KEITH HARING, ARTIST AND ACTIVIST: The Broad Art Museum, Los Angeles, CA

Keith Haring, Art is for Everyone at The Broad Museum in Los Angeles

For months I had seen light pole banners along the streets of Los Angeles promoting the Keith Haring exhibit at The Broad museum of modern art in downtown LA. Playful polka-dotted creatures danced across each banner. I wanted to see more. 

T-shirts, posters, books, are among the many ways Keith Haring's expressed his creativity.

Keith Haring, Art for Everyone, is an amazing collection of paintings, drawings, sculptures, pottery, t-shirts, and art on just about any surface he could draw on. A rotating slide show of his public art on buildings in NYC, subway stations, and elsewhere is projected on the wall outside the entrance to the exhibit. Inside the exhibit his paintings are so numerous they are double-hung to fit them all in.

As a child, Haring learned to draw using Disney characters and Dr. Seuss books a models.

Strong black lines, bright colors, animals (especially snakes) and other imaginative creatures, characterize Haring’s work. 

I couldn't resist having my photo taken through this decorated window.

His art reflects the influence of other artists of the time such as Andy Warhol, Jean-Michel Basquiat and Roy Lichtenstein. (You can see examples of their work upstairs at The Broad in the permanent collection.)

Haring designed posters and flyers to promote AIDS awareness.

Keith Haring, born in 1958, worked in New York City in the 1970s and 1980s, producing an enormous quantity of work before dying of AIDS in 1990. In 1988 he created the Keith Haring Foundation to continue his artistic legacy and to provide funding to AIDS organizations for education, research, and care, as well as to groups that work with children and marginalized communities.

Haring protested apartheid in South Africa through his art.

His commitment to speaking out about issues he believed in grew stronger throughout his career. “Haring’s activism was central to his practice. He used his imagery and celebrity to protest apartheid in South Africa, raise awareness of the crack cocaine epidemic, and the AIDS crisis, and support causes from nuclear disarmament to UNICEF.”

In the last room of the exhibit are some of Keith Haring's final works, including a painting with an unfinished corner, providing a clue to his method.

The Keith Haring exhibit at The Broad is the first exhibit of his work in Los Angeles. The exhibit requires a timed paid ticket, available online. (The rest of the art museum is free.) The Keith Haring exhibit closes on October 8, 2023. See it while you can. 

Moses and the Burning Bush, 1985

CELEBRATING 500,000 PAGE VIEWS OF THE INTREPID TOURIST

"The world is a book and those who do not travel read only a page."--St. Augustine

Hurray! This week marks a total of 500,000 all time page views of The Intrepid Tourist!  That's a half million! Thanks to all of you who have been reading my posts!  In the 12 years since I launched this blog, the readership has grown steadily and I am gratified that the articles I’ve posted have found such a large audience. According to the stats, viewers come from all over the world!  And I thank all of my guest posters for expanding the breadth of the blog and bringing new readers to the site. 

I would love to hear your comments!  Meanwhile, Happy Traveling!

MAGIC IN MEDIEVAL EUROPE - AN EXHIBITION AT THE MUSEUM OF NATURAL AND CULTURAL HISTORY, EUGENE, OREGON, Guest Post by Caroline Hatton

Drawing of a 14th Century buttercat, a butter-stealing spirit, at the University of Oregon Museum of Natural and Cultural History, Eugene, Oregon.

My friend Caroline Hatton, a children’s writer and frequent contributor to this blog, visited this temporary exhibition in Eugene and took the photos in this post in August 2023.

 “Magic in Medieval Europe” is an enlightening and entertaining temporary exhibition (until October 8, 2023) at the University of Oregon Museum of Natural and Cultural History in Eugene, Oregon. The exhibition was expertly curated by Dr. Martha Bayless, Professor of English and Director of Folklore and Public Culture, who teaches classes in medieval magic, food, games, and popular culture, and has authored numerous books on medieval subjects.

In the Middle Ages (500s-1500s), believing in magic helped people “understand” why things happened and cope with mystery, uncertainty, and danger. Magic was used for good or evil purposes, by ordinary people and witches. The exhibition shows myriad facets of such magic, including how it was used in the examples below and for many more purposes, blurred lines between magic and religion, types of magic beings, the magic roots of some of today’s holiday traditions, and current superstitions.

BEWARE OF BUTTERCATS

Witches were capable of sending around the neighborhood evil spirits taking the form of cats—buttercats to be more specific (see the image at the top of this post), to “steal” butter, cream, or milk. Buttercats gave people something to blame when a cow stopped making milk.

MAGIC FOR THIEVES

Thieves could magically get rich by stealing cattle clandestinely, then offering magic services (for a price!) to “find” the missing animals.

MAGIC FOR HEALING

In medieval times, disease was incomprehensible and terrifying. Magic helped “explain” and “cure” it.

The Black Death or bubonic plague that killed one third of Europe’s population caused, among other symptoms, large bumpy swellings. People believed that similar things influenced one another. So they put large bumpy toads on swellings to draw out “poison” and “cure” patients.

Gnarled oyster shells (arthritis "cure").

Oyster shells or Devil’s toenails looked like arthritic joints, so they were used to “cure” joint pain. Walnuts looked like a brain, so they were used to “heal” brain ailments or “fix” problems with the head.

MAGIC FOR LOVE

Dried periwinkle (love potion ingredient).

In case love potions could help, periwinkle was a key ingredient because it “influenced” the thinking and feelings of others. A written love spell in the 15th Century required using a feather from the right wing of a male goose as a quill. People in love exchanged engraved posey rings to affirm and “ensure“ mutual feelings.

ABOUT HALLOWEEN

Soul cake replicas.

On All Hallows’ Eve, medieval Christians, remembering dead loved ones and aching to save their souls from hell, used the powerful magical Eucharist (consecrated communion wafer) or rather, a homemade bread version aptly called soul-cake. People went door-to-door asking for one and reciting a blessing, each time “saving” one soul from hell. This evolved into today’s trick-or-treating and receiving candy.

In medieval England, ghost costumes seemed perfect for honoring the dead. The costumes evolved to now include anything scary… or not.

TRY AT YOUR OWN RISK, IF YOU DARE

At the museum, a kids’ activity table gives a chance to create one’s own house sprite by putting together magnets that are body parts (with or without claws), clothing (including hats) and tools of the trade (including brooms). Prompts invite creators to name the sprite, the part of the house where the sprite lives, and the sprite’s favorite treats (milk? cake?) to keep it happy so it won’t cause mischief.

Somniale Ioseph, a medieval guide to dream interpretation.

For magic to try at home, to interpret a dream, open a book to a random page and note the first letter you see. Look up that letter in the above photo of a medieval guide to dream interpretation. For help deciphering the medieval text, see the transcription below.

On the explanation of dreams:

A signifies the help of the Lord.

B signifies something good.

C signifies blood.

D signifies an enemy.

E signifies hearing or seeing strange things.

F signifies that evil is near.

G signifies delight.

H signifies a coming delight.

I signifies going somewhere.

K* signifies staying put.

L signifies being happy.

M signifies something large.

N signifies something conflicting.

O signifies giving alms.

P signifies working dutifully.

Q signifies attending to God.

R signifies grave peril.

S signifies deliverance by the Lord.

T signifies being sad.

V signifies coming to worship.

X signifies the coming of the savior.

Y signifies divine aid.

Z signifies a coming death.

*The letter J was not used until the 16th century.

I’m glad I don’t live in medieval times or suffer from silly superstitions. For example, I don’t believe that horseshoes bring luck. But as a horse lover, I use horseshoes for interior decoration, with the opening pointing up—because if it pointed down, the luck would run out!

All text and photos, copyright Caroline Arnold. www.theintrepidtourist.blogspot.com

 

VISITING MUSEUMS IN REYKJAVIK, ICELAND: Guest Post by Caroline Hatton

Wax figure at the Saga Museum, Reykjavik, Iceland.

My friend Caroline Hatton, a children’s writer and frequent contributor to this blog, visited a few museums in Reykjavik and took the photos in this post in June 2023.

While in downtown Reykjavik for three days, I didn’t buy a City Card (24-, 48- or 72-hour pass to buses, hot pools, and some museums) because it would have cost more than the few admission tickets I wanted. Here are glimpses of the museums I visited.

THE SAGA MUSEUM

The Saga Museum is about Icelandic history, simply because that’s what the Icelandic Sagas are about. They are family oral histories written down a few centuries after the events they document. I loved the two I had read previously, Njáls’ Saga and the Saga of Erik the Red.

The museum contains no historical artefacts, only exquisite, life-like, costumed wax figures (photo above) posed in key historic scenes. I enjoyed feasting my eyes on them while reading the chronological info panels, the entire content of which is at the museum website (above link, “Overview” button).

Having recently picked which saga to read next, namely Egil’s Saga, I was glad to hear the audio guide pronounce the name: like ey-yee-tl and said quickly and briefly with barely any T and L sound. Not an easy name to yell at a naughty boy. Not an easy boy to handle. Big for his age. The first person he killed, when he was seven years old, was an older playmate who annoyed him. I can’t wait to read about what he did as a grown Viking. The only other thing I already know about him is that he was a precocious, gifted, mesmerizing poet.

In the museum play area full of costumes and toy weapons, I gratefully noted the absence of horned helmets, because contrary to common belief, the Vikings did not wear such. My visit ended with the obligatory gift shop browsing, but no purchase.

THE SETTLEMENT EXHIBITION

The Settlement Exhibition building.

Located in one of the many corrugated-iron-clad buildings in an old part of Reykjavik, The Settlement Exhibition begins chronologically on the bottom floor, with archeological remains from the time when Vikings first settled in Iceland, in the local area. Discovered in 2001, the base of the stone wall of a 10^th-century Viking longhouse (a home for an extended family) was left where it was found. It is now surrounded by excellent displays which paint a picture of what life was like at the early settlers’ farm on the shore of the bay.

Model of 1906 Reykjavik.

The museum’s upper floors present the development of Reykjavik from a farm to a city. Because I love miniatures, my favorite was a top-quality model of Reykjavik as it might have appeared on September 14, 1906, a Friday. The street across one end of the model is Aðalstræti, the oldest street in Iceland, where the museum is now located.

Model of 1906 Reykjavik, detail.

Model of 1906 Reykjavik, detail.

Could Friday have been bed linens laundry day? I wondered, judging by the mini clotheslines with mini clothespins holding mini sheets. Looking through viewing devices mounted at the edges of the model and aimed at specific spots in town, I saw and heard ghostly moving images of mini people busy working.

Adalstraeti 10, Reykjavik's oldest house.

The museum ticket included admission to Aðalstræti 10, Reykjavik’s oldest house still standing just down the street, but I didn’t have enough leisurely time to go inside.

THE HOUSE OF COLLECTIONS

The House of Collections.

Built in 1909 as the Culture House to contain the National Library, National Archives, and National Museum collections, the building is now kept by the National Gallery of Iceland as an extra exhibition space called the House of Collections.

Tomasarfjall (Mount Thomas) by Brynhildur Porgeirsdottir.

The exhibition of Icelandic artists’ works inspired by nature, and dating from the late 19^th century to the present, matched my interests perfectly. The different floors focused on Air, Land, Ocean, and Play. All kinds of media were represented in paintings, drawings, textiles, mobiles, projected images… letting visitors experience works on the selected themes, and intended to be thought-provoking and to trigger the desire to take part in transforming society toward a sustainable future.

Each floor had a kids’ craft area with supplies! As is normal for me, I liked only a few pieces in the entire museum and loved looking for them. As the only visitor, I lingered.

At one end of the former library reading room, the card catalog cabinet was full of handwritten cards. I followed the posted instructions to write down a wish, date, and first name, and to file the card alphabetically. It worked! My secret wish has since come true.

Before leaving the House of Collections, I spent a moment alone in the bottom floor café, at one of the bistro tables. I didn’t try the free coffee, tea, or sweet pastry bites. Instead I thumbed through art books and magazines from the wall shelf and scribbled in my mini notepad.

My ticket included admission to the National Gallery of Iceland and Hús Ásgrims Jónssonar, the artist’s house-turned-museum covered in my previous guest post on this blog (9/4/23).

FOR MORE INFO

Read some of Caroline Hatton’s other guest posts about Iceland:

Walking Around Reykjavik Part 1 and Part 2 

In the land of Njáls’ Saga in Iceland 

All text and photos, copyright Caroline Arnold. www.theintrepidtourist.blogspot.com 

HÚS ÁSGRÍMS JÓNSSONAR A PAINTER’S HOME IN REYKJAVIK, ICELAND Guest Post by Caroline Hatton at The Intrepid Tourist

Mt. Esja, seen from Vinaminni by Asgrimur Jonsson, 1910.

My friend Caroline Hatton, a children’s writer and frequent contributor to this blog, visited this museum and took the photos in this post in June 2023.

I love visiting homes-turned-museums, because I can imagine the notable occupants moving through their days and using each area. Hús Ásgríms Jónssonar was the home of Ásgrímur Jónsson (1876-1958), the first Icelandic painter to pursue art for a living.

Before walking from my hotel to the museum, I looked up its location at Bergstaðastræti 74. All I would have to do was go right, left, then right on that Berg… Berg… Berg-something street, and spot the little house halfway down the block. So that’s what I did that lovely 13^oC (55^oF) morning, turning right on Bergþórugata, where the museum was nowhere to be found. But I walked on, turned left, and left again on the next Berg-something street, and found the place!

The museum is in a small 1928 house. When Ásgrímur* died, he left it, with its contents and thousands of his works, to the people of Iceland.

*Icelanders refer to one another by first name, because surnames are patronymic, identifying only the father by his first name: Jónsson means Jón’s son.

Ground-level room in Asgrimur's home.

Inside, I wondered, did he play the piano?

Second ground-level room.

What was his favorite book?

Second ground-level room.

Did a loved one make this quilt for him?

Whole upper-floor studio.

Studio.

When I visited, the temporary exhibition was “A Window in Reykjavík,” a collection of paintings of views out the windows of the artist’s homes in Reykjavik. My favorite was a 1910 painting, “Mt. Esja, seen from Vinaminni” (photo at the top of this post). It shows the view from the house where the painter lived at the time (not the museum house where I stood).

Paint spots on the floor of the studio.

His main source of inspiration was nature. He was also first to draw pictures based on Icelandic sagas, and folk and fairy tales. And he turned out to be a children’s book illustrator when a series of children’s readers illustrated with his art was published, beginning in 1907.

In his studio, I looked at sample copies of books sold on site. The reproductions I liked best were 1910s watercolor landscapes: immense horizons, wild rivers below giant glaciers, moody weather, the kind of vision that keeps drawing me back to Iceland.

FOR MORE INFO

 Read Caroline Hatton’s guest posts about Walking Around Reykjavik Part 1 and Part 2.

All text and photos, copyright Caroline Arnold. www.theintrepidtourist.blogspot.com