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Robert IndianaHEAL2015
2015
$15,000
£11,403.21
€13,311.29
CA$21,061.02
A$23,894.18
CHF 12,511.82
MX$294,790.24
NOK 155,143.97
SEK 148,443.02
DKK 99,289.73
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About the Item
Robert Indiana
HEAL, 2015
Silkscreen on 2ply Rising Museum Board
Signed, dated and numbered 5/25 on the front
This is one of the last works the artist personally signed before he passed away; the message HEAL was very personal to him - and one that he wanted to transmit to the world at the end of his life. Like many artists, Robert Indiana was in touch with universal energies, and, almost presciently, he designed this artwork a full five years before the worldwide health pandemic. More and more, this work is urgent and relevant.
Frame included: elegantly floated and framed in a museum quality white wood frame with UV plexiglass.
Measurements:
Frame:
36 x 35 x 2 inches
Print:
33 x 32 inches
About Robert Indiana:
Robert Indiana was born Robert Clark in New Castle, Indiana on September 13, 1928. Adopted as an infant, he spent his childhood moving frequently throughout his namesake state. His artistic talent was evident at an early age, and its recognition by a first grade teacher encouraged his decision to become an artist. In 1942, Indiana moved to Indianapolis in order to attend Arsenal Technical High School, known for its strong arts curriculum. After graduating he spent three years in the U.S. Air Force and then studied at the Art Institute of Chicago, the Skowhegan School of Sculpture and Painting in Maine, and the Edinburgh College of Art in Scotland.
In 1956, two years after moving to New York, Indiana met Ellsworth Kelly, and upon his recommendation took up residence in Coenties Slip, once a major port on the southeast tip of Manhattan. There he joined a community of artists that would come to include Kelly, Agnes Martin, James Rosenquist, and Jack Youngerman. The environment of the Slip had a profound impact on Indiana’s work, and his early paintings include a series of hard-edge double ginkgo leaves inspired by the trees which grew in nearby Jeannette Park. He also incorporated the ginkgo form into his nineteen-foot mural Stavrosis (1958), a crucifixion pieced together from forty-four sheets of paper that he found in his loft. It was upon completion of this work that Indiana adopted the name of his native state as his own.
Indiana, like some of his fellow artists, scavenged the area’s abandoned warehouses for materials, creating sculptural assemblages from old wooden beams, rusted metal wheels, and other remnants of the shipping trade that had thrived in Coenties Slip. While he created hanging works such as Jeanne d’Arc (1960–62) and Wall of China (1960–61), the majority were freestanding constructions which Indiana called “herms” after the sculptures that served as boundary markers at crossroads in ancient Greece and Rome. The discovery of nineteenth-century brass stencils led to the incorporation of brightly colored numbers and short emotionally charged words into these sculptures as well as canvases, and became the basis of his new painterly vocabulary.
- Creator:Robert Indiana (1928 - 2018, American)
- Creation Year:2015
- Dimensions:Height: 36 in (91.44 cm)Width: 35 in (88.9 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Ships framed.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745213513222
Robert Indiana
Robert Indiana's work evolved into hard-edged graphic images of words, logos and typographic forms, earning him a reputation as one of the country's leading contemporary artists.
Indiana is known for using public signs and symbols with altered lettering to make stark and challenging visual statements. In his prints, paintings and constructions, he gave new meaning to basic words like Eat, Die and Love. Using them in bold block letters in vivid colors, he enticed his viewers to look at the commonplace from a new perspective. One indication of his success was the appearance of his immensely popular multi-colored Love on a United States postage stamp in 1973.
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