Robert Indiana - Life and Work

Life and Work

Robert Indiana was born Robert Clark in New Castle, Indiana. His family relocated to Indianapolis, where he graduated from Arsenal Technical High School. He studied at the Art Institute of Chicago (1949–53), the Skowhegan School of Painting and Sculpture in Maine (summer 1953) and Edinburgh University and Edinburgh College of Art (1953–4), before settling in New York in 1954. There he began making art with distinctive imagery drawing on commercial art approaches blended with existentialism, that gradually moved toward what Indiana calls "sculptural poems".

Indiana's work often consists of bold, simple, iconic images, especially numbers and short words like EAT, HUG, and, his best known example, LOVE. In his EAT series, the word blares in paint or light bulbs against a neutral background; he regularly paired “EAT” with “DIE”. Other well-known works by Indiana include: his painting the unique basketball court formerly used by the Milwaukee Bucks in that city's U.S. Cellular Arena, with a large M shape taking up each half of the court; his sculpture in the lobby of Taipei 101, called 1-0 (2002, aluminum), using multicoloured numbers to suggest the conduct of world trade and the patterns of human life; and the works he created in the aftermath of the September 11, 2001 attacks and exhibited in New York in 2004 called the Peace Paintings.

Between 1989 and 1994, Indiana painted a series of 18 canvases inspired by the shapes and numbers in the war motifs paintings that Marsden Hartley did in Berlin between 1913-15.

In 2008, Indiana created an image similar to his iconic LOVE (letters stacked two to a line, the letter "o" tilted on its side), but this time showcasing the word "HOPE," and donated all proceeds from the sale of reproductions of his image to Democrat Barack Obama's presidential campaign, raising in excess of $1,000,000. A stainless steel sculpture of HOPE was unveiled outside Denver's Pepsi Center during the 2008 Democratic National Convention. The Obama campaign sold T-shirts, pins, bumper stickers, posters, pins and other items adorned with HOPE. Editions of the sculpture have been released and sold internationally and the artist himself has called HOPE "Love's close relative".

Indiana has been a theatrical set and costume designer, such as the 1976 production by the Santa Fe Opera of Virgil Thomson's The Mother of Us All, based on the life of suffragist Susan B. Anthony. He was the star of Andy Warhol's film Eat (1964), which is a 45-minute film of Indiana eating a mushroom in his SoHo loft.

In 1964, the year he designed the Love graphic, Indiana moved from Coenties Slip to a five-story building at Spring Street and the Bowery. In 1969, he began renting the upstairs of the mansarded Victorian-style Odd Fellows Hall named "The Star of Hope" in the island town of Vinalhaven, Maine as a seasonal studio from the photographer Eliot Elisofon. Half a century earlier, Marsden Hartley had made his escape to the same island. When Elisofon died in 1973, Indiana bought the lodge for $10,000 from his estate. He moved in full time when he lost his lease on the Bowery in 1978. Since 1978, he has lived as a resident of Vinalhaven.

Read more about this topic:  Robert Indiana

Famous quotes containing the words life and, life and/or work:

    Whoever influences the child’s life ought to try to give him a positive view of himself and of his world. The child’s future happiness and his ability to cope with life and relate to others will depend on it.
    Bruno Bettelheim (20th century)

    Wisdom is not just knowing fundamental truths, if these are unconnected with the guidance of life or with a perspective on its meaning. If the deep truths physicists describe about the origin and functioning of the universe have little practical import and do not change our picture of the meaning of the universe and our place within it, then knowing them would not count as wisdom.
    Robert Nozick (b. 1938)

    Success and failure in our own national economy will hang upon the degree to which we are able to work with races and nations whose social order and whose behavior and attitudes are strange to us.
    Ruth Benedict (1887–1948)