Robert Indiana, Hope, 2008
|Artist:||Robert Indiana (1928 - 9999)|
|Medium:||Silkscreen Ink on Canvas Painting|
|Image Size:||36 in x 36 in (91.4 cm x 91.4 cm)|
|Sheet Size:||36 in x 36 in (91.4 cm x 91.4 cm)|
|Framed Size:||approx. 50 in x 50 in (127 cm x 127 cm)|
|Edition:||Unique Original Silkscreen Ink on Canvas Painting, annotated ‘R/W/B’ (Red, White, and Blue) and numbered ‘PP 1/1’ in pencil on verso.|
|Signature:||This work is hand signed and dated by Robert Indiana (New Castle, 1928 - ) in pencil on verso.|
|Condition:||This work is in excellent condition.|
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Historical Description of this artwork
Robert Indiana Hope, 2008 is a powerful work with historical significance from this important American pop artist. To create this work, Indiana was inspired by his own oeuvre. Recalling his iconic “Love” sculpture from the 1960’s, Indiana configured the letters of Hope in a stacked structure, with a topsy-turvy, tilted “O”. Indiana created a sculpture of Hope in a patriotic palette of red, white, and blue, which was unveiled outside the Democratic National Convention. The proceeds from the sale of sculpture, along with posters and clothing with the design were donated to the presidential campaign of Barack Obama. Indiana’s art is characterized by the use of vibrant, flat color, hard-edge abstraction, and his integration of text. The three foot square composition is divided into four even quadrants, with two letters on top, and two on bottom. While the crisp typeface of Hope appears exact and mechanical, a playful overtone transpires through his color choices and arrangement. The “O” is slanted at an angle, adding a sense of kinetic energy and dynamism, disrupting the otherwise rigid alignment positioning each letter. Also at play in this multifaceted image is a superb handling of negative space. The letters are featured in bright red, while the background is selectively colored in white and blue. Despite Indiana’s intentional abstraction, the word maintains legibility, and this message of optimism is loud and clear.
Created in 2008, this unique original silkscreen ink on canvas is hand signed and dated by Robert Indiana (New Castle, 1928 – ) in pencil on verso. A unique artwork, Robert Indiana Hope, 2008 is annotated ‘R/W/B’ (Red, White, and Blue) and numbered ‘PP 1/1’ in pencil on verso.
Catalogue Raisonné & COA:
Robert Indiana Hope, 2008 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).
1. A Certificate of Authenticity will accompany this artwork.
About the Framing:
Framed to museum-grade, conservation standards, Robert Indiana Hope, 2008 is presented in a complementary moulding.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Artistic Styles of Indiana
hard-edge painting, Pop Art, assemblage, American abstract, political activist
Robert Indiana Complete Biography
News About Indiana
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Robert Indiana Biography
Robert Clark was born in 1928 in New Castle, Indiana and was adopted as an infant, moving around frequently with his family. His artistic talent was noticed from an early age, which encouraged him to pursue a career as an artist. After graduating from high school, 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. 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 as he utilized the ginkgo leaves in his early art and it was upon his completion of his 19-foot mural Stavrosis (1958), a crucifixion pieced together from forty-four sheets of paper that he found in his loft, that Indiana adopted the name of his native state as his own. Quickly gaining fame for his assemblages, Indiana was featured in influential New York shows at the Museum of Modern Art. Although acknowledged as a leader of Pop Art, Indiana distinguished himself from his Pop peers by addressing important social and political issues and incorporating profound historical and literary references into his works. In 1964 Indiana accepted Philip Johnson’s invitation to design a new work for the New York State Pavilion at the New York World’s Fair, creating a 20-foot EAT sign composed of flashing lights, and collaborated with Andy Warhol on the film Eat, a silent portrait of Indiana eating a mushroom in his Coenties Slip studio. 1966 marked a turning point in Indiana’s career with the success of his LOVE image, a now iconic symbol. Love is a subject of great spiritual significance for the artist, and also a theme central to Indiana’s work. The universality of the subject, to which Indiana continues to return, is further evidenced by his translation of LOVE into AHAVA (Hebrew) and AMOR (Spanish). Indiana choose to remove himself from the New York art scene in 1978, and settled on the remote island of Vinalhaven in Maine setting up a new studio where he still resides today. His artwork has shifted focus to themes that relate to his new experiences and surrounding materials, but he still returns to old series and images, reflecting on the past. As one of the most important figures in American art Indiana played a central role in the development of assemblage art, hard-edge painting and Pop art. A self proclaimed “American painter of signs,” Indiana has 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.