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拍品专文
Keith Haring’s deep connection to Tokyo and the Watari-um Museum marked a pivotal chapter in his artistic career—one that left a lasting imprint on his work and on Japan’s cultural landscape. His first visit to the country in 1983 on the invitation of Galerie Watari marked Keith's first ever exhibition in Japan and proved transformative, igniting his creative vision and forging a meaningful relationship with the city of Tokyo.
During this visit, Haring created Untitled and Untitled (Snake), two significant works commissioned by Galerie Watari. These works remained part of the Watari-um’s collection for decades, reflecting Haring’s deep connection to both Tokyo and the museum. Now, after many years as part of the Watari-um’s collection, these works will continue to serve the museum—albeit in a different form—as they are entrusted for sale to help realize essential renovations, ensuring the institution’s future while honoring its past.
The Watari-um Museum of Contemporary Art, founded in 1990 as a private institution, was envisioned and established by Shizuko Watari, who served as its first director. She played a pivotal role in introducing major international artists—such as Andy Warhol, Donald Judd, and Keith Haring—to Japanese audiences. The museum’s striking architecture, designed by Swiss architect Mario Botta, features a façade resembling a bird in flight, symbolizing its forward-looking approach to contemporary art.
From the beginning, the Watari-um has collaborated with leading curators including Harold Szeemann and Jan Hoet to present international contemporary exhibitions. The museum has also prioritized nurturing the local contemporary art scene, especially by introducing young Japanese artists to a broader audience.
Shizuko Watari’s approach to curation was guided more by instinct than by a fixed program. As Harold Szeemann observed in A Sounding Triangle:
“Shizuko Watari has been more inclined to follow her keen intuition than a particular program when it comes to discovering those artists with ‘universal appeal.’ Her selection of artists is dictated by the ambition to familiarize her city with the international artistic terms of expression in all media, and to do so on her own initiative.”
Haring’s first exhibition in Japan, held at Galerie Watari in 1983, marked a major milestone in his career. During this trip, he collaborated with graffiti artist Angel Ortiz (LA2) to create a vibrant mural on the interior and exterior of ON SUNDAYS, a building adjacent to the gallery. This mural, which captured the bold and energetic spirit of Haring’s style, became an iconic part of Tokyo’s urban landscape. When the building was dismantled in 2018, the mural was carefully preserved, a testament to its cultural significance.
The success of Haring’s initial visit led to his return to Tokyo in 1986 to open his second Pop Shop. Though short-lived, the Tokyo Pop Shop had a significant influence on Japanese pop culture. More than a retail space, it embodied Haring’s belief that art should be accessible to all. Through items like T-shirts and buttons, he communicated themes of social activism, love, and equality.
Haring’s relationship with the Watari-um and his time in Tokyo helped shape both his artistic evolution and his global legacy. His engagement with Japanese culture and his collaborations with the museum left a lasting impression that continues to resonate in the art world and popular culture today.
During this visit, Haring created Untitled and Untitled (Snake), two significant works commissioned by Galerie Watari. These works remained part of the Watari-um’s collection for decades, reflecting Haring’s deep connection to both Tokyo and the museum. Now, after many years as part of the Watari-um’s collection, these works will continue to serve the museum—albeit in a different form—as they are entrusted for sale to help realize essential renovations, ensuring the institution’s future while honoring its past.
The Watari-um Museum of Contemporary Art, founded in 1990 as a private institution, was envisioned and established by Shizuko Watari, who served as its first director. She played a pivotal role in introducing major international artists—such as Andy Warhol, Donald Judd, and Keith Haring—to Japanese audiences. The museum’s striking architecture, designed by Swiss architect Mario Botta, features a façade resembling a bird in flight, symbolizing its forward-looking approach to contemporary art.
From the beginning, the Watari-um has collaborated with leading curators including Harold Szeemann and Jan Hoet to present international contemporary exhibitions. The museum has also prioritized nurturing the local contemporary art scene, especially by introducing young Japanese artists to a broader audience.
Shizuko Watari’s approach to curation was guided more by instinct than by a fixed program. As Harold Szeemann observed in A Sounding Triangle:
“Shizuko Watari has been more inclined to follow her keen intuition than a particular program when it comes to discovering those artists with ‘universal appeal.’ Her selection of artists is dictated by the ambition to familiarize her city with the international artistic terms of expression in all media, and to do so on her own initiative.”
Haring’s first exhibition in Japan, held at Galerie Watari in 1983, marked a major milestone in his career. During this trip, he collaborated with graffiti artist Angel Ortiz (LA2) to create a vibrant mural on the interior and exterior of ON SUNDAYS, a building adjacent to the gallery. This mural, which captured the bold and energetic spirit of Haring’s style, became an iconic part of Tokyo’s urban landscape. When the building was dismantled in 2018, the mural was carefully preserved, a testament to its cultural significance.
The success of Haring’s initial visit led to his return to Tokyo in 1986 to open his second Pop Shop. Though short-lived, the Tokyo Pop Shop had a significant influence on Japanese pop culture. More than a retail space, it embodied Haring’s belief that art should be accessible to all. Through items like T-shirts and buttons, he communicated themes of social activism, love, and equality.
Haring’s relationship with the Watari-um and his time in Tokyo helped shape both his artistic evolution and his global legacy. His engagement with Japanese culture and his collaborations with the museum left a lasting impression that continues to resonate in the art world and popular culture today.