I removed the original character pieces as they were not doing LA2 any justice and were not representative of his current classic all over tag (Aboriginy) technique he is most known for. If anyone else can post pictures of his work it would be greatly appreciated as I am not so good at posting pictures. Thanks again for all those PM's - LA2 is going to be thrilled that many of you have chosen to buy a classic piece of street art at a great price.
I will post more pictures of his all over tags later - thank you Harveyn for posting these.
I removed the original character pieces as they were not doing LA2 any justice and were not representative of his current classic all over tag (Aboriginy) technique he is most known for. If anyone else can post pictures of his work it would be greatly appreciated as I am not so good at posting pictures. Thanks again for all those PM's - LA2 is going to be thrilled that many of you have chosen to buy a classic piece of street art at a great price.
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Francis
Junior Member
๐จ๏ธ 2,571
๐๐ป 137
September 2007
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Francis on Dec 21, 2010 22:44:29 GMT 1, =Clearly the Haring influences are there and I think the association will obviously also draw comparisons.
You know, that is like saying that Greg Gossel influenced Faile or that Ernesto Yerena influenced Shepard Fairey.
=Clearly the Haring influences are there and I think the association will obviously also draw comparisons. You know, that is like saying that Greg Gossel influenced Faile or that Ernesto Yerena influenced Shepard Fairey. |
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Harveyn
Full Member
๐จ๏ธ 7,746
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July 2007
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Harveyn on Dec 21, 2010 22:59:45 GMT 1, =Clearly the Haring influences are there and I think the association will obviously also draw comparisons. You know, that is like saying that Greg Gossel influenced Faile or that Ernesto Yerena influenced Shepard Fairey.
I was refering to the fact that Haring influenced LA2. That said thats more of an assumption than a statement of fact.
=Clearly the Haring influences are there and I think the association will obviously also draw comparisons. You know, that is like saying that Greg Gossel influenced Faile or that Ernesto Yerena influenced Shepard Fairey. I was refering to the fact that Haring influenced LA2. That said thats more of an assumption than a statement of fact. |
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afroken
Junior Member
๐จ๏ธ 1,018
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February 2009
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by afroken on Dec 22, 2010 1:56:47 GMT 1, I much prefer the work that Harv posted and can see how that supports the Haring story. The other stuff that was posted before definitely didn't show him in a good light.
I much prefer the work that Harv posted and can see how that supports the Haring story. The other stuff that was posted before definitely didn't show him in a good light.
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Wearology
Junior Member
Staff at FatFreeArt
๐จ๏ธ 3,596
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April 2008
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Wearology on Dec 22, 2010 2:28:01 GMT 1, I 100% agree afroken that's why I pulled them. I am having trouble posting on my mac so I got lazy and re-posted his old stuff that I already posted in prior threads instead of his new stuff that Harveyn was nice enough to do.
I 100% agree afroken that's why I pulled them. I am having trouble posting on my mac so I got lazy and re-posted his old stuff that I already posted in prior threads instead of his new stuff that Harveyn was nice enough to do.
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Daniel Silk on Dec 22, 2010 13:46:50 GMT 1, Great stuff  Well done LA2 and Wearology.
Will be interesting to see some photos of these pieces when they arrive
Great stuff Well done LA2 and Wearology. Will be interesting to see some photos of these pieces when they arrive |
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by wizzy on Dec 22, 2010 13:55:52 GMT 1, Im in J, check thine emailius.
Im in J, check thine emailius.
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Deleted on Dec 23, 2010 0:50:39 GMT 1, great, love it when people knock an artist - Too much like so and so then gets told 'actually he influenced him'... Its a big open world and many artists are not getting the recognition they deserve. Now people see it in a different light. I hope from the sales he can re-invest and make a good deserved living! Sounds like the Haring Foundation are not treating him properly so bad light on them.. Personally I feel HE should own the collaborations
great, love it when people knock an artist - Too much like so and so then gets told 'actually he influenced him'... Its a big open world and many artists are not getting the recognition they deserve. Now people see it in a different light. I hope from the sales he can re-invest and make a good deserved living! Sounds like the Haring Foundation are not treating him properly so bad light on them.. Personally I feel HE should own the collaborations
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Deleted on Dec 23, 2010 0:52:04 GMT 1, Like the work btw
Like the work btw
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Wearology
Junior Member
Staff at FatFreeArt
๐จ๏ธ 3,596
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April 2008
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Wearology on Dec 23, 2010 2:37:27 GMT 1, Wiz did not get the cat ?
Wiz did not get the cat ?
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by wizzy on Dec 23, 2010 10:45:02 GMT 1, Wiz did not get the cat ?
Theres a v rude line here somewhere but cant take another ASBO.........
Wiz did not get the cat ? Theres a v rude line here somewhere but cant take another ASBO......... |
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Coach on Dec 23, 2010 23:56:33 GMT 1, I was with LA2 all day today and he has begun working on the 24 canvases and 1 NYC subway map that you guys have requested. I showed him the Choose Your Weapon print and was very surprised by his reaction. Some of you have insinuated that Haring would not have taken the Dog on a Leash as a compliment and you may have been right. LA2 perceived the image in it's context as insulting and "not cool at all".
That's interesting wearology. Did he say why?
I was with LA2 all day today and he has begun working on the 24 canvases and 1 NYC subway map that you guys have requested. I showed him the Choose Your Weapon print and was very surprised by his reaction. Some of you have insinuated that Haring would not have taken the Dog on a Leash as a compliment and you may have been right. LA2 perceived the image in it's context as insulting and "not cool at all". That's interesting wearology. Did he say why? |
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Coach on Dec 24, 2010 0:33:24 GMT 1, That is not how I have ever interpreted the print.
I always considered it as a homage to Haring.
Did you suggest to him that it might be so?
I could be wrong, of course.
That is not how I have ever interpreted the print.
I always considered it as a homage to Haring.
Did you suggest to him that it might be so?
I could be wrong, of course.
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January 1970
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by Deleted on Dec 24, 2010 1:02:47 GMT 1, His interpretation was that Banksy was pretending to be the master and the Haring dog was Keith being portrayed as a subserviant dog on a leash.
couldn't be further from the truth
His interpretation was that Banksy was pretending to be the master and the Haring dog was Keith being portrayed as a subserviant dog on a leash. couldn't be further from the truth |
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Angel Ortiz โข LA2 LA II ๐บ๐ธ Graffiti Artist โข Keith Haring , by wizzy on Dec 24, 2010 1:17:55 GMT 1, I am sure they will look like LA2s works have done in the past?, at least i hope so. He is like anyone entitled to an opinion i reckon, in my opinion.
I am sure they will look like LA2s works have done in the past?, at least i hope so. He is like anyone entitled to an opinion i reckon, in my opinion.
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Well done LA2 and Wearology.
