Robert Indiana

from Wikipedia, the free encyclopedia
Robert Indiana in Maine (2007)

Robert Indiana (born September 13, 1928 in New Castle , Indiana ; actually Robert Clark ; † May 19, 2018 in Vinalhaven , Maine ) was an American painter and a main exponent of Pop Art and signal art .

Indiana became known for its striking drawings, which are among the most radical expressions in Pop Art. Just as simple as Indiana's 1966 work LOVE with its letters L and O, including V and E - in the colors red, blue and green - are his other works of numbers, letters and five-pointed stars. This simplicity, the compression to the essentials, borrowed from advertising, meant that his pictures could and became a logo , a lettristic - emblematic figure.

Life

Childhood and Education (1928–1954)

Robert Indiana: Sculpture in LOVE Park, Philadelphia (detail) (2006)

Indiana was born as the only child of Earl Clark and Carmen Waters in New Castle and named itself from 1959 after the state in which he was born. In 1933 he traveled to Chicago with his parents to visit the world exhibition " A Century of Progress " . Indiana started school in Mooresville in 1935 and his intention to become an artist was strongly supported by his teacher, Ruth Coffman. After his parents divorced, he lived with his mother and stepfather, Foster Dickey. In 1942 he moved to Indianapolis to attend the Arsenal Technical School. During his free time from school, he worked at Western Union and the "Indianapolis Star". He admired the American artists Charles Demuth , Grant Wood , Thomas Hart Benton, and Charles Sheeler . He did not accept a scholarship at the John Herron Institute in 1946 and decided instead to join the Army Air Force , which allowed him to receive free training for five years. In 1948, while stationed in Rome, New York, he attended art seminars at the Manson-Williams-Proctor Institute in Utica and took a beginner's course in Russian at Syracuse University .

In 1949 he enlisted in the Air Force for overseas service outside of Europe and was sent to Anchorage , Alaska , where he worked for the military magazine "Sourdough Sentinel". A little later he was given home leave because his mother was fatally ill with cancer. In the fall he enrolled for a four-year course at the School of the Art Institute in Chicago and in 1953 received a scholarship to the "Skowhegan School of Painting and Sculpture" in Maine , where he attended summer courses and met Alex Katz . At the “Skowhegan School” he received the “George Brown Traveling Scholarship”, whereby he was able to complete his degree at the University of Edinburgh , in the subjects of English literature , botany and philosophy of the 20th century . On the side, he wrote poems, which he typed for the first time and provided with lithographic illustrations, which for Indiana was the harbinger of his interest in words and their visual implementation in general.

New York (1954–1978)

After a final summer seminar at the University of London , Indiana moved to New York in 1954 and moved into a room in Hell's Kitchen . In 1955 he worked as a salesman at "Frederick's Kunsthandlung" on 57th Street, which enabled him to establish contacts with pop art circles , including James Rosenquist , Ellsworth Kelly and Cy Twombly . A little later he moved into a loft on Fourth Avenue, which was opposite the studio Willem de Kooning on the back. In 1956 he moved into a corner loft, corner of 31 Coenties Slip with a view of the East River and the Brooklyn Bridge . Because of the cheap rents on Coenties Slip, other artists, such as Agnes Martin , James Rosenquist, Ellsworth Kelly and Jack Youngerman, followed and moved into their lofts there. In 1957 he moved into a new loft, 25 Coenties Slip, and painted his first hard-edge paintings in which he used the shape of a ginkgo leaf . The following year Indiana took a part-time job as a secretary at the Cathedral of Saint John the Divine and worked on Crucifixion , a mural made of 44 pieces of cardboard, showing shapes of ginkgo and avocado. To make the picture, he used printing ink that he applied with a brush.

In the late summer of 1963, Indiana and Andy Warhol met in Eleanor Ward's “ Stable Gallery ”, who at the time also represented Cy Twombly, Robert Rauschenberg and the sculptor Marisol (Maria Sol Escobar). Warhol persuaded Indiana and Marisol to a short scene for his Underground - experimental film Kiss , in which the couple to kiss three minutes. In the course of time, Indiana and Warhol became friends. In early February 1964, Warhol shot the black and white silent film EAT in Indiana's loft , with Indiana as the leading actor. In the film, Indiana sits in a chair eating a mushroom for 39 minutes with his cat on his shoulder. Indiana had gone grocery shopping for the filming because he hadn't eaten the night before or for breakfast. Warhol came into his loft, gave him the one mushroom, and told Indiana that this was what he was going to eat.

Ahava ( Hebrew אהבה English Love ), sculpture made of COR-TEN steel, 1977, Israel Museum , Jerusalem

In the same year, at the invitation of the architect Philip Johnson , Indiana had the work on the facade of the "Circarama", part of the "New York State Pavilion" designed by Johnson and Richard Foster for the New York World's Fair in 1964/65 EAT , placed between works by Ellsworth Kelly and Robert Rauschenberg. In 1965 Indiana worked as a theater set and costume designer for Virgil Thomson's The Mother Of Us All , which was produced in 1976 by the Santa Fe Opera and deals with the life of the suffragette Susan B. Anthony . Indiana moved again and moved into a studio in the premises of a former suitcase factory in the Bowery . A four-meter-high LOVE sculpture made of COR-TEN steel was set up in 1971 in New York's Central Park at Christmas time. After completion, it was shown for the first time in the empty rooms of the newly built Indianapolis Museum of Art in the exhibition “Seven Outdoors”. LOVE is at the center of the twenty-five minute documentary Indiana Portrait and was Indiana's first film appearance since Warhol's Kiss and EAT .

Vinalhaven (since 1978)

In 1978 he retired to a country life. Indiana lived since then on the island of Vinalhaven in Maine, an artist colony that he had visited regularly since 1969, in a lodge decorated by the Stars and Stripes called "Star of Hope", a former seat of the Odd Fellows . When Indiana came to Vinalhaven, the most important thing for him was the “Vinalhaven Press”, run by a Pat Nick for years. Here Indiana had renewed his work on the basis of lithography and etching . In 1985 she became an important point of contact for national and international artists, she also owns an art print shop with workshop and gallery rooms in New York.

In 1989 he worked on the series of paintings The Hartley Elegies (1989–1994), which was created in memory of the 75th anniversary of the death of officer Karl von Freyburg , who fell in World War I. Freyburg was a friend of Marsden Hartley , a painter highly regarded by Indiana. Indiana started getting interested in Hartley when he found out he lived on the same property as Hartley in 1938.

The American Dream (external web link)

On behalf of the Democratic Party , he made a portrait of Jimmy Carter for a "Jimmy Carter Portfolio" in 1980 as a serigraph entitled Jimmy Carter , which he presented to the President in the White House in 1981 . In 1991, Indiana was the first American artist to be invited to paint a piece of the Berlin Wall . In 1998 the extensive book The American Dream with screen-printed reproductions of Indiana and poems by Robert Creeley was published by the publisher "Marco Fine Arts".

After the terrorist attacks of September 11, 2001 , Indiana created a series of so-called Peace Paintings , which were exhibited in New York in 2004 and related to current events in Iraq .

Robert Indiana died in May 2018 at the age of 89.

plant

Based on the signal-like colors of “Hard Edge” and Colourfield Painting , Indiana's works have been characterized by signal-like imagery of a commercial nature since the late 1950s (industrial advertisements, stencils), which he combined with stylistic devices from American art of the 1920s. Since the early 1960s he has been using printmaking for his serigraphs and only using offset lithography for the posters .

He himself described his works as "hard-edge pop" and thus brought them close to Ellsworth Kelly's "hard-edge painting". Commercial brass stencils that he found in abandoned lofts in New York and that were used for numbers and names on freighters and vans of companies of the 19th century are part of his painting, which sometimes moved in areas that he himself as "sculpture poems". Indiana's works often consist of large, simple, iconic images, mostly letters and numbers, with a poster-like application of paint, such as EAT , DIE , HUG or LOVE . “For me, the 'LOVE' painting is a one-word poem. The 'O' is part of a typographical tradition - the 'O' is tilted in hand-typesetting scripts. That wasn't my invention at all. I was just continuing a tradition. ”Also known is the unique painting of a basketball court that was formerly used by the Milwaukee Bucks and that Indiana had a capital M on each side of the court.

pop

In an interview with Gene R. Swenson in the magazine "Art News", conducted in New York in November 1963, when Indiana was asked what "pop" was for him, the answer was that "pop" was all that “Which art wasn't in the last few decades. Basically, it is a sharp turnaround back to objective visual communication. He is a sudden return to the father after 15 years of exploring the womb. Pop is a re-entry into the world. He's 'fuck the bomb'. It is the American dream, optimistic, exuberant and naive ... ”And he went on to say that there are two types of“ pop ”-“ ​​pop ”of the hard interior and“ pop ”of the hard edges. It is the “pop” of the “hard-edge”.

The Warhol biographer Victor Bockris quotes the interview with Indiana in connection with the groundbreaking group exhibition The New Realists by pop art artists in the “ Sidney Janis Gallery ” in New York on October 31, 1962 against the backdrop of the Cuban Missile Crisis . The vernissage, according to Bockris, was also a turning point, “the changing of the guard of the older abstract painters such as Adolph Gottlieb , Robert Motherwell and Mark Rothko by the pop artists.” For James Rosenquist, the artists were even “without fear of the atomic bomb. "

European “pop”, the whole “pop culture” in Europe was only possible for Indiana through the enormous political and cultural influence that the United States exerted on the entire western world after World War II . In an interview with Swenson, who asked him whether America was pop, he answered “yes”. Because “America is deeply in every work of 'Pop'. The immovable ' incunabula ' of this art are the 'Coca-Cola, the car, the hamburger, the jukebox.' [...] 'Pop' is the American myth. Because this is the best of all worlds. ”Another question as to whether Robert Indiana was“ Pop ”, he answered in the affirmative insofar as“ Pop ”was America for him, he was an American painter of signs:“ The 'hard-edges', which he speaks of to characterize his art are the hard edges of the signs that grow in America as the trees in Europe. " 

Herms

Herms (external web link)

From 1959/1960 Indiana's so-called Herms , experimental sculptures, man-high constructions made of weathered beams and former ship masts, with rusty metal parts of various sizes, shapes and functions, such as fittings and wheels, were created. He found the material in the former port area on Coenties Slip. The Herms opened up new aesthetic perspectives for Indiana after he had dealt with geometric-abstract painting for a while, not least inspired by Ellsworth Kelly. With these assemblages , Indiana incorporated the relics of the past, like a modern archaeologist, a “happy transformation of the lost into the found, from garbage into art, the forgotten into the wanted, the unloved into the beloved, from slag into gold.” The sculptures recall, “ not least because of the phallus-like rods in the middle of the body, of the hermes of ancient Greece, cult steles that were erected in honor of the god Hermes . "The wheels mounted on the beams, suggesting movement," seem like distant echoes of the wings on the heels of the Messengers of the gods. ”The painting is dominated by circles, either individually, arranged as a group of two, three or four and by colored areas or stripes, five-pointed stars and numbers. Arrows and black and yellow or red and white striped ribbons are new to the vocabulary.

The American Dream

The American Dream (external web link)

At the beginning of 1960 Indiana started the abstract composition AGADIR , inspired by the severe earthquake in Agadir in Morocco . The work showed four large circles of different sizes on a green area, which was bordered at the top and bottom by white zigzag lines and divided by a third line in the middle. In 1960 Indiana overpainted this work with black paint and provided the four circles with five-pointed stars, numbers and words. In the upper left circle he drew the numbers of highways, "29", "37", "40" and "66"; in the upper right star the words "TAKE ALL" and in the lower left star "TILT", prepunched terms from slot machines and in the lower right in the circle: "THE AMERICAN DREAM". The resulting painting, The American Dream # 1 , from a series of 9 paintings in total, was purchased by the Museum of Modern Art , New York, in 1961 and was Indiana's first publicly owned work.

In connection with the great success that the picture experienced through the purchase, Indiana painted number 2 in 1962/1963. The Red Diamond American Dream # 3 from 1962 was acquired by the Stedelijk van Abbe Museum in Eindhoven the following year . It was the first work of Indiana bought by a museum in Europe and is the only "American Dream" that is publicly owned in a European museum. This was followed by number 4 and The Demuth American Dream # 5 from 1963. The Eighth American Dream followed in 2000 , which he painted in memory of his mother and concludes with the 2001 work The Ninth American Dream , consisting of a total of nine canvases .

Numbers

Charles Demuth: The Figure 5 in Gold (1928)

Number and counting play a prominent role in the Indiana factory. The artist saw in them diverse references, a symbolic meaning behind the numbers and their potential relationships with one another, to dates of birth and significant events, as well as to his own biography. Historical data, the numbers of highways ( Route 66 ), numbers on slot machines, gas meters and car signs stand alongside words from texts by poets or words he found on commercial templates and are linked together and woven into a network of references.

An example: Indiana's favorite picture was I Saw the Figure Five in Gold by Charles Demuth. It was created in 1928 in the year Indianas was born. In 1963, the year of the death of William Carlos Williams , whose poem The Great Figure Demuth had inspired his painting, Indiana painted a joint homage to Demuth and Williams. The homage is “a five-part composition in a cross-shaped arrangement entitled 'The Demuth American Dream No. 5 ', in which five times the triple five-fold progression of Demuth's painting appears as a signal. " 

“1963 minus 1928 results in 35, a number that results from the sequence of three fives (555), which Demuth symbolizes the approach of the fire engine in the poet's experience. While the central five-circle picks up all the monograms and words from Demuth's picture and connects them with the circular script 'AMERICAN DREAM 1928/1963', the four outer circles show Indiana's motto 'ERR / DIE / EAT / HUG' (Irre / Die / Eß / Umarme ) on […]"

LOVE

LOVE stamp (1973)
LOVE (1970) made of COR-TEN steel in front of the Indianapolis Museum of Art, Indianapolis

The motif was commissioned in 1964 by the "Museum of Modern Art" in New York as a Christmas card from Indiana. Since the card bore the museum's copyright notice and not Indiana, the artist had lost the commercial rights of use to the lettering in the USA under the then applicable American copyright law. As a result , in addition to adaptations by well-known artists, LOVE could be cited, copied and modified as often as desired in advertising, on book and record covers, on magazines and posters. Indiana complained that everyone knew their LOVE , but that no one had the faintest idea what they looked like.

Logo of the US gas station chain (until 1959)

LOVE , created as an artistic theme in 1966, in the colors blue, red and green, exists as a sculpture made of marble , aluminum and COR-TEN steel, as a screen print , poster, tapestry, a LOVE ring realized in 1977 and an 8-cent Postage stamp that Indiana designed for the US government in 1973 with a circulation of 330 million copies under the motto "For Someone Special". The message of LOVE should be sent all over the world. Like other images of Indiana, LOVE has become a logo, a positive symbol that represents many aspects of art, consumption, politics and religion, related to the Vietnam War , eroticism and sex alike.

Indiana's The Great Love (Love Wall) from 1966, one of his first LOVE pictures, is in the aforementioned colors, consists of four square canvases of the same size, with all letters, except for the tilted “O's”, seamlessly touching and the result is a composition built around two mirror-symmetrical axes   . Frank Stella once called his composition and balanced image weighting a "non-relational painting", because the relationship of the "symmetry of the image frees the compulsion of composition." In 1991 Indiana applied the lettering LOVE in connection with WALL using a stencil in red part of the Berlin Wall . The work was auctioned in 2011 at Dorotheum in Vienna .

In terms of content, LOVE goes back to Indiana's childhood, which was shaped by the " Christian Science Teaching" founded by Mary Baker Eddy in the 19th century . “God is Love” is written in every church. This particularly specific form of American spirituality, which is part of the particularly American milieu and ultimately became the source of LOVE , was always emphasized by the artist. Indiana's love for the color red, as well as for the number 66, he owes to his father, who had worked at Phillips 66 .

The crossover band Rage Against the Machine made an adaptation of this famous picture motif by Robert Indiana on their album Renegades . Instead of LOVE there is adversarial RAGE, whereby not the second but the third letter, the G, is tilted. The album only contains cover versions of songs by other bands. The use of Indiana's image thus symbolizes the principle of artistic takeover and transformation that the band practices musically.

The Hartley Elegies

Marsden Hartley (external web link)

Marsden Hartley created the War Motifs series in 1914/1915 in memory of his friend Karl von Freyburg . There are abstract compositions on a black background made of elements from Freyburg's uniform and the insignia of the military pomp of Wilhelmine Germany that fascinated the painter: helmet, spurs, epaulets, medals, banners and flags. At the beginning of Hartley's series is the portrait of a German Officer , which Indiana was well known through his visits to the Metropolitan Museum , New York.

The Hartley Elegies (external web link)

On October 7, 1989, 75 years after Freyburg's death, Indiana began working on the first of a total of 18 canvases. It is titled KvF I and is a hard-edge paraphrase of Hartley's picture in the Metropolitan Museum. In the further course of his work on the Elegies, the motifs become increasingly free and compressed; the dimensions of the picture evolve from upright, through square, pointed canvases to circular pictures.

For Robert Indiana, working on the Hartley Elegies was, among other things, work on his own biography and work on his own myth. It offered the opportunity to draw the sum of his work, and also to address his identity as a homosexual artist. In this work he interconnects the coordinates of his own life with those of Hartley and Freyburg and creates an analogous connection between their relationship and his relationship with his partner Ted Beck, who is Germanized and ennobled as "TvB" appears on several canvases.

Art historical classification

Jasper Johns (external web link)

In addition to Indiana, Jasper Johns had already started painting number pictures in 1954 and in the following year produced a series of encaustic and collaged paintings of individual numbers, digits on rectangular canvases, which are named Figures . By 1960 Jasper Johns had developed four different motifs for the number pictures - Figures , Numbers , 0 9 and 0 to 9 . The figures show a single number on a rectangular canvas, as in Figure 5 from 1960. In contrast to Charles Demuth's I Saw the Figure Five in Gold and Indiana's The Demuth American Dream No. 5 the number has no functional or symbolic meaning in Jasper Johns' work, but is part of the picture and describes the number in typographical form - it “does not include anything, does not enumerate anything, but opens up an infinity of meanings that make painting questionable and its process. ”When Leo Castelli held the first exhibition on Jasper Johns in New York in January 1958 , it was a scandal for the art world that a young artist dared to“ work against the trend and the supremacy of the influential To subvert ' Abstract Expressionism ', praised by critics as a genuinely American art movement . ”The fact that Jasper Johns made a motif such as the number 5 the sole subject already led to irritation in the art world, although he already had a great predecessor with Humility.

Exhibitions (selection)

Works (selection)

Sculptures

  • 1960: ZIG , wood, wire, iron, oil paint, 165 × 45 × 41 cm, Museum Ludwig , Cologne
  • 1964: DILLINGER , wood, iron, oil paint, 191.8 × 57.2 × 53.3 cm, Paul Kasmin Gallery, New York
  • 1973: LOVE , lacquered aluminum, 91.4 × 91.4 × 45.7 cm, Museum Frieder Burda , Baden-Baden
  • 1980–2001: Numbers, One through Zero , lacquered aluminum, 198 × 128 × 91 cm, Simon Salama-Caro / Morgan Art Foundation
  • 1977–2000: AHAVA , lacquered aluminum, 183 × 183 × 91 cm, Simon Salama-Caro / Morgan Art Foundation
  • 1992: The American Dream , wood, mixed media, 210 × 90.2 × 43.2 cm, Simon Salama-Caro / Morgan Art Foundation
  • 1993: Four Star , wood, mixed media, 189.2 × 93.3 × 45.7 cm, Simon Salama-Caro / Morgan Art Foundation

painting

  • 1961–1962: The American Gas Works, acrylic on canvas, 152.5 × 122 cm, Museum Ludwig, Cologne
  • 1962: The Red Diamond American Dream # 3 , oil on canvas, 187.6 × 187.6 cm, Van Abbemuseum Eindhoven
  • 1963: The X-5 , oil on canvas, 257.8 × 274.3 cm, Whitney Museum of American Art
  • 1965–1998: Silver Bridge , oil on canvas, 171.5 × 171.5 cm, Simon Salama-Caro / Morgan Art Foundation
  • 1966: The Great Love (Love Wall) , acrylic on canvas, 4 parts each 103 × 103 cm, Helga and Walther Lauffs Collection , Krefeld; acquired in 1968, sold in 2008
  • 1966: USA 666 II , acrylic on canvas, 5 parts each 91.5 × 91.5 cm, Museum Ludwig, Cologne, acquired in 1970 from Galerie Schmela, Düsseldorf
  • 1968: Aspen LOVE , oil on canvas, 30 × 30 cm, private collection
  • 1968: The Big Eight , acrylic on canvas, 220 × 220 cm, Museum Ludwig, Cologne
  • 2002: US 66 (Cities) , oil on canvas, 257.8 × 257.8 cm, Simon Salama-Caro / Morgan Art Foundation

Serigraphs

  • 1968: Numbers , portfolio with 10 original serigraphs and 10 poems by Robert Creeley, screen print, edition 125, each 65 × 50 cm, private collection
  • 1968: Die Deutsche Vier (documenta) , screen print, 72 × 72 cm, private collection
  • 1971: The Great American Dream , screen print, edition 68, 78.7 × 71.1 cm, private collection
  • 1971: A little night music , screen print, edition 250, 65.0 × 55.0 cm, Edition Domberger, Filderstadt
  • 1989–1994: The Hartley Elegies , The Berlin Series, 5 serigraphs, screen printing, edition 50, each 204 × 141 cm, Robert Indiana, Vinalhaven
  • 2001: The Black Marilyn , 10-color, screen print, edition 50, 91.8 × 91.8 cm, Simon Salama-Caro
  • 2001: The Sunbirst Marilyn , screen print, edition 100, 78.7 × 66 cm, Simon Salama-Caro

literature

  • Volker Rattemeyer u. a .: Robert Indiana. The American Painter of Signs , Museum Wiesbaden, January 22 to May 18, 2008, Wiesbaden 2008, ISBN 978-3-89258-075-1
  • Freundeskreis Museum Kurhaus and BC Koekkoek-Haus Kleve e. V. (Ed.): The American Painter of Characters - Robert Indiana. The american painter of signs - Robert Indiana , exhibition at the Museum Kurhaus Kleve August 26, 2007–6. January 2008 / Museum Wiesbaden January 20–18. May 2008, texts by Guido de Werd , Volker Rattemeyer, Roland Mönig , Michael Eldred, Stefan Barmann. Boss Druck und Medien, Goch 2007, ISBN 978-3-934935-38-9 (German, English)
  • Heiko Hasenbein: Art in the Square. Record cover 1960–2005 , exhibition at Museum Huelsmann 9 February – 30. September 2007, Bielefeld 2007, ISBN 3-9805831-8-X
  • Nathan Kernan: Robert Indiana . Editions Assouline, 2003, ISBN 2-84323-525-1
  • Susan Elizabeth Ryan: Robert Indiana: Figures of Speech . Yale University Press, 2000, ISBN 0-300-07957-5
  • Date. Masterpieces from the Georges Pompidou and the Guggenheim Museums . Guggenheim Museum Publications. Cantz, 1998, ISBN 0-89207-213-X
  • Karin von Maur (Ed.): Magic of the number in the art of the 20th century . Verlag Gerd Hatje, (on the occasion of the exhibition Magic of Numbers in 20th Century Art in the Staatsgalerie Stuttgart from February 1 to May 19, 1997), ISBN 3-7757-0666-6
  • Karin Thomas : Until today - style history of the fine arts in the 20th century . DuMont Buchverlag, Cologne, 1986, p. 280, ISBN 3-7701-1939-8
  • Gerhard Storck (Vorw.): Collection Helga and Walther Lauffs in the Kaiser Wilhelm Museum Krefeld . American and European art of the sixties and seventies , November 13, 1983 to April 8, 1984, Krefeld 1983
  • Robert Darmstädter: Reclam's artist lexicon . Philipp Reclam jun., Stuttgart 1979, ISBN 3-15-010281-2
  • Kunsthalle Nürnberg (ed.): Graphics of the world. International prints from the past 25 years , exhibition at the Kunsthalle Nürnberg from August 18 to November 28, 1971. Erker Verlag St. Gallen, Nürnberg 1971
  • 4. documenta. International exhibition June 27 to October 6, 1968 Kassel , catalog 1, catalog 2. Druck + Verlag GMBH Kassel, 1968

Web links

Commons : Robert Indiana  - Collection of Images, Videos, and Audio Files

Individual evidence

Unless otherwise noted, the main article is based on the biographical information in: Guido de Werd u. a .: Robert Indiana: The American painter of characters . Goch 2007

  1. ↑ The Pop Art artist Robert Indiana, known for his "LOVE" sculptures, has died. In: NZZ. May 22, 2018. Retrieved May 22, 2018 .
  2. ↑ Karin von Maur (ed.): Magic of the number in the art of the 20th century . Verlag Gerd Hatje, p. 90; see. also: Karin Thomas: Until today - style history of the fine arts in the 20th century . DuMont Buchverlag, Cologne 1986, p. 280
  3. ↑ Volker Rattemeyer u. a .: Robert Indiana. The American Painter of Signs . Wiesbaden 2008, p. 14
  4. ↑ bc.edu and mainehomedesign.com
  5. ↑ The American Painter of Characters - Robert Indiana. The american painter of signs - Robert Indiana . Friends of the Kurhaus Museum and Koekkoek Haus Kleve e. V., Goch 2007, p. 111 f.
  6. ^ Annette Tietenberg, In: Volker Rattemeyer u. a., Wiesbaden 2008, p. 13 ff.
  7. ^ Freundeskreis Museum Kurhaus and Koekkoek Haus Kleve (eds.), Goch 2007, p. 106 f.
  8. ^ According to this internet source , the interview with Swenson appeared in "Art News" as early as 1962; the representation here follows the specified printed source.
  9. ^ Freundeskreis Museum Kurhaus and Koekkoek Haus Kleve (eds.), Goch 2007, p. 13
  10. ^ Victor Bockris: Andy Warhol . Claasen, 1989, p. 157 f.
  11. ↑ Freundeskreis Museum Kurhaus and Koekkoek Haus Kleve (eds.), Goch 2007, p. 14
  12. ^ Freundeskreis Museum Kurhaus and Koekkoek Haus Kleve (eds.), Goch 2007, p. 16
  13. ↑ a b Karin von Maur (Ed.): Magic of Numbers in 20th Century Art , p. 90.
  14. ^ Freundeskreis Museum Kurhaus and Koekkoek Haus Kleve (eds.), Goch 2007, p. 26
  15. ↑ a b c Gerhard Storck (Vorw.): Collection of Helga and Walther Lauffs in the Kaiser Wilhelm Museum. American and European art of the sixties and seventies . Krefeld 1983, p. 82
  16. ↑ Robert Clark Indiana: LOVE / WALL in the online catalog of the 2011 auction (accessed April 8, 2018)
  17. ^ Annette Tietenberg, In: Volker Rattemeyer u. a., Wiesbaden 2008, p. 14
  18. ^ Freundeskreis Museum Kurhaus and Koekkoek Haus Kleve (eds.), Goch 2007, p. 27 ff.
  19. ↑ Rendezvous. Masterpieces from the Georges Pompidou and the Guggenheim Museums . Guggenheim Museum Publications, 1998, p. 654
  20. ↑ Karin von Maur (Ed.): Magic of Numbers in 20th Century Art , p. 71
  21. ↑ Description of the exhibition 2007 in the museum archive , accessed on September 18, 2012.
  22. ↑ a b The exhibitions in Wiesbaden and Kleve were accompanied and supported by the artist himself, from Vinalhaven.
  23. ↑ Lisa Zeitz: Lauffs collection for sale. Works on the way from Krefeld to New York. Retrieved August 30, 2008 .
This article can not be adequately illustrated due to copyright reasons . At the moment there are no or only individual suitable images available, which are sufficiently licensed for further use .
See also the FAQ on images and image rights .
This version was added to the list of articles worth reading on February 16, 2008 .
personal data
SURNAME Indiana, Robert
ALTERNATIVE NAMES Clark, Robert (real name)
BRIEF DESCRIPTION American painter and a major exponent of Pop Art and signal art
DATE OF BIRTH September 13, 1928
PLACE OF BIRTH New Castle , Indiana
DATE OF DEATH 19th May 2018
Place of death Vinalhaven , Maine