ART IN AMERICA
The Perennial Optimist
From the outset, Robert Indiana's work has been at once personal and political. There are overt political references in a number of his earliest proto-Pop pieces. The large 1960-61 canvas Electi, for instance, celebrates John F. Kennedy's 1960 election as president. Painted in indiana's signature hard-edge style, the rather austere composition contains tall vertical stripes in black and brown that convey an architectural monumentality...
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ART IN AMERICA
Robert Indiana at Paul Kasmin
During the Vietnam War, Robert Indiana's LOVE motif became categorically linked with the peace movement. By 1963, Indiana had also incorporated the inverted trident of the universally recognized peace symbol in paintings with text that include the overtly political Yield Brother (1962), made for a benefit exhibiton for the Bertrand Russell Peace Foundation established that same...
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CBSNEWS.COM
Artist Trapped by 'Love'
Artist Robert Indiana managed to create one of the most popular images of all time- the immediately recognizeable LOVE. But until recently, it was one of the most ripped off images of all...
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THE ADVOCATE
Putting His Stamp on Love
"I'm sure President Bush wouldn't enjoy me hanging a peace painting in the White House," says Robert Indiana. While Bush doesn't seem like much of an art buff anyway, he certainly wouldn't think much of Indiana's new antiwar canvases, recently unveiled at the Paul Kasmin Gallery in New...
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FINANCIAL TIMES
Pop Art Brings Peace, Where Once It Brought Love
"Popular, expendable, low-cost, mass-produced, young, witty, sexy, gimicky, glamorous and Big Business," was how Richard Hamilton defined Pop Art back in the swinging sixties when everything Pop flourished in both the US and the UK. Forty years on, Pop artists, all now in their 60s and 70s, are...
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NEW YORK MAGAZINE
Retrospective: Tallying Cry
"It's all about my preoccupation with the number six," Robert Indiana says, adding ominously, "I have a terrible feeling that one of my openings will occur on the day that the 666th American is killed in Iraq." The shows in question are his "Peace Paintings" at Paul Kasmin Gallery and "Robert Indiana 66: Paintings and Sculpture" at the Price Tower Arts Center in Bartlesville, Oklahoma, which open within a few days of each...
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INDEX
Love, Robert Indiana
In the '50s, Robert Indiana inhabited a small corner of Manhattan called Coenties Slip along with his friends Agnes Martin and Ellsworth Kelly. The influence of these artists, known as the Coenties Slip Group, was curcial, inspiring the aesthetic of '60s cool in film, fashion, and...
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THE ART NEWSPAPER
LOVE, Pop, Words and More
Famous as a pioneering Pop artist, famous for the artists he lived and worked with at Coenties Slip, famous for his LOVE paintings, posters and sculptures, infamous for his exile to very distant Maine, Robert Indiana, 75, is also famous for somehow not being as famous as his contemporaries. In the late 50s and early 60s the group of artists at Coenties Slip, right by the Brooklyn Bridge, included Agnes Martin, Rosenquist, and Ellsworth Kelly, all of whom went on to vast careers- as, of course, did Indiana, but always in a more ambiguous and mysterious...
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ARTNEWS
Robert Indiana
Love's labor's not lost on Robert Indiana and his audiences. Indiana, who had not had a major New York exhibition in 20 years, makes his comeback debut at Paul Kasmin, with nine recent paintings, including additions to his "American Dream" series, while C&M boasts a mini-retrospective spanning 1959 to...
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TEMA CELESTE
Robert Indiana
Much of your fame was garnered in the 1960s as a major American Pop artist. In retrospect, Pop's link to popular mass-produced material culture seems a poor fit for your paintings with their concrete imagist poetry of words, numbers and...
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THE NEW YORK TIMES
Running Numbers
It has been more than 20 years since Robert Indiana has had a show in New York, but in early February the "American painter of signs, " as he once called himself, will find his work all over Manhattan. Ten of his six-foot sculptures will dot Park Avenue, and he will have exhibitions in galleries on the Upper East Side and in...
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THE NEW YORK TIMES MAGAZINE
Vital Signs
"I knew Andy very well. The reason he painted soup cans is that he liked soup. My work is not ironic. I'm a realist who paints real signs..."
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