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Robert IndianaAn Honest Man Has Been President: JIMMY CARTER (Sheehan 112) Silkscreen Signed/N1980
1980
$18,000
£13,602.54
€15,924.38
CA$25,136.55
A$28,280.92
CHF 14,984.33
MX$349,233.64
NOK 183,692.04
SEK 176,502.72
DKK 118,786.35
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About the Item
Robert Indiana
An Honest Man Has Been President: Homage to Jimmy Carter (Sheehan, 112), 1980
Color silkscreen on off white wove paper
23 1/2 × 19 3/5 inches
Pencil signed and numbered 30/150 on the front
Published by Democratic National Committee, Washington, D.C.
Iconic Pop Art silkscreen
Unframed
This is the coveted silkscreen -- published in 1980 - to raise funds for Jimmy Carter's Presidential re-election campaign; It is fully referenced in the catalogue raisonne of Robert Indiana's prints, (Sheehan, 112)
About Robert Indiana:
One of the preeminent figures in American art since the 1960s, Robert Indiana played a central role in the development of assemblage art, hard-edge painting, and Pop art. Indiana, a self proclaimed “American painter of signs,” created a highly original body of work that explores American identity, personal history, and the power of abstraction and language, establishing an important legacy that resonates in the work of many contemporary artists who make the written word a central element of their oeuvre.
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:1980
- Dimensions:Height: 23.5 in (59.69 cm)Width: 19.75 in (50.17 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:very good condition with no apparent issues; the margin are an off-white cream.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745216094642
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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