Artist

Robert Indiana

1928–2018

Best known for his iconic series of LOVE sculptures, Robert Indiana was an American printmaker, painter, and sculptor. Born Robert Clark in 1928, the artist took his nom de pop art from the state he grew up in, moving from house to house after being adopted at a young age. In his work, Indiana adapts the classic iconography of Americana—road signs, advertising, and logos—create his Pop art icons. Equally inspired by the written word as by visual art, Indiana turns words into physical objects, in a bid to simultaneously celebrate and question the American Dream and other myths.

 

In 1954, Indiana established his studio at Coenties Slip, a rural artistic community on the coast of south-east Manhattan. The scenery and landscape provided a great deal of inspiration to his early work, using salvaged materials to assemble the self-supporting sculptures which Indiana referred to as “herms”. In this early phase of his career, Indiana’s work was shown at a number of significant exhibitions at galleries such as the Museum of Modern Art, New York, which first acquired one of his paintings—the first in his ongoing American Dream series—in 1961. This cemented him as a leading figure of the era’s Pop Art movement, propelling him to mainstream renown leading up to his most famed design.

 

Indiana’s career took off in earnest in 1966 when his LOVE series was featured in a show at the Stable Gallery, New York, marking a visual departure from his previous work for its bold lettering and bright colours. The design was featured on a postage stamp just seven years later, and became a major piece of iconography for the hippie movement. Indiana has come back to the LOVE design often, including printing a translated version in Hebrew for Jerusalem’s Israel Museum. 1966 also saw Indiana’s work exhibited across Europe for the first time, at galleries in Germany, the Netherlands and Italy. Works such as his Confederacy paintings, and Metamorphosis Of Norma Jean Mortenson, his vivid tribute to Marilyn Monroe, garnering particular international acclaim.

 

Throughout the 1960s Indiana addressed issues of love and death through his sharp-edged, high-contrast art which deployed text both formally and linguistically. Indiana was also interested in the formal beauty and symbolic power of cardinal numbers. During both the Vietnam War and the Iraq War, Indiana made a series of works inspired by the idiom of peace protests.

 

The artist left Manhattan in 1978, some 24 years after moving there, and established a new studio on the island of Vinalhaven in the state of Maine. Indiana returned to many of the themes and methods of his early years with his Hartley Elegies. Inspired by the former owner of his studio,  he worked on this series, and a series of found object sculptures, from the late eighties to 1994. His work continued to be shown worldwide with retrospective exhibitions opening in Milan and St. Petersburg, as well as a travelling show which started in 2013 at the Whitney Museum Of American Art, New York City, called “Robert Indiana: Beyond LOVE”.

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2019年弗里兹雕塑公园

罗伯特·印第安纳与巴瑞·弗拉纳根
伯特·印第安纳的作品《从一到零》 在摄政公园举行的伦敦最大规模的户外免费艺术展览弗里兹雕塑展上,沃丁顿库斯托画廊展出了罗伯特·印第安纳的作品《从一到零》(ONE through ZERO, 1980–2002年 )。 作为一位美国的版画家、画家和雕塑家,印第安纳以其标志性的“爱”(LOVE)系列雕塑而闻名。印第安纳用戈坦钢制成的“从一到零”系列( 1980–2002年 )是一组十个数字的雕塑。 1980 年最初构思时是一系列八英尺的大型喷漆铝雕塑。随后,艺术家创作了一系列不同比例和罩面漆的“数字” 雕塑,包括用戈坦钢制作的《从一到零》。 戈坦钢会风化,也会根据周围环境生成特殊的氧化层,然后受到天气影响会持续再生,最后呈现出丰富的天鹅绒般锈色外观。印第安纳受到美国 19 世纪中期流行的意象叙事传统的启发。该传统将生命周期描述为“人的年龄”并用特定数字表示:出生(1),童年(2),青春期到成年(3 –6),老年(7–9),最后死亡归为零。 巴瑞·弗拉纳根的作品《构图》 沃丁顿库斯托画廊在摄政公园举行的伦敦最大的户外免费艺术展览弗里兹雕塑展上展出巴瑞·弗拉纳根的作品《构图》( 2008 年)。 弗拉纳根是英国最著名的雕塑家之一。 作品《构图》( 2008 年)包括一只大型的青铜“尼金斯基野兔”(他的雕塑中被收藏最多的)以及三只表演马戏团平衡术的大象。 弗拉纳根个人很喜欢表演,而尼金斯基野兔则以俄罗斯芭蕾舞团的明星瓦斯拉夫·尼金斯基的名字命名,后者以其热情洋溢的舞蹈风格而闻名于世,是奥古斯特·罗丹的生命典范。作为罗丹作品的忠实崇拜者,弗拉纳根用拟人化的野兔去捕捉尼金斯基起舞时的动态姿势,还采用了与罗丹相同的技术把雕塑家自己的指纹留在野兔的身上来增强其动感和即时性。 Read more

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Robert Indiana | ONE through ZERO, 1980-2002 | Installation at Frieze Sculpture 2019

3 July - 6 October 2019 Waddington Custot

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