Robert Indiana LOVE White Blue Red (The American Love) 1966-2000 Polychrome aluminum. 36 x 36 x 18 in. (91.4 x 91.4 x 45.7 cm). Stamped “© 1966-2000 R INDIANA” and numbered of four along the lower edge. This work is from an edition of six plus four artist’s proof.
Provenance Acquired directly from the artist; Collection Morgan Art Foundation, New York; Private collection, United States Exhibited Paris, Denise Rene Gallery, Hommage à Indiana, March - May, 2001 (another example exhibited; London, Waddington Galleries, Robert Indiana Paintings and Sculpture 1961-2003, September 29 - October 23, 2004 Literature A. Dannatt, The Indiana Code, London, no. 5 (illustrated) Catalogue Essay Dreams and dreaming are recurrent with Indiana. Grafted into the depths of the collective imagination, the Dream intimates the very notion of an American identity, along with the singularity of a country not quite like the others. H. Depotte, Robert Indiana A Restrospective, 1958 to 1998, Nice, 1998, p. 41 Abstract Expressionism was the most dominant artistic mode in America in the late 1950s. Robert Indiana viewed it as an art still subservient to European tradition, of their transcendental aspirations in landscape painting. A self-proclaimed American artist, the use of signs in Indiana’s work is borne out of his country’s consciousness. Components of the highways and of the cities, signs flash and buzz in front of our eyes, and often in neon. It is the national fauna. Created in his Bowery studio, LOVE, his most emblematic work, transcends the sound bite by bridging the public realm and private longing in a direct language that isn’t just read, but consumed: “Indiana’s ‘signscapes’ are not ‘for your eyes only’, they are also for your brain and soul. They fall flat, and lose their raison d’être if there is no humanity to grasp them,” (ibid, p. 16). Read More
Robert Indiana LOVE White Blue Red (The American Love) 1966-2000 Polychrome aluminum. 36 x 36 x 18 in. (91.4 x 91.4 x 45.7 cm). Stamped “© 1966-2000 R INDIANA” and numbered of four along the lower edge. This work is from an edition of six plus four artist’s proof.
Provenance Acquired directly from the artist; Collection Morgan Art Foundation, New York; Private collection, United States Exhibited Paris, Denise Rene Gallery, Hommage à Indiana, March - May, 2001 (another example exhibited; London, Waddington Galleries, Robert Indiana Paintings and Sculpture 1961-2003, September 29 - October 23, 2004 Literature A. Dannatt, The Indiana Code, London, no. 5 (illustrated) Catalogue Essay Dreams and dreaming are recurrent with Indiana. Grafted into the depths of the collective imagination, the Dream intimates the very notion of an American identity, along with the singularity of a country not quite like the others. H. Depotte, Robert Indiana A Restrospective, 1958 to 1998, Nice, 1998, p. 41 Abstract Expressionism was the most dominant artistic mode in America in the late 1950s. Robert Indiana viewed it as an art still subservient to European tradition, of their transcendental aspirations in landscape painting. A self-proclaimed American artist, the use of signs in Indiana’s work is borne out of his country’s consciousness. Components of the highways and of the cities, signs flash and buzz in front of our eyes, and often in neon. It is the national fauna. Created in his Bowery studio, LOVE, his most emblematic work, transcends the sound bite by bridging the public realm and private longing in a direct language that isn’t just read, but consumed: “Indiana’s ‘signscapes’ are not ‘for your eyes only’, they are also for your brain and soul. They fall flat, and lose their raison d’être if there is no humanity to grasp them,” (ibid, p. 16). Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
