Keith Haring’s Artistic Armageddon: The Intensity of the Apocalypse Series
Apocalypse 6 © Keith Haring 1988
Keith Haring
250 works
The late 20th century witnessed an unparalleled fusion of art and activism, epitomised by the works of Keith Haring. Among his most profound contributions is the Apocalypse series, a collaboration with writer William S. Burroughs. This series, not merely a collection of artworks but a profound narrative, showcases Haring’s unique style and his response to the socio-political issues of his time.
A Collaboration of Catastrophe and Revelation
The Apocalypse series, born out of Haring’s partnership with Burroughs, stands as a testament to the power of cross-disciplinary collaboration within art. Bringing together Burroughs’s distinctive, gritty literary style and Haring’s iconic visual language and symbolism, this collaboration creates a series that is not just a collection of artworks but a multifaceted narrative which transcends artistic boundaries.
The Dual Nature of Apocalypse
Comprising twenty screen prints, this series is evenly divided between image and word, creating an interplay between Burroughs’s provocative prose and Haring’s expressive graphics. Through this collaboration, the viewer is able to see how Haring articulates the dual meaning of apocalypse. Typically, the term is understood to mean an ending on a catastrophic scale, but Haring also explores the definition with reference to revelation which dates back to the New Testament and the final book - The Book of Revelation.
In contrast to Haring’s earlier works, the Apocalypse prints are characterised by their minimalism and sense of melancholy. The absence of vibrant colours and exuberant figures marks a slight shift in the artist’s approach, reflecting a more introspective exploration of apocalyptic themes by moving away from the lively, optimistic imagery and themes of regeneration and renewal that the viewer is so used to seeing. Apocalypse sees Haring adopt elements of Burroughs’s ‘cut-up’ method, solidifying the series as a true fusion of the two legacies.
Image © Rob Bogaerts (Anefo), Nationaal Archief CC0, via Wikimedia CommonsA Tapestry of Religious Symbolism and Subversion
The Genesis of Religious Imagery in Haring’s work
As is recognised throughout most of Haring’s portfolio, the Apocalypse series is deeply influenced by the artist’s experience with religion in his adolescent years. His early engagement with the Jesus Movement profoundly influenced his artistic vocabulary, with their fixation on the Second Coming and the End of the World leaving an indelible mark on Haring’s imagination. Embedding apocalyptic themes and religious iconography into his work has remained a constant throughout his oeuvre, becoming more cynical and critical in manner as he distanced himself from his early evangelical beliefs and influences.
Subverting Religious Narratives Through Art
Haring’s use of religious motifs is not straightforward; rather, it is a complex interplay of acceptance and subversion. His works often juxtapose scenes of biblical cataclysm with depictions of ecstasy and renewal. This dichotomy is evident in his early drawings, where scenes of disaster, such as spaceships attacking Earth or men brandishing crosses, are contrasted with images of regeneration and joy - one of the most notable being his Radiant Baby motif. These motifs and icons have become such distinctive elements of his visual language, and are used as tools to comment on societal issues and challenge the conventional religious narrative. The Apocalypse series, despite arguably being more minimalistic and pared back than his usual work, sees these motifs and commentaries flood across the page. Haring’s ability to weave these themes into his work reflects a deep understanding of their historical significance and a keen awareness of their relevance in contemporary society.
The Influence of Biblical Apocalypse on Modern Art
As noted by British critic, Frank Kermode, the concept of apocalypse has been a resilient theme in art due to its ability to represent a range of binary opposites - heaven and hell, the familiar and unfamiliar, the logical and the illogical. The recurring themes of destruction, human frailty, justice and regeneration in Haring’s work embrace the vivid imagery and intense emotion associated with the biblical apocalypse to express the anxieties of the time.
The Apocalyptic Vision: From Imagery to Ideology
Read in conjunction with Burroughs’s cut-up text, the ten screen prints in the Apocalypse series represent disjointed, violent and perplexing episodes that imagine Armageddon. Dark and menacing, this series is characterised by scenes of war and visions of hell on Earth, with Christian iconography being reworked throughout to reflect the social climate of New York in the 1980s.
Produced at the height of the AIDS epidemic and in the same year Haring himself was diagnosed with the disease, this series embodies the characterisation of the virus being punishment for sin and the beginning of the end. These works powerfully express the pain and anguish felt at the time by those living with AIDS and are some of Haring’s most explicit depictions centering around the dangers of extreme promiscuity and the direct correlation between physical love and death. The artist used his position in the art world to draw attention to the virus, publicising his own diagnosis to help destigmatize the inaccurately coined ‘gay plague’.
A shift from his earlier, more playful works, the Apocalypse series creates a disconcerting atmosphere by integrating snippets of high art and religious iconography with depictions of monstrous creatures, infernal symbols and crumbling structures. Apocalypse 1 instantly propels the viewer into this apocalyptic landscape by presenting a phallic nuclear cloud framed by devil sperm - the most frequently recurring motif of the series. Disfigured by Haring's thick, black line, two reproductions of the Mona Lisa observe the explosion from the background and create a juxtaposition between high art and the casual, gestural quality of the Pop Artist - a feature which is also appropriated in plates 2, 6 and 7. Accompanied by Borroughs’ ominous words, the screen prints invoke feelings of both euphoria and fear and are arguably some of the most harrowing scenes to exist within Haring’s typically upbeat portfolio.
Keith Haring
250 works
