CrAcK iS WaCk

By SAI GONDI

Boy, 1980's New York was quite the experience for any spectator roaming the concrete jungles. Traditional art lost some of the glamour it formally possessed within the public. It seemed people craved something fresh, something extraordinary to rally around and appreciate. 80's New York street culture was the perfect example of this, bringing the art directly to the people. Some might say delinquents, others visionaries. Regardless, graffiti and abstract street work became the eye opening splinter in the art world.

During a confusing time of diseases, pseudo wars, and drugs, artists took the subways and alleys to beautifully loiter the city with their messages and ideas. Art transformed into a platform to confront relevant social issues such as AIDS, race, and sexuality. The subjects became deeper while equally works became increasingly abstract. Keith Haring became of the most notable, respected artists during this revolution. His trademark cartoon humans helped him demonstrate an array of pressing issues including war and drug abuse. Throughout New York, his works sprung up on walls, handball courts, subways, and more. Haring's distinct style and blunt expression made him easily identifiable to any viewer. He befriending many artists during this period including Jean-Michael Basquiat and Futura 2000. Aside from crack, one of Haring's other popular subjects were AIDS, which he eventually died from at the age of 31. 

Crack is Wack was one of Haring's more popular works. Created in 1986. the mural was illegally created though now is protected by the city. Haring depicts his signature figures flailing and suffering as a result of abusing the drug, while the focus centers on a skeleton laying across the work. The skeleton signifies the extremely harmful consequences resulting from crack. In one hand, it holds the classic pipe used to consume the drug, while in the other there is a zero dollar bill caught on fire. This symbolizes people's savings burning up over an addictive product. Haring does not use as much color as his fellow New York artists during this time, however he still creates a powerful work shedding light on a pressing issue.