Yield Brother, 1971 – Screenprint on wove-paper, professionally framed, museum-glass 1971
Robert Indiana
CartaCarta velina biancaStampaSerigrafia
99 ⨯ 81.70 ⨯ 3.50 cm
ConditionGood
€ 3.000
Van Kerkhoff Art
- A proposito di opere d'arte"Yield Brother", from the "Decade" suite. Screenprint on heavy wove-paper, 1971. An impactful work where Indiana made use of military signage, stenciled letters and a palette of strong colours creating tension between it's call for peace and the visual language of military posters.
Signed and dated and numbered (46/200) in pencil by the artist. The print also bears the artist's copyright ink stamp. Part of an edition of 230 total: 30 artist's proof and a regular edition of 200. The edition was printed by Domberger, Stuttgart (Germany) and published by Multiples Inc. New York City. Professionally framed in a brushed aluminium frame. Museum-glass was used to minimize reflection. Ready to hang.
About Robert Indiana
Robert Indiana (pseudonym of Robert Clark) ( New Castle, USA 1928 - Vinalhaven, USA 2018) was an American painter, sculptor and poet. He was a leading representative of pop art and created the internationally famous LOVE symbol in 1964. A self-described American painter of signs", Robert Indiana's works explore visual culture, national identity and personal history through symbols and colours inspired by signage and graphic design.
Indiana had his first solo exhibition in 1962 at Eleanor Ward's Stable Gallery, which at that time also represented Cy Twombly and Robert Rauschenberg. In 1962 he participated with the work The Black American Dream #2 in the exhibition New Realists, organized in the gallery of Sidney Janis. It was here that pop art first announced itself as a new movement in visual art. In the following years, Indiana would participate in all the important group exhibitions of this movement.
Although the Pop Art movement made Indiana famous, he was never fully comfortable with the consumerist nature of Pop Art as his work often was very politically outspoken. In 1978 Robert Indiana left New York City for good, moving to the remote island of Vinalhaven in Maine, close to where his hero, the painter Marsden Hartley had lived. Since then he rarely gave interviews or engaged in the art world, yet he continued to align himself with political causes, designing the official poster for Barack Obama's Presidential campaign in 2008.
During his lifetime Indiana had countless exhibitions all over the world, and his work is included in the collections of numerous international museums: among others Metropolitan Museum New York, Museum of Modern Art New York, Tate Modern London, Stedelijk Museum Amsterdam and Hara Museum of Contemporary Art, Tokyo.
Condition
Overall good condition. Full margins. Slight undulation on right side of the print. Slight moisture damage in upper left margin.
Literature
Robert Indiana Prints. A Catalog Raisonne 1951 - 1991. P. 65
Dimensions
Frame
H. 99.5 cm
W. 81.7 cm
D. 3.5 cm
Sheet
H. 99 cm
W. 81 cm
Visual size
H. 91.4 cm
W. 75.6 cm - A proposito di opere artista
L'artista è nato Robert Clark a New Castle, nell'Indiana. Successivamente ha cambiato il suo nome in quello del suo stato natale. Tra il 1945 e il 1955 studia nelle scuole d'arte di Indianapolis e di Utica, New York; presso la School of The Art Institute di Chicago, l'Edinburgh College of Art e la London University. Nel 1956 si stabilì a New York City e iniziò a realizzare immagini dai colori vivaci e dai bordi netti. Negli anni '60 incorporò lettere e parole nelle sue opere, creando le audaci parole-immagini che gli portarono un ampio riconoscimento.
Robert Indiana ha trovato i suoi soggetti nelle parole dei cartelli e dei cartelloni pubblicitari americani. Come altri artisti pop emersi negli anni '60, si appropria di immagini familiari nella cultura americana e dà loro un nuovo aspetto. Una delle sue immagini più famose è la parola "LOVE" resa in varie forme: lettere maiuscole dai colori vivaci o in bianco e nero in stampe e dipinti; scultura in metallo lucido su larga scala; e persino francobolli.
In South Bend, la litografia della Galleria, Indiana non solo allude al suo stato d'origine ea se stesso, ma si concede anche un gioco di parole visivo nei giri della freccia, che punta a sud. Attraverso colori vibranti e segnali stradali, nomi di luoghi e forme che rimbalzano intorno alla composizione, cattura l'energia di un'autostrada americana ad alta velocità. Il lavoro di Indiana include stampe, sculture e dipinti e molti murales commissionati.
[Questo è un estratto dal programma interattivo di accompagnamento al videodisco American Art della National Gallery of Art. Prodotto dal Department of Education Resources, questa risorsa didattica è uno dei programmi educativi gratuiti della Galleria.]
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