Robert Indiana - Don't Lose HOPE - ContiniArtUK by ContiniArtUk

ROBERT INDIANA Don’t Lose HOPE

ROBERT INDIANA 105 New Bond Street London W1S 1DN Phone +44 (0) 2074955101 www.continiartuk.com info@continiartuk.com

Graphic Design Peruzzo Industrie Grafiche

Layout Andrea Maffioli

Co-ordination Cristian Contini Dr. Diego Giolitti

Photography Guzel Photography Alex Maguire

Printing Peruzzo Industrie Grafiche, Mestrino (PD), Italy

Cover image HOPE, All Gold, 2009, Painted aluminium, Ed.III/IX 45,7x45,7x23 cm Courtesy of Private Collection, London

INDEX

LOVE POEMS

SCULPTURES

BIDIMENSIONAL ARTWORKS

BIOGRAPHY

162

EXHIBITIONS

172

SELECTED PUBLIC COLLECTIONS

193

BIBLIOGRAPHY

194

ROBERT INDIANA: DON’T LOSE HOPE By Professor Dylan Jones “Love is all you need,” sang the Beatles in 1967, the refrain from their zeitgeist-defining single “All You Need Is Love”. In terms of capturing the Swinging Sixties, they were a year late, as 1966 was the year in which the decade hinged, the year in which the decade exploded. However the Sixties’ central tenet - LOVE - was actually encapsulated a year before that, when Robert Indiana’s soon-to-be-famous “LOVE” print was chosen for New York’s Museum of Modern Art Christmas card. The print was the basis for the Unites States Postal Service eight-cent LOVE stamp in 1973, but 1965 was the year in which it was suggested by the art world that “LOVE” was indeed all we need. The image was actually created in 1964, and had already been used by Indiana in his Four Star Love painting in 1961, and before that in a series of poems originally written in 1958, in which Indiana (born Robert Clark in New Castle, Indiana in 1928 - “There were a number of artists named Clark,” he says) stacked LO and VE on top of one another. And while Indiana would come to be regarded as one of the most important pop artists of the day, LOVE has taken on a life of its own, assuming a status that has elevated it above the work of many of Indiana’s peers, not just because of its ubiquity, but saliently, because of its innate simplicity, its power, and yes, its message. Indiana has had a love/hate relationship with his iconic work, as in some respects it has taken on a life of its own. “It took off after that,” he said a short while ago. “LOVE bit me. It was a marvelous idea, but it was also a terrible mistake. It became too popular; it became too popular. And there are people who don’t like popularity. It’s much better to be exclusive and remote. That’s why I’m on an island off the coast of Maine, you see.” The LOVE red and green came from the Philips 66 gas sign. Indiana’s father worked for the petrol company, and the colour combination became fixed in his son’s mind. His father died while Indiana was making the LOVE paintings, so in part the pictures are an homage to him. He describes his work as “hard edged” rather than “pop”, although it amplifies the same bold, sincere reverence for pop culture and advertising. Like Ed Ruscha, Indiana is a big fan of type, and his threeand four-letter words convey simple messages: “EAT”, “DIE” and “HUG” appear more than frequently in his work. “Hug is my mother’s word for affection,” he says. “Eat was the last word she said before she died. Everything is relating to my own life.” Pop Art is everywhere right now. Not a month goes by when there isn’t some kind of celebration of the form, whether it’s an exhibition of classic Pop Art, an examination into the genre’s principles, a study of its influence (the current show at Tate Modern, “The World Goes Pop”, shows how Pop Art traversed the globe, from Latin America to the Middle East), or gallery shows that eulogise its protagonists. This year alone there have been four serious Pop shows in London, while the Andy Warhol Live exhibition I saw in Seoul in the summer (using work on loan from the Warhol Museum in Pittsburgh) is probably the best Warhol show I’ve ever seen. With Pop, the bar has never been higher. Which is why there has never been a better time to celebrate Robert Indiana. Letters and numbers were vital to Pop Art’s initial recognition. Regardless of what was happening elsewhere in the arts, and regardless of what was happening in literature, music, architecture, dance, film etc., and regardless of the reasons for Pop Art’s emergence, and the rather reductive and patronising way in which it was received by the art establishment - which had only recently had to come to terms with abstract expressionism, Pop Art commandeered art forms that hitherto hadn’t been considered ripe for commandeering. It was all very well to mimic, amplify and abstract the icons of an emerging pop culture - film stars, pop stars, comic books, the commodification of sex - but Pop Art also embraced subject matter that had previously been off limits. So while it was all very well for Andy Warhol to celebrate Marilyn Monroe, all very well for Peter Blake to treat the Beatles as though they were demigods, and all very well for the likes of Roy Lichtenstein and James Rosenquist to see the world through the eyes of comic books artists as well as those who consume them, the use of seemingly banal figures such as letters and numbers was previously the domain of the commercial artist. Many of the practitioners of Pop Art very quickly latched 5

on to the idea that the consumption of their work, and the way in which it was perceived, was almost as important as the work itself, which meant that their work increasingly developed multiple layers of meaning, multiple layers of distance. The less exalted world of Coca-Cola, ice-cream sodas, hamburgers and supermarkets was as close or as distant as you wanted it to be. Robert Indiana was in this respect no different, even though his work was usually more forthright and straightforward. “I’ve always been fascinated by numbers,” says the artist. This is perhaps not so surprising when you consider that when Indiana was growing up, his mother had what he describes as acute wanderlust. “Before I was seventeen years old, I had lived in twenty-one different houses,” he says. “In my mind, each of those houses had a number.” As the Museum of Modern Art’s Deborah Wye has already pointed out, the fact that Indiana changed his name was not just an attempt to get noticed and to make it easier for him to become successful and then famous, the gesture also unwittingly presaged his Pop-inspired fascination with Americana, signage and the power of ordinary words. In this respect he is perhaps one of the purest Pop artists, as his ideas are never less than clear, his execution never less than clinical. In his strongest work, abstraction is banished to the corners of the Earth (and in Indiana’s eyes they really are corners). Of course much of his is deliberately complex, but the meaning behind what he produces is rarely difficult to see, which, perhaps, is why the public like him as much as, and sometimes even a little bit more than, the critics. The Robert Indiana: Beyond Love show at the Whitney in 2013 put paid to any carping about his relevance as a Pop artist. This exhibition focused not just on his more blatant work, but also many of the “nonlove” works, including his extraordinary folk art wooden columns, typographic numbers and apocalyptic nods. The New York Times went gaga over the show, turning a broader perspective into a fully-fledged comeback. In 2014, Indiana created yet another iconic LOVE-derived image, when his HOPE sculpture was installed on the corner of 7th Avenue and 53rd Street in Manhattan. His LOVE sculpture on the Avenue of the Americas was already a New York City tourist attraction - as well as recently becoming a magnet for selfies - and his $3 million, 13-foot tall, three-ton red sculpture HOPE has already proved to be remarkably shutterbug-friendly. It was installed on Thursday September 11, ahead of International Hope Day two days later, which was also Indiana’s 86th birthday, and was conceived as a way of covering “the world with hope”. He said at the time that he wanted visitors to take selfies in front of the sculpture and then post them via social media using the hashtag #HopeDay. It was originally created in 2008, with the artist donating all the proceeds from the sale of all the reproductions of the image to Barack Obama’s presidential campaign, raising in excess of $1,000,000 in the process. The original sculpture was erected in Obama’s hometown Chicago, and Indiana himself has called it “LOVE’s close relative.” As for being a member of the Pop Art movement, Indiana has stopped trying to fight it. “From the very beginning, all of the Pop artists were not terribly pleased to be called Pop artists,” he says. “Of course, as time went on, and we all became famous, and some very rich, we couldn’t complain too much about it.” There is no reason why he should. In the ever-changing micro/macro world of art appreciation, in which the consumer is now as important as the critic, and where ubiquity and understanding, as well as critical standing and legacy culture status, have all been amplified by the way in which Instagram has taken over our lives, Indiana’s profile has never been bigger. He has also never been so revered. It should also not be taken lightly that his next idea for a 13-feet-high, three-ton sculpture is a word that has recently taken on a variety of conflicting connotations. “We can talk in terms of hope, or we can also talk in terms of praying for a better future. I haven’t done the word ‘pray’ yet, but that comes to mind. We could also think about ‘PRAY’.” Professor Dylan Jones OBE is the Editor of GQ, the Editor-In-Chief of GQ Style, a Trustee of the Hay Festival, a member of the Norman Mailer board and the Chairman of London Collections Men. 7

LOVE AND HOPE By Professor Alex Seago Robert Indiana is one of the preeminent figures in contemporary American art – his work has been featured in numerous solo and group exhibitions around the world and his works are in the permanent collections of major museums such as the Museum of Modern Art and the Whitney Museum of American Art in New York, the National Gallery of Art, the Hirshhorn Museum and Sculpture Garden and the Smithsonian Museum of American Art in Washington, D.C., the Albright-Knox Gallery of Art in Buffalo, New York, the Ludwig in Cologne, the Stedelijk von Abbemuseum in Eidndhoven, the Museum Ludwig in Vienna, the Shanghai Art Museum and the Israel Museum in Jerusalem. He has also been featured in numerous international publications, and is the subject of several major monographs including Susan Elizabeth Ryan’s Robert Indiana: Figures of Speech (2000); John Wilmerding and Michael J. Komanecky’s Robert Indiana and the Star of Hope (2009) and more recently a major collection of essays edited by the Whitney Museum of Art’s Barbara Haskell entitled Robert Indiana: Beyond Love (2013) Oddly enough, despite this international prominence, and in contrast to several of his generational peers such as Robert Rauschenberg, Jasper Johns, Andy Warhol or Roy Lichtenstein, Robert Indiana has received relatively scant attention in the British art world. Since the early 1960s Indiana’s work has featured in several Pop Art – related shows in this country, including the major 1991 Royal Academy The Pop Art Show, but in comparison to the scores of exhibitions of his work in the USA and on the Continent, solo shows of his work in Britain have been rare. In addition, the attention paid to Indiana by British art critics has been sporadic at best. Marco Livingstone’s important 1991 monograph Pop Art; A Continuing History devotes a few pages to Indiana, but other than that, substantial British studies are thin in the ground. Perhaps one on the main reasons for this is that the Robert Indiana story remains profoundly American and that a real appreciation of his art involves a native understanding of mid- late 20th century and early 21st century U.S. cultural history, geography and politics. The adopted solitary son of Mid-Western parents economically ruined by the Great Depression, the young Robert Clark almost literally spent his childhood in the back of an automobile, endlessly shuttling around his home state of Indiana in his mother’s increasingly hopeless quest to find the perfect dream home. The young Hoosier’s earliest memories were infused with the slightly frowsy vernacular of highway signs, gas station logos, neon truck stop exhortations and the gaudy visual language of the early pinball and slot machines his parents liked to play. Two of the early paintings exhibited here, High Yaller and Woman on a Bus (both 1945) reveal the influence on the young Robert Clark of Edward Hopper, another quintessentially American artist whose work radiates similar anomie. As he grew up, Robert Clark’s antidote to this transitory dystopian dislocation was to immerse himself in study – not only of art but also the academic study of literature, poetry, architecture and classical civilization as, in true American Horatio Alger style, he pulled himself up by his bootstraps via a series of scholarships, menial jobs, military service and the G.I. Bill to a loft on New York City’s Coenties Slip waterfront in pursuit of his identity and destiny as an artist. A typically bittersweet autobiographical vision of the American Dream lies at the heart of Indiana’s work. Although he is a professed atheist, his art differs profoundly from the work of others from the pop art generation in terms of its strong spirituality and obvious ethical commitment. While it can often be coolly ironic, his work seldom display the arch, camp, slightly cynical aesthetic neutrality of much mid-20th century US Pop. Mid-Western roots are evident in the religious ideals that suffuse his work – a boyhood upbringing in the Christian Science church was an early influence as was his experience of working for the famous liberal theologian James A. Pike at the Cathedral of St. John the Divine when he was a struggling artist in New York City in the late 1950s. The creation of his first major 9

work, the monumental, Crucifixion-inspired Stavrosis of 1958 coincided with his rejection of his former identity as Robert Clark and his artistic and metaphorical rebirth as the young Robert Indiana. As with so much of Robert Indiana’s work, the choice of his home state as his surname operated at several levels of meaning. This is probably most clearly demonstrated in the autobiographical underpinning of one of the key works of his early career, The American Dream # 1. (1960-1), which was spotted by the curator Alfred Barr and was shortly after acquired by the Museum of Modern Art in New York. As Susan Elizabeth Ryan points out, in this painting, with its stencilled pinball –style message of “Tilt”, “Take All”, “40-29-66-37” (the numbers of Mid -Western highways), Indiana’s style matured so that form and content – colour, shape, symbol, language – coincide. Around the same time as the painting was acquired by MoMA, Indiana completed a questionnaire in which he outlined some of the key ideas which would characterise his work for the next fifty years. For example, when the questionnaire queried the ways in which his ancestry, background or nationality were relevant to his work, he answered, “Only that I am an American … only that for the last five years I have worked on the ‘(Coenties) Slip and the waterfront… I propose to be an American painter, not an internationalist speaking some glib internationalist Esperanto; possibly I intend to be a Yankee.” Asked about his ‘program’ as an artist in relation to society he echoed of the great nineteenth century New York poet Walt Whitman when he declared, “I am an American painter of signs charting the course. I would be a people’s painter as well as a painter’s painter.” (Quoted in Ryan 2000 p, 93) Although Robert Indiana was one of the first artists to be associated with the nascent Pop Art movement – his roughly hewn wooden ‘Herm’ sculptures featuring simple declarations such as “Eat”, “Soul”, “Chief” and “Ahab” were created as early as 1960 - a couple of years before Andy Warhol, Royal Lichtenstein, James Rosenquist or Tom Wesselman arrived on the scene - Indiana’s work never sat easily within the Pop genre. Shortly after he found a studio on Coenties Slip, Indiana developed a close professional and personal relationship with Ellsworth Kelly, whose abstract, precise, essentially American, “Hard Edge” style deeply influenced his younger associate. Kelly’s influence fused with Indiana’s immersion in classic American literature and his fascination with the work of the early American modernist avant-garde. He was influenced by the repetitive techniques employed in the poetry of Hart Crane and particularly Gertrude Stein (‘A rose is a rose is a rose’) and in the semi-mystical symbols used by the Precisionist artist Charles Demuth. These influences lend an intellectual, didactic quality to Indiana’s work that sets it apart from archetypal 1960s US Pop Art images of consumerist super-abundance and mass media saturation. Indiana’s brilliant and subtle use of language is also a distinct feature. He is a voracious lover of language, is deeply read and a prolific writer. The heavy influence of Ellsworth Kelly’s Hard Edge decisiveness was translated into the use of stencilled letterforms enabling the artist to create immediate symbols that literally spoke to his audience to create a ‘signature style’ fusing painting with poetry. The power of the work emanates from what Barbara Haskell has termed “The Holy Both” - embedding the fundamental dichotomies (“EAT”, “DIE”, “AIR”, “LOVE”) and challenges we all face in life. Indiana’s most powerful work succeeds on holding two fundamental ideas together in one unity and at several different levels of meaning. The dazzling precision of his artistic technique highlights the linguistic subtext. A loud, emphatic messaging art is employed to reveal complexity – a combination of the populist public openness of advertising and a coded secret concealment that both celebrates and criticises The American Dream. Always retaining strong belief that art focused on demotic signs should not hold itself aloof from the struggle for equality, Indiana has always been the most overtly politically engaged of the artists associated with the first wave of American Pop Art. Indiana has retained a lifelong engagement with key issues of American domestic politics and foreign policy. He is, for example, probably the only artist associated with Pop to concern himself with the United States’ AfricanAmerican cultural heritage. From his pro-nuclear disarmament Yield Brother of 1962, to the referencing of the

heritage of slavery in The Rebecca (1962), to the gospel liberation theme of My God Is a Lily of the Valley (1961-2) to the scathing Civil Rights commentary of the mid - 1960s The Confederacy series to his pro-Obama campaign HOPE paintings and sculptures of 2008 and beyond, Indiana’s work has retained a razor-sharp ability to capture the zeitgeist and fundamental contradictions at the heart of American culture. However as the (in)famous cultural trajectory taken by his LOVE paintings reveals, this gift would also prove to be a curse. In his recent The Long March of Pop: Art, Music and Design 1930-1995 (2015), Thomas Crow pinpoints the ironies of LOVE and the resulting damage it wrought on Indiana’s reputation. Partly based on the love poems he had written since the 1950s and rooted in his experience of attending Christian Science services and Sunday school classes LOVE was originally based on a 1965 Christmas card designed for MoMA. By the late 1960s LOVE was: “…swept away from its moorings in the sheltered inlet of the New York art world. The word itself by 1967 had been seized and transformed by the mass media as a convenient, incessantly repeated handle for the baffling counterculture focused on San Francisco…. Indiana’s image came to serve as a safe point midway between the now established vein of Pop Art and the incorrigible excesses of San Francisco, willy-nilly becoming the ubiquitously unthreatening and increasingly sentimental alternative to the actual products of the underground.” (Crow 2015 p.320) During the mid-late 1960s heyday of the counterculture – and subsequently as its influences permeated the substrata of Middle America via the music industry and syrupy sentimentality of Eric Segal’s 1970 film Love Story – the uncontrolled commercial plagiarism of LOVE threatened to overwhelm Indiana’s credibility in the New York art world which appeared to relegate this major American artist to the status of a fading trendy graphic designer. As Indiana has said; “It became, ‘Robert Indiana, LOVE, ugh.’ That’s all. ‘Robert Indiana, LOVE, ugh.’ It was too much.” At the end of the 1970s, Indiana turned his back on the New York art scene and withdrew to the isolation of the island of Vinalhaven off the coast of Maine. Always fascinated by popular folk culture and American vernacular architecture, he has devoted many years to the restoration of his new home, the Star of Hope, a former Odd Fellows lodge on the Main Street of the island’s major settlement. The Star of Hope now contains an almost complete collection of Indiana’s work and stands as an autobiographical monument to an artist who appears to have finally discovered the all-American ‘dream home’ for which his mother was endlessly searching. The move prompted a burst of renewed creative energy resulting in The Hartley Elegies series – a major series of paintings produced during the early-mid 1990s as an explicitly gay paean to Maine-born Marsden Hartley, an ill-starred pioneer of American Modernism. In more recent years, Indiana has fervently supported Barack Obama’s promise to reinvigorate the ideals of American liberalism that were subjected to sustained attack during the conservative neo-liberal era of Regan and Bush Senior and Junior. The HOPE series, begun in 2008, refocused Indiana’s particular gift of fusing cultivated aesthetics with the requirements of the US mass market. HOPE raised over $ 1 million for Obama’s presidential campaign and returns to the ethical, Yankee populist essentials that have underpinned Indiana’s art enshrined in the motto of his home in the Odd Fellows’ Star of Hope lodge - Friendship, Love and Truth.

Dr. Alex Seago is Dean of Communication, Arts and Social Sciences at Richmond, The American International University in London. He is the author of Burning the Box of Beautiful Things: The Development of a Postmodern Sensibility (Oxford University Press 1995), a study of the Royal College of Art’s magazine ARK during the 1950s and 1960s. He is currently compiling a co-edited volume (with Dr. Anne Massey of Middlesex University) entitled Pop Art and Design, which focuses on the interactions between Pop Art and Pop Design in Britain.

SPREADING HOPE THROUGH POP ART By Pablo Ganguli

Don’t lose hope. These words could not be a more timely and poignant reminder at a time when there is such disturbing chaos and annihilation in our world, especially with the refugee crisis touching our lives in this continent. As a social and political activist, Robert Indiana creates works that are known for examining complex issues that affect humanity. LOVE became a dynamic movement, its meaning so mighty and its legacy embedded profoundly in people’s memory. His new exhibition in London stresses the importance of a better, more peaceful future. HOPE therefore is not a theme but an important motto. An impassioned statement of belief. Robert Indiana once said he considered himself to be the least pop of the pop artists. He would like to think of his work primarily as autobiographical. Indiana, although at times used literary and historical references in his artworks, he championed the written word in art. Language with a social message has been his defining mantra. It is no surprise that he continues to explore major issues society faces today in his new works: Love, Death, Sin and Forgiveness. Pop today is a multimillion-dollar business. Brands are queuing up to form alliances with image-makers of all kinds. Stylists are holding the pop court too. Who would have thought? Koons, Murakami, and Prince are happily collaborating with sponsors from champagne bottles to furniture stores. The term pop has dominated our cultural landscapes for decades, often not in the most positive fashion, but this generation is witnessing its greatest rise. Yayoi Kusama’s work is recognisable to young audiences today mainly because of a fashion house’s involvement. Pop art’s powerful global glamour merges the worlds of celebrity, consumerism and internet culture without any fear of criticism. In fact, critics are equally in awe of this new collaborative formula. The image and myth far more significant than any hint of talent. Technology has completely changed the way we experience pop culture. While we prefer to view pop art for its colourful symbolism and identifiable imagery of mass culture and while critics initially preferred to dismiss it for its superficial undertones, it would be a crime not to recognise that pop artists around the world have used the medium to highlight crucial issues from supporting women’s rights to condemning governmental regimes and to attacking censorship. Indiana in this case is no different. His advocacy for civil rights and passion for education and health issues undoubtedly distinguishes him from his peers. Popular culture has won. It is neither an ephemeral idea nor an intoxicating ingredient that some choose to indulge in foolishly, but a remarkable everlasting zeitgeist. Imagine a world fifty years ago that would be so deeply enamoured with someone such as Kim Kardashian, whose principle purpose is to just exist. Digital revolution has not only propelled the once timid and unsure artists into cultural giants but it has also given birth to a culture where the word “icon” no longer holds great value or prestige. As a character in the film Birdman says, ‘’Popularity is the little cousin of prestige’’. Intellectual has been replaced by experiential. At Liberatum, we have never shied away from celebrating creative mavericks that play a key role in our cultural fabric. Glorifying their work is not so much a tribute as it is an urgency. Our homage to Sir Peter Blake’s legendary pop art career a few years ago and more recently, our collaboration with David Hockney, captivated a new generation of fashionistas, designers and young journalists who developed a fascination with them once again. It is a great pleasure to be able to join forces with ContiniArtUK for its celebration of the great thinker Robert Indiana. Let us never give up on that most crucial feeling that can transform lives: Hope.

Founded by Pablo Ganguli in 2001, Liberatum is a global multimedia and cultural brand. Liberatum’s highlights in the last thirteen years include the creation of incredible multidisciplinary cultural festivals and summits around the world in cities including Hong Kong, Istanbul, Moscow and Berlin with diverse talents ranging from Pharrell Williams to Tilda Swinton, Wole Soyinka to Carmen Dell’Orefice and Kirsten Dunst, presenting James Franco’s Rebel exhibition in Venice, holding museum management workshops with V&A Museum in Papua New Guinea and Fiji, staging inspiring cultural programming during Istanbul’s year as the European Capital of Culture with participants such as Nobel Laureate Sir VS Naipaul and Gore Vidal, collaborating with Valery Gergiev and Thomas Ades on opera and orchestra performances in Saint Petersburg at the Mariinsky, promoting arts and literature in New Delhi and Mumbai with participants such as Goldie Hawn and Clare Short, collaborating with Twitter, Francis Ford Coppola, Larry Clark and Paul Haggis on 2014 global programmes for South Asia and USA, and most recently creating short films on transformation and creativity featuring creative minds from various disciplines such as David Hockney, Lee Daniels, Paul Schrader, Inez and Vinoodh, Jonas Mekas, Susan Sarandon, Ed Ruscha, Dita Von Teese, Joan Smalls, Frank Gehry and Tracey Emin. www.liberatum.org

THE UNIVERSAL MESSAGE By Dr. Diego Giolitti Robert Indiana’s works LOVE and HOPE are undoubtedly the artist’s most recognised and sought after pieces, having taken on an iconic status. The exaggerated use of scale seen in the oversized lettering and the bold colouring may be characteristic of the Pop Art era during which these artworks came to light, yet it would be reductive to suggest that it is simply the eye-catching quality of Indiana’s sculptures that has allowed them to transcend their own time into ours today. The timelessness of the sculptures can only be attributed to Indiana’s encapsulation of the basic human desire to feel and experience the joys of love and hope, an understanding that speaks universally to spectators across the world. In his work with sculpture, Indiana merges the practice of the artist and the poet. A reader is accustomed to understanding words within context, as part of sentences. Indiana however rejects this model, rather choosing to depict the isolated word as a visual art in itself. Thus LOVE and HOPE are simultaneously simple and complex. Simple in their design, each sculptured word is presented as a complete whole, encased in an invisible square formation. Yet the words love and hope are also being deconstructed before our very eyes. Similar to the lines of a poem, each letter stands stacked upon another. Whilst this hard-edged, solid style may create a sense of uniformity, the tilted O disturbs this. It seems almost as if the O has been suspended in it’s position before it rolls away. The tilted O is often thought to represent the fragility of love, the way in which love can be lost in a moment and it’s bittersweet intangibility. Perhaps the sculptures reflect the prerequisite of love; that we must allow ourselves to be vulnerable in order to be loved, and so the O tilts to demonstrate the letting down of one’s guard. These sentiments are true and valid if we are to think of love and hope as abstract and individualised. Indiana himself originally began his LOVE image by redesigning a sign for a Christian Science church to “love is God” instead of “God is love”. However Indiana’s work is layered with meaning, and for many LOVE and HOPE have been social and political comments on the world we live in. The U.S Postal Service commissioned a stamp by the artist for Valentines’ Day in 1973, and in 2000 Indiana designed a poster entitled LOVE 2000 as part of a campaign to discourage gun violence alongside the Centre to Prevent Youth Violence. To support Barack Obama’s 2008 presidential campaign, Indiana created HOPE in the American colours red, blue and white, echoing the importance the LOVE image held for the American counter culture revolutionists of the 1960s who wanted to “make love, not war”. Indiana’s sculptures not only reflect a positive message, they have also been instrumental in promoting one. LOVE and HOPE are still poignant in our present world because they demonstrate the strength of human compassion in a world that is not yet idyllic. In 2015 the world is embroiled in a migrant crisis as thousands flee a war-torn country, and in the face of many volunteer projects, appeals for donations and petitions calling for a more compassionate governmental response have been launched. Such perseverance and generosity proves Indiana’s artistry correct. Love and hope are the basic fundamentals of the human condition; we all want to love, and be loved, to be hopeful and to have our hopes realised. The tilted O may look like it is about to roll away, and yet it has not. Rather the tightly compact quadrilateral sculpture sits fiercely and proudly together, unable to be torn apart by the adversity that surrounds it. Our human desire for hope and love is just the same, impossible to extinguish.

Dr. Diego Giolitti is a trusted specialist in emerging art markets with a focus on Iranian and Russian contemporary art. He studied at the University Cá Foscari in Venice as well as the University of Cambridge. He has worked as a lecturer at SOAS in London, the University of Cambridge and the University Cá Foscari in Venice. He is an experienced gallery director, having worked in San Francisco, Amsterdam, Paris and his native Venice. He is currently working as Sales and Marketing Director at ContiniArtUK in London. 15

MONUMENTAL HOPE (RED/BLUE) 2015, Painted Aluminium, Edition of 6, 182.9 x 182.9 x 91.4 cm, 72 x 72 x 36 in

LOVE POEMS BY ROBERT INDIANA

FROM THE BOOK OF LOVE PORTFOLIO, 1996

WHEN THE WORD IS LOVE Dent the head With the word. See the lettered scar On the skull. On the bone [In the beginning] The straight line Wherefrom the rounding Circle it begat, But, on our tongues Never sat. Yet see the jutting Diags do, Ascendency inversed, And in the final due, Lo: the single stroke Rampant three pronged Trinity into Infinity.

IN APAEAN There were you And flayeâ&#x20AC;&#x2122;d I You called night transparent And saw a skeleton of stars. When I had bled A pool to lie in You called the day opaque And bore chaste entrails to the sun. With twilight In your arms You christened Diaphanor And saw love shining thru my skull.

WHEREFORE THE PUNCTUATION OF THE HEART Or L?O?V?E? In quest, not question? Rise bright phoenixwise E V O L Ecstatic, Erect, Erotic, Having dove (sic) L O V E To emerge purged. Let shout exult L!O!V!E! From every glyph! Yea increase L&O&V&E& Amply companioned To be Emblossomed L*O*V*E* In an asterism of erosia To make LO VE Architected in eternal form. 25

QUIET, THE DOVE From Alph Our love-strewn aviary How angels spring To agitate the day. Fingers flail But fail the total feather. Fingers thrall the heart To bird to wing. Where see the broken wicker Discage, yet tear the flesh. In vain deft fingers Dry the rain Pluck the ariel To fluttering piecesZed fell. Quiet Dove! The ark Is dark.

TO DRAW A STRAIGHT LINE To draw a straight line When the skin yields like love Beneath the glyphâ&#x20AC;&#x2122;s cares The entice tattoo astray: Is improbable artistry. The flesh coronates itself Art. To indraw the curved line When the flesh balks ire Foursquare the nerves deploy To resist the arcâ&#x20AC;&#x2122;s trespass: Is illogical progression. The flesh knows its own design. To bedraw a line to glory. When the skin reads to Hell Corrupt the quilt of deceit To confound the oracle: Is indubitable folly. The flesh insists to be the Fool.

FROM THE UMBRAGE OF A MASTER POET To love poet and poet be-loved Are the sun, the moon Transfixed to metaphor. To poet love Is Word give Sun life to live. Whereas: Poet be-loved s Light steal Wax death to real. Either elicit heavenly trial.

LOVE: ENFLAME. Anoint my head with clove That, hungry, love may rove And stab like fire The orifices of desire. Lick the mated ear, The married eye, The bedded nose And leap white lavan From the single rose Of mouth. Single the skull, Cause brain to boil. Ignite my hair Enfurl a glowing anadem Aromatic With passion.

THIRST Come, Love, from snowy highlands Your journey sing Down Moorlands and tawny heather To that black spring. Come, Love, from whitely breasts Your journey tell down torso and the curving rib To that black well.

THE WORD ‘s Death The Ancient Angel said. ‘s Christ Cried the Miraculant ‘s Love Mutters the Fool in the cold.

TIGER MUSIC O Undressed lovingly O Virilence athwart the thought Longly caressed in mind Undrest the naked harp Whose lean strings I pluck And pull the tiger blazing Musickly From the green lair To orchestrate love Andante the undulating ribbon Of his tawny theme, The rhythmic meat and bone Of a flexeâ&#x20AC;&#x2122;d jungle chord. Dark song devour me nude Chant carnivorous love O Animalled amour.

PELVIC AND BRIGHT Pelvic and bright The rose I hold Athwart my thighs So red blooms bold For summer’s sighs Sweet love’s behold Let crown the skies In centric throne The rose I’ve grown.

MY LOVE, MY LOVE IS GONE TO YOU My love, my love is gone to you Like two faces that cannot but turn Into each other warm and fierce Whose lips are mated flowers. The long petals growing Knowing search for their suns, Beloving.

SCULPTURES

LOVE 1992, Cast Resin, One of a Kind, 20.3 x 20.3 x 10.16 cm, 8 x 8 x 4 in

GLASS LOVE 1995, Etched Glass Prototype, One of a Kind, 20.3 x 20.3 x 10.2 cm, 8 x 8 x 4 in

HOPE (WHITE/BLACK) 2009, Painted Aluminium, Edition of 9, 45.7 x 45.7 x 23 cm, 18 x 18 x 9 in

HOPE (RED/LIGHT BLUE) 2009, Painted Aluminium, Edition of 9, 45.7 x 45.7 x 23 cm, 18 x 18 x 9 in

HOPE (VIOLET/RED) 2009, Painted Aluminium, Edition of 9, 45.7 x 45.7 x 23 cm, 18 x 18 x 9 in

ETERNAL HOPE (RED) 2009, Painted Aluminium, Edition of 9, 45.7 x 45.7 x 23 cm, 18 x 18 x 9 in

HOPE (BLUE/WHITE) 2009, Painted Stainless Steel, Edition of 9, 45.7 x 45.7 x 23 cm, 18 x 18 x 9 in

HOPE (RED/GOLD) 2009, Painted Stainless Steel, Edition of 9, 45.7 x 45.7 x 23 cm, 18 x 18 x 9 in

HOPE 2009, Fully Polished Stainless Steel, Edition of 9, 45.7 x 45.7 x 23 cm, 18 x 18 x 9 in

HOPE (WHITE/BLUE/RED) 2009, Painted Aluminium, Edition of 9, 45.7 x 45.7 x 23 cm, 18 x 18 x 9 in

HOPE (RED/BLUE/WHITE) 2009, Painted Aluminium, Edition RTP I/I, 45.7 x 45.7 x 23 cm, 18 x 18 x 9 in

ETERNAL HOPE 2009, Multiple Layers of Custom Metallic Paint on Fabricated Aluminium, Edition of 9, 45.7 x 45.7 x 23 cm, 18 x 18 x 9 in

HOPE (RED/YELLOW) 2009, Painted Aluminium, Edition IV/IX, 45.7 x 45.7 x 23 cm, 18 x 18 x 9 in Courtesy of private collection, Italy

HOPE (RED/BLUE/GREEN) 2009, Painted Aluminium, Edition of 9, 91.4 x 91.4 x 45.7 cm, 36 x 36 x 18 in

HOPE (RED/BLUE/WHITE) 2009, Painted Aluminium, Edition of 8, 91.4 x 91.4 x 45.7 cm, 36 x 36 x 18 in

THREE FABRICATED LETTERS 2013, Fabricated Aluminium and Paint, Base Attached to Each Letter, Edition of 9, 45.7 x 45.7 x 23 cm (Each), 18 x 18 x 9 in (Each)

BIDIMENSIONAL WORKS

THIS IS AN EXAMPLE OF THE FIGURATIVE WORK THAT ROBERT INDIANA, THEN KNOWN AS ROBERT CLARK, PRODUCED AS A HIGH SCHOOL STUDENT.

HIGH YALLER 1945, Color Pigment on Paper, 35.6 x 43.2 cm, 17 x 14 in

THIS IS AN EXAMPLE OF THE FIGURATIVE WORK THAT ROBERT INDIANA, THEN KNOWN AS ROBERT CLARK, PRODUCED AS A HIGH SCHOOL STUDENT.

WOMAN ON A BUS 1945, Color Pigment on Paper, 35.6 x 43.2 cm, 17 x 14 in

ALPHABET 1994 - 2011, 26 Silkscreens and Rainbow Roll on Canvas, One of a Kind from a Series of 5, 61 x 61 cm (Each), 24 x 24 in (Each)

BOOK OF LOVE, GOLD/RED/BLUE 1996, Fabricated Metal, Powder Coat and Silkscreen in Colors, Edition of 5, 66 x 66 x 5.1 cm, 26 x 26 x 2 in

BOOK OF LOVE (PURPLE/RED) 1996, Fabricated Metal, Powder Coat and Silkscreen in Colors, Edition of 5, 66 x 66 x 5.1 cm, 26 x 26 x 2 in

BOOK OF LOVE (RED/BLUE/GREEN) 1996, Fabricated Metal, Powder Coat and Silkscreen in Colors, Edition of 5, 66 x 66 x 5.1 cm, 26 x 26 x 2 in

STUDY FOR INDIANA ALPHABET 2009 - 2011, Mixed Media on Canvas, One of a Kind, 91.4 x 91.4 x 1.3 cm, 36 x 36 x 1 1/4 in

ALPHABET WALL (GOLD ON RED) 2011, 2 Color Silkscreen on Rising Museum Board 100% Rag, Edition of 35, 101.6 x 81.3 cm, 40 x 32 in

ALPHABET WALL (SILVER ON BLUE) 2011, 2 Color Silkscreen on Rising Museum Board 100% Rag, Edition of 35, 101.6 x 81.3 cm, 40 x 32 in

EAT II (CRIMSON GOLD) 2011, Silkscreen on Paper, One of a Kind, 76 x 81.3 cm, 32 x 30 in

EAT 2011, Silkscreen on Paper, Edition of 92, 76.2 x 81.3 cm, 32 x 30 in

101

HOPE WALL (RED/WHITE/BLUE) 2010, Silkscreen on Paper, Edition of 33, 61 x 63.5 cm, 24 x 25 in

103

HOPE FOR LIFE 2011, Silkscreen in Colors on Coventry Rag Paper, Edition of 90, 106.7 x 94 cm, 42 x 37 in

105

METAL HOPE (SILVER/BLUE) 2012, Fabricated Metal, Powder Coat and Metallic Silkscreen, Edition of 5, 66 x 66 x 5.1 cm, 26 x 26 x 2 in

107

METAL HOPE (GOLD/RED) 2012, Fabricated Metal, Powder Coat and Metallic Silkscreen, Edition of 5, 66 x 66 x 5.1 cm, 26 x 26 x 2 in

109

METAL HOPE (RED/BLUE) 2012, Fabricated Metal, Powder Coat and Silkscreen in Colors, Edition of 5, 66 x 66 x 5.1 cm, 26 x 26 x 2 in

111

FOUR SEASONS OF HOPEbook (SILVER) 2012, A Portfolio of 4 Silkscreen Prints on Coventry Archival Rag, Edition of 125, 74.9 x 89.2 cm (Each), 29 1/2 x 35.1 in (Each)

113

STAR OF HOPE (RED/WHITE/GOLD/PURPLE) 2013, Silkscreen on Coventry Rag Paper, One of a Kind, 81.3 x 74.9 cm, 32 x 29 1/2 in

115

STAR OF HOPE (GOLD/SILVER/RED) 2013, Silkscreen on Canvas, One of a Kind, 61 x 61 x 5.1 cm, 24 x 24 x 2 in

117

STAR OF HOPE (RED/GREEN/BLUE/SILVER) 2013, Silkscreen in Colors on Coventry, One of a Kind, 83.8 x 74.9 cm, 32 x 29 1/2 in

119

STAR OF HOPE, (BLUE/RED/SILVER/PURPLE I) 2013, Silkscreen in Colors on Coventry, One of a Kind, 83.8 x 74.9 cm, 32 x 29 1/2 in

121

STAR OF HOPE, (PURPLE/GREEN/BLUE/RED) 2013, Silkscreen in Colors on Coventry, One of a Kind, 83.8 x 74.9 cm, 32 x 29 1/2 in

123

STAR OF HOPE (BLUE/GREEN/RED/WHITE) 2013, Silkscreen on Paper, One of a Kind, 81.3 x 74.9 cm, 32 x 29 1/2 in

125

STAR OF HOPE (RED/BLUE/SILVER/PURPLE) 2013, Silkscreen on Paper, One of a Kind, 81.3 x 74.9 cm, 32 x 29 1/2 in

127

STAR OF HOPE (RED/GOLD/PURPLE) 2013, Silkscreen on Paper, One of a Kind, 81.3 x 74.9 cm, 32 x 29 1/2 in

129

STAR OF HOPE (RED/BLUE/GOLD/PURPLE) 2013, Silkscreen on Paper, One of a Kind, 82.5 x 74.9 cm, 32 1/2 x 29 1/2 in

131

STAR OF HOPE (BLUE/GREEN/GOLD/RED) 2013, Silkscreen on Paper, One of a Kind, 83.8 x 74.9 cm, 33 x 29 1/2 in

133

STAR OF HOPE (BLUE/GREEN/SILVER/RED) 2013, One of a Kind, 84.1 x 74.9 cm, 33 1/8 x 29 1/2 in

135

ART (RED/BLUE RAINBOW) 2013, Silkscreen in Colors on Triple Prime Canvas, One of a Kind, 61 x 61 x 5.1 cm, 24 x 24 x 2 in

137

ART (SILVER/RED II) 2013, Silkscreen on Paper, One of a Kind, 83.8 x 74.9 cm, 33 x 29 1/2 in

139

ART (GOLD/RED) 2013, Silkscreen on Paper, One of a Kind, 83.8 x 74.9 cm, 33 x 29 1/2 in

141

ART (RED/GOLD) 2013, Silkscreen on Paper, One of a Kind, 83.8 x 74.9 cm, 33 x 29 1/2 in

143

ART (GOLD/BLUE) 2013, Silkscreen on Paper, One of a Kind, 83.8 x 74.9 cm, 33 x 29 1/2 in

145

ART (RAINBOW/BLACK II) 2013, Silkscreen on Paper, One of a Kind, 83.8 x 74.9 cm, 33 x 29 1/2 in

147

ART (RED/BLUE/YELLOW) 2013, Silkscreen on paper, One of a Kind, 77.5 x 74.9 cm, 30 1/2 x 29 1/2 in

149

SHE (BLUE/GOLD/RED/PINK) 2013, Silkscreen in Colors and Metallic Paint on Triple Prime Canvas, One of a Kind, 61 x 61 x 5.1 cm, 24 x 24 x 2 in

151

HE (LIGHT BLUE/BLUE/RED/GOLD) 2013, Silkscreen in Colors and Metallic Paint on Triple Prime Canvas, One of a Kind, 61 x 61 x 5.1 cm, 24 x 24 x 2 in

153

SHE 2015, Silkscreen Print in Colors Printed on Coventry Rag Vellum 320 gsm, Edition of 40, 81.3 x 99.1 cm, 32 x 39 in

155

HE 2015, Silkscreen Print in Colors Printed on Coventry Rag Vellum 320 gsm, Edition of 40, 81.3 x 99.1cm, 32 x 39 in

157

BODY/SOUL (RED/GREEN/BLUE) 2014, Silkscreen on Rising Museum Board, Edition of 18, 101.6 x 152.4 cm, 40 x 60 in

163

BIOGRAPHY 1928

1929

1933

1934

1935

1936

September 13. Robert Earl Clark is born in New Castle, Indiana; soon thereafter, he is taken to Richmond, Indiana, to live with caretakers until his adoption by Earl Clark and Carmen Watters Clark, who reside in Indianapolis where Earl works as an executive for the Western Oil Refining Company. Owing to what Indiana would later call his mother’s “wanderlust,” the family moves repeatedly; Indiana later says he lived in twentyone houses before he was seventeen. Shell Oil purchases Western Oil. A few year later, Earl loses his job, and the family is forced to abandon their home and move to a dilapidated farmhouse in the country. Earl finds work pumping gas at a filling station. Earl secures an administrative job at Phillips Petroleum Company, where he works for the next twelve years. The family moves back to Indianapolis, but they never recover financially. Summer. Robert travels with his parents to the Chicago World’s Fair and, in subsequent summers, to Alabama to visit paternal relatives (1936) and to Fort Worth, Texas, to see the Frontier Centennial Exposition (1937), trips that contribute to his memories of a childhood spent in transit. Fall. Underweight and nearsighted, Robert is deemed too ill to enter first grade. His parents attribute his poor health to fumes from the city’s automotive plants, and the family moves to a farm near the small town of Mooresville, twenty miles southwest of Indianapolis. September. Enters first grade in Mooresville where recognition of his artistic talent by his teacher, Ruth Coffman, reinforces his decision to become an artist. Halfway through the school year, the family moves into Mooresville proper, into a house on Lockerbie Street. September. Skips second grade; family moves three times during the school year, causing Robert to relocate to three different schools.

1937

Family moves to Cumberland, a rural town east of Indianapolis where Robert attends school for four years.

1938

Engaged in a custody dispute, Robert’s maternal aunt, Roberta (Ruby) Watters, murders her mother-in-law in South Bend, Indiana, after accusing her of kidnapping her two young children. Carmen travels to testify on Ruby’s behalf at the trial, which ends in an acquittal based on a defense of temporary insanity. While Carmen is away, Robert lives with his paternal aunt and uncle on their Martinsville farm. Alone in Cumberland, Earl becomes involved with a younger woman, Sylvia.

July. Earl leaves Carmen for Sylvia, who becomes his third wife. For the next few years, Robert lives with his mother in Cumberland during the week and sees Earl

1940

and his new wife in Indianapolis on weekends; his mother supports herself by working in small restaurants and roadside cafes.

1947

Carmen marries Foster Dickey, a custodian at the officers club at the Fort Benjamin Harrison Army base in Lawrence.

1948

September. Enters Lawrence Junior High; attends the school for two years.

1941

Spring. Wins first prize in the Marion County seventhgrade essay competition for “A Covered Bridge,” a poetic description of a local bridge.

1942

1944

1945

1946

September. Moves to Indianapolis to live with his father and his new family in order to attend Arsenal Technical High School, known for its strong art department. He does not see his mother for the next three years. To contribute to the family income, he works after-school jobs throughout high school, first delivering poultry and then as a messenger for Western Union. In his junior year, he takes a job as a runner in the advertising department of the Indianapolis Star. Studies at Arsenal Tech with Sara Bard, an exhibiting watercolorist from Philadelphia, during his last two years in high school. Summer. Attends summer school to partially fulfill his science requirements in order to spend more time in Bard’s class during the school year.

1949

Carmen’s husband loses his job, and they move to Indianapolis. Robert leaves his father’s house and moves in with them in a small bungalow in a predominantly African American part of town. Attends figure-drawing classes on Saturdays at Indianapolis’s John Herron Art Institute on a scholarship from the institute. June. Graduates from Arsenal Tech: valedictorian, photographer and photo editor of the class yearbook, captain of the honor society (The Tech Legion), staff member of the school newspaper, and recipient of medals in Latin and English. He gifts the Latin department his five medieval-style parchment illustrations of the Second Chapter of Luke from the King James Bible. Receives a Scholastic Art and Writing Award to attend the John Herron Art Institute; chooses instead to enlist in the U.S. Army Air Corps (which would become the U.S. Air Force the following year) at Camp Atterbury, Edinburgh, Indiana. September. Begins a six-week basic training course at Lackland Air Corps Base, San Antonio, Texas; becomes ill after a few weeks and is reassigned to another unit after recovering. Fall. Takes a ten-week technical training course in typing at Lowry Field, Denver, Colorado.

Stationed at New Mexico’s Hobbs Army Airfield, an aircraft storage facility since 1945; teaches typing and starts a mimeographed newspaper for the base to replace its previous newspaper, which had been suspended. May. Sent to Griffiths Air Force Base, Rome, New York, following the decommissioning of the Hobbs airfield; assigned to the Public Information Office while awaiting permanent assignment. Attends an evening class in Russian at the Utica branch of Syracuse University and art classes at the Munson-Williams-Proctor Institute, Utica. January. Volunteers for assignment to Fort Richardson, Anchorage, Alaska, the only post available outside the contiguous forty-eight states. Stops in Los Angeles en route to see his father, who had moved there with Sylvia before Robert graduated from high school; it is their last visit before Earl’s death in 1965 in Florida. While stationed at Fort Richardson, he edits the base’s newspaper, the Sourdough Sentinel. August. Receives an emergency leave to visit his dying mother, who had been living in Columbus, Indiana, in a house without a kitchen or hot water while running a bakery with her husband. Robert arrives minutes before her death. Finishes his last month of duty at WrightPatterson Air Force Base, Dayton, Ohio; while he is there, his stepfather dies. September. Discharged from the Air Force. Enters the School of the Art Institute of Chicago under the G.I. Bill, majoring in painting and graphics. Active in the Zeta chapter of Delta Phi Delta, a national honor art fraternity. During his four years at the school, he supplements his stipend from the G.I. Bill by working nights taking inventory at Ryerson Steel and later for the Marshall Field & Company department store, and working part time at the Ryerson Library at the Art Institute; spends one summer illustrating the classified section of the phone book published by the R. R. Donnelley Print Company.

1952

Fall. Elected president of the Zeta chapter of Delta Phi Delta.

1953

March. Exhibits figurative paintings in a three-person exhibition with Claes Oldenburg and George Yelich at Club St. Elmo, a restaurant on North State Street in Chicago’s Near North neighborhood.

Spring. Organizes the annual Art Students Costume Ball, sponsored jointly by Delta Phi Delta and the Art Students League, at Cyrus McCormick’s deserted mansion. June. Wins a cash prize of $1,250 as the recipient of one of the Art Institute’s seven Foreign Travelling Fellowships, along with a scholarship to attend summer classes at Skowhegan School of Painting and Sculpture, Maine. Summer. Studies at Skowhegan with Henry Varnum Poor,

under whom he completes two frescos: Pilate Washing His Hands and a memorial to soldiers who died in the Korean War. Receives the school’s Fresno Prize for the latter.

Fall. Sails on the S.S. United States for England, intending to enroll at Oxford or the University of London to fulfill academic requirements for his bachelor of fine arts; enrolls instead at the University of Edinburgh, where he augments his academic studies by writing poetry, which he illustrates and hand-sets at the Edinburgh College of Art.

December. Embarks on a four-week visit to Paris, punctuated by a trip to the cathedrals of northern France and Belgium with three post-graduate American art historians from the University of Chicago, one of whom, Bates Lowry, would later serve as director of the Museum of Modern Art.

1954

Spring. Takes a month-long trip around Italy.

June. Receives, in absentia, his B.F.A. from the School of the Art Institute of Chicago.

Summer. Attends a six-week, nonacademic seminar on English seventeenth- and eighteenth-century art, music, and literature at the University of London on the G.I. Bill.

September. Arrives in New Yor residential hotel at 325 West 56th Street that caters to artists. Concentrates on writing poetry.

1955

Finds a part-time job selling art upplies at E. H. & A. C. Friedrichs Company on West 57th Street for $20 a week; works there for three years.

Summer. Sublets 64th Street loft of Paul Sanasardo, a dancer and former classmate from the Art Institute, while Sanasardo is on tour; executes expressionist portraits of friends.

Fall. Moves into studio at 61 Fourth Avenue in Greenwich Village, the center of Abstract Expressionism; executes dark, allegorical heads influenced by Jean Dubuffet.

1956

Mid-June. Meets Ellsworth Kelly. June 30. On Kelly’s recommendation, moves into a cold-water loft on the top floor of 31 Coenties Slip, a three-block-long area on the East River at the southern tip of Manhattan. A few weeks later, Kelly moves into a nearby loft at 35 Coenties Slip. Within the year, the area’s cheap rents attract other artists: Agnes Martin, Lenore Tawney, Ann Wilson, fashion designer John Kloss, and Jack Youngerman along with his wife, Delphine Seyrig, and their son, Duncan. In 1960, James Rosenquist and Charles Hinman move to the area.

165

Fall. Cy Twombly uses Indiana’s loft during the day to prepare for his upcoming show at the Stable Gallery; he leaves several canvases behind, covering their stillwet surfaces with newspaper. Indiana uses these as the ground for abstract, texture paintings. 1957

1960

Spring. Facing the imminent demolition of his studio building, Indiana relocates to 25 Coenties Slip.

Begins to paint single words of three and four letters in bright colors on his extant and new herms.

Begins oil paintings on paper of a doubled ginkgo leaf in hard-edge style; works on the series for ten months. Due to the paper’s impermanency, few survive. Winter. Offers life-drawing classes with Jack Youngerman on the first floor of Youngerman’s building at 27 Coenties Slip under the auspices of the Coenties Slip Workshop; the classes fail due to the inaccessibility of the neighborhood and the inability to adequately heat the space. 1958

Fall. Takes over Jack Youngerman’s class teaching art to children in a private house in Scarsdale, a suburb of New York; the following year, he teaches adults. 1959

Makes a single sculpture out of a round wooden column salvaged from Jack Youngerman’s Coenties Slip building, which is being demolished; names the work Duncan’s Column (1960/62) after Youngerman’s son. In 1963, when rectangular wood beams become hard to find, Indiana will begin a second group of sculptures made out of other wooden columns he scavenges from the neighborhood. Makes a single sculpture out of a round wooden column salvaged from Jack Youngerman’s Coenties Slip building, which is being demolished; names the work Duncan’s Column (1960/62) after Youngerman’s son. In 1963, when rectangular wood beams become hard to find, Indiana will begin a second group of sculptures made out of other wooden columns he scavenges from the neighborhood.

January. Takes a part-time secretarial job at the Cathedral of St. John the Divine typing the correspondence of the dean, James A. Pike, and proofing Edward N. West’s The History of the Cross, illustrated by Norman Laliberte. Spring. Pieces together forty-four sheets of paper that he found in his loft and begins work on a nineteen-foot-long painting, Stavrosis (Crucifixion).

1961

Executes several biomorphic abstractions in three or four colors on Homasote. Begins to paint circles (orbs) and rectangles on raw plywood using white gesso. Soon thereafter, begins a series of hard-edge, polychrome abstractions of orbs on Homasote. November. Starts his first assemblage, Sun and Moon (1959–60), out of rusted metal and discarded wood salvaged from Coenties Slip; several more wall-hanging assemblages follow, after which he begins making freestanding constructions out of wooden beams salvaged from buildings on Coenties Slip being demolished. Indiana calls these sculptures “herms,” after the ancient hermae pillars that marked boundaries and served as milestones in he ancient world, attaching discarded wheels and painting single letters and numbers on them using die-cut, brass stencils found in Lenore Tawneys’s loft.

Executes his first single-word paintings; includes one of them, FUN, along with recent wood constructions in a three-person show with Steve Durkee and Richard Smith, two Coenties Slip neighbors, at Paul Sanasardo’s dance studio in March.

May. Exhibits herms and six paintings in a two-artist exhibition with Peter Forakis at the David Anderson Gallery; after the show closes, Alfred Barr, director of the Museum of Modern Art, purchases The American Dream, I (1961) for the museum’s permanent collection, launching Indiana’s career.

Upon completion of Stavrosis, changes his name to Robert Indiana. January. Ceases working at the Cathedral of St. John the Divine.

Donates The Black Yield to CORE (Congress on Racial Equality); donations of two other paintings follow in 1965 and 1966. The Albert A. List Foundation commissions Indiana to design a poster for the opening of the New York State Theater, Lincoln Center. April–October. Exhibits EAT (1964), a twenty-foot-square electric sign commissioned by Phillip Johnson for the curved facade of the Theaterama, one of the three components of the New York State Pavilion at the New York World’s Fair. Nine other artists, including Roy Lichtenstein, Andy Warhol, Robert Rauschenberg and James Rosenquist, exhibit works on the pavilion’s curved facade as well. The installation marks a major moment in the public reception of Pop art. May 12. The Stable Gallery opens its second solo Indiana exhibition on Mother’s Day with a concert of Virgil Thomson’s music; the show features Mother and Father (1963-66).

June. Rolf Nelson, a Coenties Slip neighbor and director of the Martha Jackson Gallery, includes Indiana’s herm French Atomic Bomb (1959–60) in the gallery’s New Media—New Forms exhibition; the piece is purchased and later gifted to the Museum of Modern Art.

1962

1963

July. Begins a series of paintings incorporating lines of texts from American writers Herman Melville, Walt Whitman, and Henry Wadsworth Longfellow.

October–November. The Museum of Modern Art includes Indiana’s herm Moon (1960) in its exhibition The Art of Assemblage; the work is acquired by the museum out of its Philip Johnson Fund.

December. The Museum of Modern Art includes American Dream, I in its exhibition Recent Acquisitions: Painting and Sculpture; the work is prominently featured in press accounts of the show.

1964

October. Eleanor Ward holds Indiana’s first solo exhibition at her Stable Gallery. That same month at his eponymous gallery, Sidney Janis includes The Black American Dream # 2 (1962) in his New Realists exhibition, which announces the arrival of Pop art as a movement; over the nnext several years, Indiana exhibits in most of the major Pop Art exhibitions. Indiana donates Yield Brother (1962) to the Bertrand Russell Peace Foundation in support of its antinuclear program, the first in a series of donations to the foundation. Designs costumes for James Waring’s experimental dance “At the Hallelujah Gardens,” performed by Fred Herko at the Hunter Playhouse, Hunter College, New York, on February 3. May. The Museum of Modern Art devotes an entire room to Indiana’s work in its exhibition Americans 1963, further solidifying his reputation. October. The Walker Art Center, Minneapolis, becomes the first museum to present a full survey of Indiana’s work, in a two-person show with Richard Stankiewicz; the show travels to the Institute of Contemporary Art, Boston.

1965

December. Exhibits for the first time in the Whitney Museum of American Art’s annual exhibition of contemporary American painting. Collaborates with Andy Warhol on Eat, a thirty-fiveminute film of Indiana eating a single mushroom. Warhol’s decision to assemble the film’s rolls nonsequentially makes the action mysterious, as if the mushroom magically renews itself from time to time.

Virgil Thomson commissions Indiana to design the sets and costumes for the UCLA Opera Workshop production of The Mother of Us All, scheduled to open May 13 in Schoenberg Hall, University of California, Los Angeles; time constraints prevent Indiana from making more than preliminary sketches. February. The Corcoran Gallery of Art, Washington, D.C., devotes an entire room to Indiana’s paintings in its biennial survey of contemporary American painting. June. Rolf Nelson opens Indiana’s first exhibition on the West Coast in his eponymous Los Angeles gallery. Faced with the impending demolition of 25 Coenties Slip, Indiana moves his studio to a former luggage factory on the corner of Spring Street and the Bowery; begins his Confederacy painting series commenting on racial injustice in the South. Summer. The Museum of Modern Art commissions Indiana to design its Christmas card. He submits LOVE in four color possibilities; the museum selects the red, blue, and green version.

167

1966

1967

Bill Katz becomes Indiana’s studio assistant; he continues to assist Indiana in the studio for more than a decade, initiating and arranging print projects for the artist, including Numbers (1968), with poems by Robert Creeley.

1968

March. Galerie Schmela, Düsseldorf, Germany, holds Indiana’s first exhibition in Europe and arranges shows in Holland and elsewhere in Germany; the gallery is instrumental in placing many of the artist’s major paintings in European museums.

The Center Opera Company commissions Indiana to design the sets, costumes, and poster for its production of The Mother of Us All. Indiana revises the scenario, casting a Model-T Ford as a central scenic motif. Performances take place at the Tyrone Guthrie Theater, Minneapolis, from January 27 to February 18, 1967. May. The Stable Gallery opens its third solo Indiana exhibition, featuring the artist’s Cardinal Numbers (1966) and LOVE in different mediums, colors, and configurations, and his twelve-inch aluminum LOVE sculpture, published in an edition of six by Multiples, Inc. Embraced by the public as an emblem of countercultural freedom, LOVE proliferates on unauthorized commercial products.

April. The Institute of Contemporary Art, University of Pennsylvania, Philadelphia, opens Indiana’s first solo museum exhibition; the show travels to the Marion Koogler McNay Art Institute, San Antonio, Texas, and the John Herron Institute of Art, Indianapolis.

December. Designs the poster and banner for the exhibition Four Americans in Paris at the Museum of Modern Art.

February–March. Exhibits in the American section of the IX Bienal, São Paulo, Brazil.

Summer. Visits photographer Eliot Elisofon on Vinalhaven, an island off he coast of Maine. Inspired by Indiana’s enthusiasm for the island’s abandoned hundred-year-old Odd Fellows lodge, the “Star of Hope,” Elisofon purchases the building. For the next nine years, Indiana will rent the top floor for use as a studio every September and October.

Lippincott Foundry produces a twelve-foot-high Cor-Ten steel LOVE, which is shown in February in Seven Outside at the Indianapolis Museum of Art. Nine months later, the piece travels to Boston for installation in October in the plaza surrounding city hall as part of the exhibition Monumental Sculpture for Public Spaces. Lippincott remains Indiana’s foundry until 1994, when it ceases operation.

1976

The Santa Fe Opera Company commissions Indiana to design the sets and costumes for a fully staged production of The Mother of Us All as part of the company’s twentieth anniversary; the opera is presented on August 7, 11, 20, and 25.

Designs two serigraphs, Liberty 76 and The Golden Future of America, for American bicentennial portfolios published by Lorillard and Transworld Art, respectively.

October. Exhibits The Great Love (1966) in the triennial exhibition of international art at the Carnegie Museum, Pittsburgh; the museum acquires the piece.

Initiates his ART series of paintings and sculpture after making ART posters for the exhibition American Art since 1960 at the Princeton University Art Museum, Princeton, New Jersey, and the opening of the Indianapolis Museum of Art.

December. Galerie Denise René publishes a portfolio of seven serigraphs, based loosely on Indiana’s Polygon paintings; the gallery premiers them in May of the following year along with the paintings.

1971

1970

1975

The State University of New York, Purchase, acquires and permanently installs one of Indiana’s seven-foot-high red/ blue ART sculptures on its campus.

Produces three serigraphs of LOVE—two in editions of 250, and an unsigned edition of 2,275—and two serigraphs of LOVE Wall. During the next two years, produces other serigraph variations on LOVE, with more following in 1972, 1973, 1975, 1982, and 1991.

John Huszar produces Robert Indiana: Portrait, a documentary film about the artist. Designs poster for the opening of the Hirshhorn Museum and Sculpture Garden, Washington, D.C.

December. Colby College Museum of Art, Waterville, Maine, opens a retrospective of Indiana’s prints and posters; the show travels or two years to museums in the northeast United States and Europe.

April. Installs his Cardinal Numbers as a vertical column fifty feet high for the American Pavilion at Montreal’s Expo ’67.

1974

Edition Domberger and Galerie Schmela publish a portfolio of Indiana’s Numbers; each serigraph is accompanied by a Robert Creeley poem inspired by Indiana’s Numbers paintings of 1965. June. Exhibits fifteen works in Documenta 4 in Kassel, Germany, including The Cardinal Numbers and LOVE WALL (1966). RCA reproduces Imperial LOVE (1966) on the album cover of Olivier Messiaen’s Turangalîla-Symphonie.

1969

are produced, for which the artist receives a flat fee of a thousand dollars.

1972

1973

Begins Decade: Autoportraits, a series of paintings in three sizes chronicling his life in the 1960s; he finishes the two smaller series by 1972 and the larger series by 1978. The complete series totals thirty paintings. May. Multiples, Inc. publishes Decade, a portfolio of ten serigraphs of Indiana’s most significant images; the serigraphs are exhibited simultaneously as Multiples, Inc. in New York and Los Angeles, and in twenty-four other galleries worldwide. November. LOVE travels to New York, where Indiana installs it at the Fifth Avenue and 60th Street entrance to central Park; the sculpture remains on view for six weeks before returning to the Indianapolis museum for permanent display.

September. Installs a six-foot-high red/purple LOVE on the John F. Kennedy Plaza, Philadelphia, as part of the city’s bicentennial celebration. Summer. In response to a poster commission from the Democratic National Committee, Indiana designs Vote; in recognition of the artist’s contribution to Jimmy Carter’s election as thirty-ninth president of the United States, Indiana is invited to, and attends, the presidential inauguration in January 1977. November. Indiana purchases the Star of Hope from the Elisofon estate.

Designs the cover for Robert Creeley’s A Day Book, published by Scribner, New York. Galerie Denise René, New York, becomes Indiana’s New York dealer; it holds its first Indiana exhibition in November, premiering the first two series of Decade: Autoportraits along with a twenty-foot LOVE painting and several LOVE and ART sculptures. February 14. The U.S. Postal Service issues an eight cent LOVE stamp designed by Indiana; 330 million stamps

169

1977

lived on Vinalhaven in the summer of 1938 in a house near the former grocery store Indiana rents for storage; Indiana works on the series, which ultimately comprises eighteen elegies, through 1994.

September. University Art Museum, University of Texas, Austin, opens a retrospective of Indiana’s work; the show travels to museums in Norfolk, Virginia; Purchase, New York; Indianapolis; and South Bend, Indiana. October. Installs his twelve-foot-high Cor-Ten steel AHAVA (the Hebrew word for “love”), produced by Lippincott Foundry, at the Fifth Avenue and 60th Street entrance of New York’s Central Park before sending it to the Israel Museum, Jerusalem, for permanent display.

1990

Commissioned to design the floor of the MECCA Arena’s basketball court, Milwaukee, Wisconsin. 1978

1980

Loses lease on his Spring Street studio; moves permanently to Vinalhaven. Over the next ten years, Indiana restores the Star of Hope; it is listed on the National Register of Historic Places in 1982. The Indianapolis Museum of Art commissions the artist’s monumental Numbers, becoming the largest institutional repository of Indiana’s outdoor work. Multiples Inc. publishes Decade: Autoportraits, Vinalhaven Suite, a portfolio of ten serigraphs created by Indiana commemorating the events, places, and people of importance to him in the 1970s.

1981

Rents sail loft across from the Star of Hope to use as a sculpture studio; begins making a new series of herms out of driftwood he finds on Vinalhaven.

1982

July. The Farnsworth Art Museum, Rockland, Maine, across the Penobscot Bay from Vinalhaven, opens Indiana’s Indianas, a twenty-year survey of work that Indiana has retained in his own collection; the show travels to five museums in Maine, Pennsylvania, Massachusetts, and New Hampshire.

1984

1985

1988

1989

May. The National Museum of American Art, Washington, D.C., opens Wood Works, the first exhibition to survey Indiana’s wood constructions; the show travels to the Portland Museum of Art, Maine. February. Indiana’s work is included in Pop Art, 1955– 1970, one of the first of many reexaminations of Pop art to take place over the next ten years that feature his art; sponsored by the International Council of the Museum of Modern Art, the show opens at the Art Gallery of New South Wales, Sydney, Australia, and travels to Melbourne and Brisbane. Salama-Caro Gallery, London, arranges to have eight of Indiana’s early wood herms cast in bronze, each in an edition of eight, at Empire Bronze Art Foundry, Long Island City, New York. Begins his series of paintings Hartley Elegies, inspired by the German Officer paintings of Marsden Hartley, who

1991

1992

1993

1995

Park Granada Editions publishes five serigraphs based on Indiana’s Hartley Elegies; five more follow in a diamond format in 1991. Harry N. Abrams publishes Robert Indiana by Carl Weinhardt, Jr., the first hardcover monograph on the artist. Late November–December. Marisa del Re becomes Indiana’s New York dealer, showcasing his Decade: Autoportraits in an exhibition and commissioning two monumental sculptures over the next two years, a twelvefoot high red/blue LOVE and a twelve-foot-high red/blue ART, which are shown in sculpture biennales in Monte Carlo, Monaco, in 1991 and 1993, respectively. May. Susan Sheehan Gallery, New York, holds a solo exhibition of Indiana’s prints in conjunction with the gallery’s publication of a catalogue raisonné of Indiana’s prints. September. The Salama-Caro Gallery, London, opens its first exhibition of Indiana’s art with a show devoted to the artist’s early herms and paintings, and examples of bronze versions of his herms. The Royal Academy of Arts, London, includes Indiana’s work in its international survey Pop Art; the show travels to the Museum Ludwig, Cologne; the Museo Nacional Centro de Arte Reina Sofia, Madrid; and the Montreal Museum of Fine Arts. Susan Elizabeth Ryan completes the first Ph.D. dissertation on Robert Indiana at the University of Michigan, Ann Arbor; Yale University Press publishes it as Robert Indiana: Figures of Speech. One of Indiana’s twelve-foot-high red/blue/green LOVE sculptures is acquired and permanently installed in front of the I-Land Tower in Tokyo’s central business district, known as the Nishi-Shinjuku. Lippincott produces a twelve-foot-high blue/green LOVE for permanent installation in front of Winsland House II, the headquarters of Wing Tai Holdings Limited, Singapore. It is the last monumental Indiana sculpture produced by the foundry before it closes. April. The Weisman Art Museum, University of Minnesota, Minneapolis, opens an exhibition of Marsden Hartley’s German Officer paintings and Indiana’s Hartley Elegies; the show travels to the Terra Museum of American Art, Chicago; the Frost Art Museum at Florida International University, Miami; and the Indianapolis Museum of Art, where only the Hartley Elegies are exhibited. Simon Salama-Caro becomes Indiana’s primary

agent, organizing a program of gallery exhibitions and introducing Indiana to the Morgan Art Foundation, which assists the artist in completing sculpture editions that were started in the 1960s. Three years later, Salama-Caro will begin a project to catalogue all of Indiana’s painting and sculpture. 1997

1998

American Image Editions publishes ROBERT INDIANA: The Book of Love, a limited edition of twelve of Indiana’s LOVE images and LOVE-related poems. Indiana installs his monumental white/red NUMBER 7 in Monte Carlo for the 700th anniversary of the Grimaldi family’s rule of Monaco. June. Indiana’s first museum retrospective in Europe opens at the Musée d’Art Moderne et d’Art Contemporain, Nice, with the installation of a twelve-foot-high red/blue/ green LOVE in the esplanade outside the museum. At the opening, Indiana is awarded Citoyen d’honor (honorary citizen of Nice) by the mayor. Fall. Milgo/Bufkin produces Indiana’s first AMOR sculpture. The foundry becomes Indiana’s sculpture atelier.

The American Dream, a limited-edition book of thirty Indiana serigraphs with poems by Robert Creeley, is published by Marco Fine Arts Contemporary Atelier.

1999

June. The Portland Museum of Art, Maine, opens a retrospective of Indiana’s art; the show travels to the Marietta/Cobb Museum of Art, Georgia.

2000

Milgo/Bufkin produces Indiana’s monumental outdoor sculpture 2000 for the turn of the millennium; the piece is never installed.

2001

2002

February. One of Indiana’s twelve-foot-high red/blue LOVE sculptures is installed on Sixth Avenue at 55th Street, New York. PAX (now the Center to Prevent Youth Violence) commissions Indiana to design a poster for its campaign against gun violence; the poster, LOVE 2000, is displayed on the sides of buses and bus kiosks in cities across the United States.

embarks on three series of paintings with Chinese characters, one whose image is ai (“love” in Chinese), the second whose image is ping (“peace” in Chinese), and the third with the image of a doubled ginkgo leaf combined with ai and ping; he continues work on the series through 2002, 2003, and 2006, respectively. April 9. The Indiana State Museum, Indianapolis, installs the artist’s fifty-nine-foot-high INDIANA obelisk in its atrium; Indiana governor Frank O’Bannon declares the day “Robert Indiana Day.” July. The Shanghai Art Museum opens Robert Indiana, a retrospective that introduces Indiana’s work to Chinese audiences. Fall. The Scottsdale Art Museum, Arizona, acquires one of Indiana’s twelve-foot-high red/blue LOVE sculptures and places it on permanent loan on the city’s Civic Center Mall. The state of Maine commissions Indiana to paint The First State to Hail the Rising Sun to hang in the state house in Augusta. 2003

Following the American-led invasion of Iraq in March, Indiana begins his series Peace Paintings. 2004

March. The Centre Georges Pompidou, Paris, installs a twelve-foot-high red/blue LOVE in its atrium to coincide with its survey of Pop Art. September 11. While in New York, en route to his show of recent Marilyn paintings at Galerie Guy Pieters, Saint-Paul-de-Vence, France, Indiana witnesses the destruction of the World Trade Center from his hotel window; he returns immediately to Vinalhaven and paints Afghanistan. In preparation for his first exhibition in China, Indiana

February. Indiana’s six-foot-high NUMBERS ONE through ZERO are installed along Park Avenue, New York, from 60th to 70th streets; they subsequently travel to California for installation in front of Beverly Hills City Hall. In conjunction with the New York installation, two simultaneous exhibitions of Indiana’s work are held in the city: at C&M Arts and at Paul Kasmin Gallery. The two galleries become Indiana’s New York dealers, in association with Simon Salama-Caro.

April. Paul Kasmin Gallery exhibits fifteen Peace Paintings. Also that month, the Price Tower Arts Center, Bartlesville, Oklahoma, opens a solo exhibition of Indiana’s paintings and sculpture; at the show’s close in July, the center purchases the artist’s twenty-two-footlong 66 (2004) for its plaza. The Waddington Galleries becomes Indiana’s London dealer; its first exhibition of the artist’s work opens in September.

The Taipei Financial Center, Taiwan, commissions a twelve-foot-high red/gold LOVE to be installed in front of its tower, Taipei 101.

171

September. Paul Kasmin Gallery opens Robert Indiana: Hard Edge, showcasing Indiana’s large-scale metal sculptures and his electric EAT. A twelve-foot-high CorTen steel LOVE Wall is installed at Park Avenue and 57th Street in conjunction with the exhibition.

2014

First ‘International Hope Day’, in accordance with his birthday 13th September – Monumental ‘HOPE’ sculpture placed in New York City becomes a global sensation.

2006

2009

June. The Farnsworth Art Museum opens a survey of Indiana’s art, accompanied by a documentary film directed by Dale Schierholt. In conjunction with the exhibition, the museum installs a twelve-foot-high CorTen LOVE Wall on permanent display in its garden and the artist’s twenty-foot electric EAT, in storage since the 1964 New York World’s Fair, on its roof; EAT is reinstalled on the roof every subsequent year during the summer.

Robert Indiana’s sculpture, “HOPE” made an appearance in Times Square in New York City.

May. Indiana’s monumental sculptures LOVE, Imperial LOVE, AMOR, ART, LOVE WALL, and NUMBERS ONE through ZERO are installed outdoors in Madrid between the Prado and Thyssen-Bornemisza museums; the works travel to Valencia and Bilbao, Spain, and Lisbon.

2015

Robert Indiana Included in the new Whitney’s Inaugural show ‘America Is Hard To See’

Rizzoli publishes Robert Indiana¸ with essays by Joachim Pissarro, John Wilmerding, and Robert Pincus-Witten. 2007

Eric Breitbart and MUSE Film and Television produce an hour-long documentary, Robert Indiana: American Dreamer.

November. Galerie Gmurzynska, Zurich, begins its association with Indiana by hosting a retrospective of his art. 2008

Summer. Indiana creates a six-foot-high stainless steel HOPE, which is placed outside the Pepsi Center during the Democratic National Convention in Denver.

July. The Padiglione d’Arte Contemporanea, Milan, presents the first solo show of Indiana’s work in Italy, including an outdoor installation of Indiana’s monumental sculptures NUMBERS ONE through ZERO, LOVE, LOVE Wall, Imperial LOVE, and AMOR.

2011

Summer: Galerie Gmurszynska, Zurich premiers Indiana’s repainted 1959 orb paintings.

2012

Hatje Cantz publishes a collection of essays on Indiana’s work in Robert Indiana: New Perspectives.

Galleria d’Arte Contini, Venice, presents Robert Indiana. HOPE.

2013

September. The Whitney Museum of American Art hosts Indiana’s first ever New York retrospective, Robert Indiana: Beyond LOVE.

173

EXHIBITIONS 1960 1961 1962

1963

Martha Jackson Gallery, New York. New Forms - New Media I. June 6-24. Martha Jackson Gallery, New York. New Forms - New Media II. September 27-October 22.

Studio for Dance, New York. Premiums. March 25-April 22. David Anderson Gallery, New York. Indiana/Forakis. April 1-13. Museum of Modern Art, New York. The Art of Assemblage. October 2-November 12. Traveled to Dallas Museum for Contemporary Arts and San Francisco Museum of Art. Museum of Modern Art, New York. Recent Acquisitions: Painting and Sculpture. December 19, 1961-February 25, 1962. Stubbing and Greenfield Gallery, Mamaroneck, New York. Indiana/ Natkin. March 24-April 14. Museum of Modern Art, New York. Penthouse Exhibition. October 8-November 11. * Stable Gallery, New York. Robert Indiana. October 16-November 3. Sidney Janis Gallery, New York. The New Realists: An Exhibition of Factual Paintings and Sculpture from France, England, Italy, Sweden and the United States by the Artists. October 31-December 1.

Dwan Gallery, Los Angeles. My Country ‘Tis of Thee. November 18-December 15. Museum of Modern Art, New York. Recent Acquisitions. November 20, 1962-January 13, 1963. Pace Gallery, Boston. Pop Art. December 10, 1962-January 2, 1968. Art Institute of Chicago. 66th Annual American Exhibition: Directions in Contemporary Painting and Sculpture. January 11-February 10. Andrew Dickson White Museum of Modern Art, Cornell University, Ithaca, New York. Assemblage. January 31-February 21. Traveled to Montreal Museum of Fine Arts; Hackley Art Gallery, Muskegon; Indiana University, Bloomington; Isaac Delgado Museum of Art, New Orleans; Tucson Art Center; Washington University, St. Louis; San Francisco State College; University of Oregon, Eugene; University of South Florida, Tampa and Detroit Institute of Arts. The Kootz Gallery, New York. Recent Acquisitions: The GevirtzMnuchin Collection and Related Gifts. March 26-30. Traveled to Rose Art Museum, Brandeis University, Waltham. Brooks Memorial Gallery, Memphis, Tennessee. Art Today. March 31-April 28. Solomon R. Guggenheim Museum, New York. Coins Designed by Sculptors. May 7-August 28.

American Cultural Center, Paris, France. De A à Z 1963 : 31 peintres américains choisis par the Art institute of Chicago. May 10-June 22. Museum of Modern Art, New York. Americans 1963. May 22-August 18. Traveled to National Gallery of Canada, Ottawa; Artists› Guild of St. Louis; Toledo Museum of Art; Ringling Museum of Art, Sarasota; Colorado Springs Fine Arts Center; San Francisco Museum of Art; Seattle Art Museum and Detroit Institute of Arts. Art Institute of Chicago. 23rd Annual Exhibition. May 24-June 17. Washington Gallery of Modern Art, Washington, D.C. Formalists. June 6 - July 7. Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada. Dunn International: An Exhibition of Contemporary Painting. September 7-October 6. Oakland Art Museum and California College of Arts and Crafts, Oakland. Pop Art USA. September 7-29. Jerrold Morris International Gallery, Toronto, Canada. The Art of Things. October 19-November 6. Walker Art Center, Minneapolis, Minnesota. Richard Stankiewicz, Robert Indiana: An Exhibition of Recent Sculptures and Paintings. October 22-November 24. Traveled to Institute of Contemporary Art, Boston. Woburn Abbey, Northampton, England. Bertrand Russell Peace Foundation Exhibition. October 27-November 3. Albright-Knox Art Gallery, Buffalo, New York. Mixed Media and Pop Art. November 19-December 15. Munson-Williams-Proctor Institute, Utica, New York. New Directions in American Painting. December 1, 1963-January 5, 1964. Traveled to Isaac Delgado Museum of Art, New Orleans; Atlanta Art Association; J.B. Speed Art Museum, Louisville; Art Museum of Indiana University, Bloomington; Washington University in St. Louis and Detroit Institute of Arts.

The Contemporary Arts Center, Cincinnati, Ohio. An American Viewpoint. December 4, 1963-January 7, 1964. Des Moines Art Center, Iowa. Signs of the Times III: Paintings by 12 Contemporary Pop Artists. December 6, 1963-January 19, 1964. Whitney Museum of American Art, New York. Annual Exhibition 1963: Contemporary American Painting. December 11, 1963-February 2, 1964.

1964 1965

Wadsworth Atheneum, Hartford, Connecticut. Black, White and Grey. January 9-February 9. University of British Columbia Fine Arts Gallery, Vancouver, Canada. Art Becomes Reality. January 29-February 8. Institute of Contemporary Arts, Washington, D.C. American Paintings: A Selection of 40 Painters. February 22-March 28. Davison Art Center, Wesleyan University, Connecticut. The New Art. March 1-22.

Middletown,

Rose Art Museum, Brandeis University, Waltham, Massachusetts. Recent American Drawings. April 19-May 17. Tate Gallery, London, England. Painting and Sculpture of a Decade, 54-64. April 22-June 28. Theaterama, New York State Pavilion, New York World’s Fair. April 22-October 18, 1964; April 21-October 17, 1965. Robert Hull Fleming Museum, University Burlington. Art Now: Pop and Non-Pop. May 3-25.

Vermont,

Gallery of the American Federation of Arts, New York. Artists for CORE: Third Annual Art Exhibition and Sale. May 6-16. Whitney Museum of American Art, New York. The Friends Collect. May 8-June 16. Gemeentemuseum Den Haag, The Hague, The Netherlands. Nieuwe Realisten. June 24-August 30. Aldrich Contemporary Art Museum, Ridgefield Connecticut. “Old Hundred” - Selections from The Larry Aldrich Contemporary Collection, 1951-1964. July 11-September 19. Museum des 20. Jahrhunderts, Vienna, Austria. Pop, etc. September 19-October 31. Colgate University, Hamilton, New York. Festival of the Creative Arts. September 30-October 30. Rhode Island School of Art and Design Museum of Art, Providence. Paintings and Constructions of the 1960’s Selected from the Richard Brown Baker Collection. October 2-25. Feigen-Palmer Gallery, Los Angeles. A Selection of New York Artists. October 11-17. Institute of Contemporary Art, University of Pennsylvania, Philadelphia. Group Zero. October 30-December 11. Palais des Beaux-Arts, Brussels, Belgium. Pop Art, New Realism, etc. February 5-March 1. Worcester Art Museum, Massachusetts. The New American Realism. February 18-April 4.

University of Michigan Museum of Art, Ann Arbor. One Hundred Contemporary American Drawings. February 24-March 28. Finch College Museum of Art, New York. Art in Process: The Visual Development of a Painting. February 25-May 5. Corcoran Gallery of Art, Washington, D.C. The Twenty-Ninth Biennial Exhibition of Contemporary American Painting. February 26-April 18. Krannert Art Museum, University of Illinois at UrbanaContemporary American Painting and Champaign. Sculpture. March 7-April 11. Four Seasons Hotel, New York. POP AND CIRCUMSTANCE: New York’s largest showing of pop art. March 14. Sheldon Memorial Art Gallery, University of Nebraska, Lincoln. Nebraska Art Association LXXIIII Annual Exhibition. April 4-May 2 Milwaukee Art Center, Wisconsin. Pop Art and the American Tradition. April 9-May 9. Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Art of the 50’s and 60’s: selections from the Richard Brown Baker collection. April 25-July 5. Graham Gallery, New York. Artists for CORE: Fourth Annual Exhibition and Sale. April 28-May 8. deCordova Sculpture Park and Museum, Lincoln, Massachusetts. De Cordova Collectors. April-May. Whitney Museum of American Art, New York. A Decade of American Drawings, 1955-1965. April 28-June 6. Aspen Institute for Humanistic Studies, Colorado. Trustees Art Exhibition. May. Lyman Allyn Museum, New London, Connecticut. A Contemporary Collection of Painting and Sculpture. May 16-September 16. Byron Gallery, New York. Paris Review Posters. November 9-27. Galería Colibrí, San Juan, Puerto Rico. L’Avant Garde. December. Solomon R. Guggenheim Museum, New York. Word and Image. December 8, 1965-January 2, 1966. Whitney Museum of American Art, New York. 1965 Annual Exhibition: Contemporary American Painting. December 8, 1965-January 30, 1966. Institute of Contemporary Art, Boston. Art Turned On. December 10, 1965-January 30, 1966.

175

1966

Herron Museum of Art, Indianapolis, Indiana. Painting and Sculpture Today, 1966. January 2-30. Bianchini Gallery, New York. Master Drawings: Pissarro to Lichtenstein. January 15-February 5. Traveled to Contemporary Arts Center, Cincinnati. Corcoran Gallery of Art, Washington, D.C. Op and Pop in Fabric. January 21-February 20. Pennsylvania Academy of the Fine Arts, Philadelphia. 161st Annual Exhibition of American Painting and Sculpture. January 21-March 6.

Institute of Contemporary Art, University of Pennsylvania, Philadelphia. The Other Tradition. January 27-March 7.

Museum of Modern Art, New York. Greetings!. March 1-May 8.

* Galerie Schmela, Düsseldorf, Germany. Robert Indiana. March 4-31. Norfolk Museum of Arts and Sciences, Virginia. Contemporary Art USA. March 18-April 10. The Brooklyn Center of Long Island University, New York. Conditional Commitment. March 25-April 10. Whitney Museum of American Art, New York. Contemporary American Sculpture: Selection I. April 5-May 15. Museum of Modern Art, New York. Recent Acquisitions. April 6-June 12. Institute of Contemporary Art, Boston. Multiplicity. April 16-June 5. Grippi & Waddell Gallery, New York. Artists for CORE: Fifth Annual Art Exhibition and Sale by Leading American Artists for the Benefit of CORE Scholarship, Education and Defense Fund. April 27-May 7. * Stable Gallery, New York. Robert Indiana. May 3-28. Rose Art Museum, Waltham, Massachusetts. Selections from the Permanent Collection: An Exhibition of the Poses Institute of Fine Arts. May 15-September 11. * Museum Haus Lange Krefeld, Germany. Robert Indiana: Number Paintings. June 11-July 24. The Jewish Museum, New York. The Harry N. Abrams Family Collection. June 29-September 5. National Collection of Fine Arts, Washington, D.C. Hard-Edge Trend. July 13-September 18. * Württembergischer Kunstverein, Stuttgart, Germany. Robert Indiana: Number Paintings at Studio 7. August 5-28.

1967

Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Selections from the John G. Powers Collection. August 25-December 11. Traveled to deCordova Sculpture Park and Museum, Lincoln. Stedelijk van Abbemuseum, Eindhoven, Netherlands. KunstLichtKunst. September 25-December 4. * Dayton’s Gallery 12, Minneapolis, Indiana. September 27-October 22.

The

Minnesota. Robert

Whitney Museum of American Art, New York. Art of the United States. September 28-November 27. Albright-Knox Art Gallery, Buffalo, New York. Contemporary Art Acquisitions 1962-65. September 30-October 30. Institute of Contemporary Art, University of Pennsylvania, Philadelphia. New Art in Philadelphia. September 30-November 11. Rijksmuseum Twenthe, Enschede, The Netherlands. Kunst Na ‘45. October 8-November 6. Traveled to Hoger Insituut voor Beeldende Kunst, Antwerp, Belgium. Ball State University Art Gallery, Muncie, Indiana. 150 Years of Indiana Art. October 9-December 31. Rose Art Museum, Brandeis University, Massachusetts. Drawings & Graphics from University. October 24-November 27.

Waltham, Brandeis

Flint Institute of Arts, Michigan. The First Flint Invitational. November 4-December 31.

Stedelijk Museum Amsterdam, The Netherlands. Vormen van de Kleur. November 20, 1966-January 16, 1967. Traveled as Formen der Farbe to Württembergischer Kunstverein, Germany; Kunstgebäude am Schlossplatz, Stuttgart and Kunsthalle Bern, Switzerland. Richard Feigen Gallery, Chicago. Drawings, 1966. November 21-December 31.

New

York

Museum of Modern Art, New York. Art in the Mirror. November 22, 1966-February 5, 1967.

Whitney Museum of American Art, New York. Annual Exhibition 1966: Contemporary Sculpture and Prints. December 16, 1966-February 5, 1967.

Anderson Fine Arts Center, Indiana. Recent Indiana Art. January 15-February 12.

* Galeria Christian Stein, Turin, Italy. Robert Indiana - Numeri Cardinali. March. Zonnehof Amersfoort, The Netherlands. Nieuwe kunst uit het Van Abbemuseum Eindhoven. March 1-April 16.

Krannert Art Museum, University of Illinois at UrbanaChampaign. Contemporary American Painting and Sculpture, 1967. March 5-April 9. Grand Rapids Art Museum, Michigan. 20th Century American Painting. April 1-30. Galerie Stadler, Paris, France. Art Objectif. April 13-May 9. American Pavilion, International and Universal Exposition, Montreal, Canada. American Painting Now. April 27-October 29. Traveled to Horticultural Hall, Boston. University of St. Thomas Art Department, Houston, Texas. Mixed Masters. May-September.

Dwan Gallery, New York. Language to be looked at and/or things to be read. June 3-28.

1968

Museum of Modern Art, New York. The 1960s: Painting and Sculpture from the Museum Collection. June 28-September 24.

Whitney Museum of American Art, New York. American Art of the Twentieth Century, Selections from the Permanent Collection. June 30-September 24. Washington Gallery of Modern Art, Washington, D.C. Permanent Collection and Boy Blue. July 5-August 27. Palazzo dei congressi, San Marino, Italy. Nuove tecniche d’immagine (6. biennale d’arte Repubblica di S. Marino). July 15-September 30. Mayfield Mall, Mountain View, California. The American Poster. July 24-August 20. Traveled to Frye Art Museum, Seattle; University of Kentucky, College of Art and Science, Lexington; Everson Museum of Art, Syracuse; State University College, Oswego; Mount Holyoke College Art Department, South Hadley; Clemson University School of Architecture; Danbury Scott-Fanton Museum; Roberson Center, Binghampton; Hopkins Center, Dartmouth College, Hanover; Allen Memorial Art Museum, Oberlin College; Brooks Memorial Art Gallery, Memphis; Southern Methodist University, School of Art, Dallas and National Collection of Fine Arts, Smithsonian Institution, Washington, D.C. Museu de Arte Moderna, São Paulo, Brazil. São Paulo 9: Environment USA 1957-1967. September 22, 1967-January 8, 1968. Whitney Museum of Art, New York. The Artist’s New York. October 2-November 5. The New School for Social Research, Wollman Hall, New York. Protest and Hope: An Exhibition of Contemporary American Art. October 24-December 2. Carnegie Museum of Art, Pittsburgh, Pennsylvania. Pittsburgh International Exhibition of Contemporary Painting and Sculpture. October 27, 1967-January 7, 1968.

Syracuse University, New York. Design and Aesthetics in Wood. November 7-30. Royal Dublin Society and National Museum of Ireland, Dublin. ROSC ‘67, the poetry of vision. November 13-December 30. Sidney Janis Gallery, New York. Homage to Marilyn Monroe. December 6-30. Whitney Museum of American Art, New York. 1967 Annual Exhibition of Contemporary Painting. December 13, 1967-February 4, 1968. Groninger Museum, The Netherlands. Aanwinsten uit het Stedelijk. December 20, 1967-February 28, 1968. Moore College of Art, Philadelphia, Pennsylvania. American Drawing 1968. January 13-February 16. Museum of Modern Art, New York. Word and Image: Posters and Typography from the Graphic Design Collection of the Museum of The Museum of Modern Art 1879-1967. January 25-March 10. Traveled to HemisFair, San Antonio. Lehmbruck Museum, Duisburg, Germany. Meisterwerke aus dem Besitz des Van Abbe Museums Eindhoven. January 16-March 21. Rose Art Museum, Brandeis University, Waltham, Massachusetts. American Exhibition from the IX Bienal, Sao Paulo. February-March. Stedelijk van Abbemuseum, Eindhoven, The Netherlands. Three Blind Mice. April 6-May 19. Traveled to Sint Pietersabdij, Ghent, Belgium. * Institute of Contemporary Art, University of Pennsylvania, Philadelphia. Robert Indiana. April 17-May 27. Traveled to Marion Koogler McNay Art Institute, San Antonio and Herron Museum of Art, Indianapolis. National Gallery of Art, Washington, D.C. Paintings from the Albright-Knox Art Gallery. May 19-July 21. Dwan Gallery, New York. Language II. May 25-June 22, 1968. Neue Pinakothek, Haus der Kunst, Munich, Germany. Sammlung 1968 Karl Ströher. June 14-August 9. Traveled to Kunstverein Hamburg; Neue Nationalgalerie, Berlin; Städtische Kunsthalle, Düsseldorf and Kunsthalle Bern, Switzerland. Museum Fridericianum, Orangerie, Karlsaue, Galerie an der Schönen Aussicht. Documenta 4: International Exhibition. June 27-October 6.

177

1969

Casino Gallery, Highland Park, Illinois. The Natives Return (Ravinia Festival Exhibit). June 30-August 31. Museum of Contemporary Art, Chicago, Illinois. Selections from the Collection of Mr. and Mrs. Robert B. Mayer. July 13-September 8. Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Selections from the Collection of Hanford Yang. September 29-December 22. Honolulu Academy of Arts, Hawaii. Signals in the ‘Sixties. October 5-November 10. Museum of Modern Art, New York. In Honor of Martin Luther King, Jr. October 31-November 3. Museum of Contemporary Art, Chicago. Violence! in Recent American Art. November 8, 1968-January 12, 1969. Carnegie Museum of Art, Pittsburgh, Pennsylvania. Sculpture We Live With: Privately Owned in the Pittsburgh Area. November 14, 1968-January 5, 1969.

Stephen Radich Gallery, New York. American Tapestries. November. Traveled to more han thirty venues in the United States and Canada. * Toledo Museum of Art, Ohio. Robert Indiana. November 10-December 8. Cedar Rapids Art Center, Iowa. Patriotic Images in American Art. January 19-February 9. Traveled to Decatur Art Center and Greenville County Museum of Art.

1970

Art Museum of Ateneum, Helsinki, Finland. Ars 69 Helsinki. March 8-April 13.

Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Review of the Contemporary Art Scene 1964-1968. March 16-June 8.

Whitney Museum of American Art, New York. Contemporary American Sculpture: Selection 2. April 15-May 5.

The Jewish Museum, New York. Superlimited: Books, Boxes and Things. April 16-June 29.

Stedelijk van Abbemuseum, Eindhoven, The Netherlands. Zomeropstelling Eigen Collectie. May 24-September 12.

* The Department of Art, Saint Mary’s College, Notre Dame, Indiana. Robert Indiana - Graphics. June 12-July 6.

Whitney Museum of American Art, New York. Seventy Years of American Art: Contemporary American Prints and Drawings from the Collection. July 3-September 15.

Hayward Gallery, London, July 9 - September 3.

England. Pop

Art

Redefined.

Whitney Museum of American Art, New York. Seventy Years of American Art, Permanent Collection: Section 2, 1950-1969. July 15-September 28. deCordova Sculpture Park and Museum, Lincoln, Massachusetts. 53 American Printmakers. September-October. Georgia Museum of Art, University of Georgia, Athens. American Painting: The 1960s. September 22-November 8. Galerie Denise René-Hans Mayer, Krefeld, Germany. Masterpieces of Modern Art. October 10-November 11. Museo Nacional de Bellas Artes, Buenos Aires, Argentina. 109 obras de Albright-Knox Art Gallery. October 23-November 30. Moreau Art Gallery, St. Mary’s College, Notre Dame, Indiana. Sign, Signal, Symbol. November 7-December 23. * Colby College Art Museum, Waterville, Maine. The Prints and Posters of Robert Indiana: New England Tour. December 1, 1969-January 3, 1970. Traveled to Currier Gallery of Art, Manchester; Hopkins Center, Dartmouth College, Hanover; Bowdoin College Museum of Art, Brunswick and Brandeis University, Waltham. Sidney Janis Gallery, New York. String & Rope. January 7-31. Institute of Contemporary Art, University of Pennsylvania, Philadelphia. The Highway: An Exhibition. January 14-February 25. Traveled to Institute for the Arts, Rice University, Houston and Akron Art Institute, Ohio. Stedelijk van Abbemuseum, Eindoven, The Netherlands. De Verzameling : Een keuze uit de verzameling door Ton Frenken. January 23-March 8. * Hopkins Center, Dartmouth College, Hanover, New Hampshire. Robert Indiana. January-February. Neue Galerie, Aachen, Germany. Klischee + Antiklischee: Bildformen der Gegenwart. February 28-April 18. Indianapolis Museum of Art, Indiana. Contemporary American Sculpture. February 24-March 22. Finch College Museum of Art, New York. N Dimensional Space. April 22-June 15. Princeton University Art Museum, New Jersey. American Art since 1960. May 6-27. Museum of Modern Art, New York. Pop Art Prints, Drawings and Multiples. May 23-August 31.

1971

Brooklyn Museum of Art, New York. National Print Exhibition, 17th Biennial. June 1-September 1. Fondation Marguerite et Aimé Maeght, Saint-Paul-de-Vence, France. L’art vivant aux Etats-Unis. July 16-September 30. Colby College Art Museum, Waterville, Maine. 25th Anniversary Exhibition of the Skowhegan School of Painting and Sculpture. August 6-September 26.

Contemporary Arts Center, Cincinnati. Monumental Art. September 13-November 1.

1972

Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Aldrich Fund Acquisitions for the Museum of Modern Art, 1959 through 1969. September 27, 1970-January 3, 1971.

Indianapolis Museum of Art, Indiana. Seven Outside. October 25, 1970-January 3, 1971.

Mayfair Gallery, London, England. Pop! ‘70. November 26, 1970-January 16, 1971. Museum of Modern Art, New York. 4 Americans in Paris. December 19, 1970-March 1, 1971. * Galerie de Gestlo, Bremen, Germany. Robert Indiana: Komplette Graphik. February. Krannert Art Museum, University of Illinois at UrbanaChampaign. American Painting and Sculpture, 1948-1969. March 7-April 11.

Wallraf-Richartz-Museum, Cologne, Germany. Zielscheibe Mond Künstler sehen die Raumfahrt. April 16-July 15. * Multiples, Inc., New York and Los Angeles. Robert Indiana, Decade. May 1-31. Traveled to twenty-four international galleries. Museum of Modern Art, New York. The Artist as Adversary: Works from the Museum Collections. July 1-September 27. Museo de Arte Moderno La Tertulia, Cali, Colombia. Primera Bienal Americana de Artes Gráficas. July 23-August 30.

Philadelphia Museum of Art. Silkscreen: History of a Medium. December 17, 1971-February 27 1972. High Museum of Art, Atlanta. The Modern Image. April 15-June 11. Indianapolis Museum of Art, Indiana. Painting and Sculpture Today, 1972. April 26-June 4. Bündner Kunsthaus Chur, Switzerland. Amerikanische Graphik seit 1960. May 6-June 18. Neue Galerie der Stadt Aachen, Germany. Kunst um 1970. June. Museum of Modern Art, New York. Etchings, Etc. October 1972-January 1973. * Galerie Denise René, New York. Robert Indiana. November 22-December 30. Buecker and Harpsichords, New York. Coenties Slips. January.

Rhode Island School of Design and Museum of Art, Providence. Small Works: Selections from the Richard Brown Baker Collection of Contemporary Art. April 5-May 6.

Württembergischer Kunstverein, Stuttgart, Germany. Mit Kunst Leben. April 19-May 27.

Kunstmuseum Düsseldorf, Germany. Zero Raum. June 8-August 23.

University of Kansas Museum of Art, Lawrence. American drawings and watercolors from the collection of the University of Kansas Museum of Art. June 10-July 8.

Kunstmuseum Luzern, Lucerne, Switzerland. Ein Grosses Jahrzehnt amerikanischer Kunst: Sammlung Prof. Dr. Peter Ludwig, Köln/Aachen. July 15-September 16.

Parrish Art Museum, Southampton, New York. Art from Southampton Collections. August 4-September 2.

Seattle Art Museum, Washington. American Art: Third Quarter Century. August 22-October 14.

San Francisco Museum of Art, California. A Selection of American and European Paintings from the Richard Brown Baker Collection. September 14-November 11. Traveled to the Institute of Contemporary Art, Philadelphia.

Colby College Art Museum, Waterville, Maine. Opening Exhibition of the New Museum. September 16-November 3.

Louisiana Museum, Humlebaek, Denmark. American Art 19501970. September-October. Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Sculptures and Shapes of the Last Decade. October 3-December 19.

Fendrick Gallery, Washington, D.C. The Contemporary Art of Ban ners. November 9-December 4.

1973

Ateneum, Helsinki, Finland. Expo Stedelijk. April 1-May 9. Palais des Beaux-Arts, Brussels, Belgium. Metamorphose des Dinges. April 22-June 6. Traveled to Museum Boijmans van Beuningen, Rotterdam, The Netherlands; Neue Nationalgalerie, Berlin, Germany; Palazzo Reale, Milan, Italy and Kunsthalle Basel, Switzerland.

Museum of Art, University of Kansas, Lawrence. Gene Swenson: Retrospective for a Critic. October 24-December 5.

179

Rice Museum, Rice University, Houston. Gray is the Color: An Exhibition of Grisaille Painting XIII-XXth Centuries. October 19, 1973-January 19 1974.

1975

Institute of Contemporary Art, Boston. Jewelry as Sculpture as Jewelry. November 28-December 21.

Galerie Denise René, Paris, France. 15 artistes américains. December 1973-January 1974.

1974

Williams College Museum of Art, Williamstown, Massachusetts. Pop Art and After. January 3-31.

Whitney Museum of American Art, Downtown Branch, New York. Nine Artists/Coenties Slip. January 10-February 14.

Society of the Four Arts, Palm Beach, Florida. Contemporary American Sculpture. March 9-April 7. Whitney Museum of American Art, New York. American Pop Art. April 6-June 16. Kunstalle Nürnberg, Nuremberg, Germany. Zeitgenössische Kunst aus den Niederlanden: Aus der Sammlung des Van Abbemuseums Eindhoven. April 3-June 12.

Marlborough Gallery, New York. Selected Works from the Collection of Carter Burden. May 9-June 1. Indianapolis Museum of Art, Indiana. Painting and Sculpture Today, 1974. May 22-July 14, traveled to Contemporary Art Center and Taft Museum, Cincinnati.

Newport, Rhode Island. Monumenta: A Biennial Exhibition of Outdoor Sculpture. July 17-October 13.

Diploma Galleries, The Royal Scottish Academy, Edinburgh. Aachen International 70-74. August 17-September 8.

Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Tenth Anniversary of the Aldrich Museum of Contemporary Art, 19641974. September 15-December 15. Virginia Museum of Fine Arts, Richmond. Twelve American Painters. September 30-October 27. Hirshhorn Museum and Sculpture Garden, Washington, D.C. Inaugural Exhibition. October 1, 1974-September 15, 1975. Northern Illinois University Art Gallery, DeKalb. Near-looking: A Close-focus Look at a Basic Thread of American Art. October 27-November 22. Traveled to University of Notre Dame Art Gallery, South Bend. Dallas Museum of Fine Arts and Pollock Galleries, Southern Methodist University, University Park, Texas. Poets of the Cities of New York and San Francisco, 1950-1965. November 20-December 29. Traveled to San Francisco Museum of Art and Wadsworth Atheneum, Hartford.

1976

Galerie Denise René, New York. Group Sculpture Show. January 4-25.

Corcoran Gallery of Art, Washington, D.C. 34th Biennial of Contemporary American Painting. February 22-April 6. Yale University Art Gallery, New Haven, Connecticut. Richard Brown Baker Collects!: A Selection of Contemporary Art from the Richard Brown Baker Collection. April 24-June 22.

Institut Français, New York. Graphics from Galerie Denise René. April 30-May 24. Brooklyn Museum of Art, New York. Curator’s Choice: Durer to Dubuffet. May 21-August 31. Dartmouth College, Hanover, New Hampshire. Works on Paper, Nineteenth & Twentieth Century Drawings and Watercolors from the Dartmouth College Collection. May 30-September 21.

Penthouse, Museum of Modern Art, New York. 76 Jefferson. September 11-December 1.

Portland Art Museum, Oregon. Masterworks in Wood: The Twentieth Century. September 17-October 19.

Worcester Art Museum, Massachusetts. American Art since 1945 form the Collection of The Museum of Modern Art. October 20-November 30. Traveled to Toledo Museum of Art; Denver Art Museum; Fine Arts Gallery of San Diego; Dallas Museum of Fine Arts; Joslyn Art Museum, Omaha; Greenville County Museum, Greenville and Virginia Museum of Fine Arts, Richmond. Stadhuis, Eindhoven, The Netherlands. Grafiek 1960-1974: Een tentoonstelling uit het bezit van het Van Abbemuseum. October. * Indianapolis Museum of Art, Columbus, Indiana. Robert Indiana: Decade. October 24-November 30. Corcoran Gallery of Art, Washington, D.C. Images of an Era: The American Poster, 1945-75. November 21, 1975-January 4, 1976. Traveled to Contemporary Art Museum, Houston; Museum of Science and Industry, Chicago and Grey Art Gallery and Study Center, New York University. Galerie Denise René, New York. Robert Indiana: Selected Prints. December 12, 1975-January 10, 1976. New Gallery of Contemporary Art, Cleveland, Ohio. American Pop Art and the Culture of the Sixties. January 10-February 21. Galerie Denise René, New York. Black and White. January 17-February 14.

des Kestner-Gesellschaft, Hannover, Germany. Kunst XX. Jahrhunderts aus dem Van Abbemuseum Eindhoven. March 5-April 25. * Galerie Denise René, New York. Robert Indiana: Designs for Virgil Thomson’s “The Mother of Us All.” May 1-29.

1977

Galerie Denise René, Paris, France. Graphiques originaux et multiples. June 14-28.

Allentown Art Museum, Pennsylvania. The American Flag in the Art of Our Country. June 14-November 14. Institute of Contemporary Art, Boston. A Selection of American Art: The Skowhegan School, 1946-1976. June 16-September 5. Traveled to Colby College Museum of Art, Waterville. Schleswig-Holsteinisches Landesmuseum, Germany. Illustrationen zu Melvilles Moby-Dick. June 18-September 19. Maine State Museum, Augusta. 76 Maine Artists. July-August. Rose Art Museum, Brandeis University, Waltham, Massachusetts. Action and Reaction: Contemporary Trends in Painting and Sculpture. September 12-Octobter 24.

1978

Art Galleries, California State University, Long Beach. Beyond the Artist’s Hand: Explorations of Change. September 13-October 10.

School of the Art Institute of Chicago. Visions: Painting and Sculpture: Distinguished Alumni 1945 to the Present. October 5-December 10.

Wildenstein & Co., New York. Modern Portraits: The Self and Others. October 20-November 28.

1979

Indianapolis Museum of Art, Indiana, Mirages of Memory: 200 Years of Indiana Art. November 6, 1976-January 2, 1977. Traveled to University of Notre Dame Brooklyn Museum, New York. 30 Years of American Printmaking, Including the 20th National Print Exhibition. November 20, 1976-January 30, 1977. Künstlerhaus Wien, Vienna, Austria. Kunst um 1970: Sammlung Ludwig, Aachen. March 8-June 12.

Queens Museum of Art, New York. American Sculpture: Folk and Modern. March 12-May 8. Galerie Denise René, New York. New York Group Show. May. Société des Expositions du Palais des Beaux-Arts, Brussels, Belgium. American Art in Belgium. May 25-August 28. Indianapolis Museum of Art, Indiana. Perceptions of the Spirit in Twentieth-Century American Art. September 20-November 27. Traveled to University Art Museum, University of California, Berkeley; Marion Koogler McNay Art Institute, San Antonio and Columbus Gallery of Fine Arts. * University Art Museum, University of Texas at Austin. Robert Indiana. September 25-November 6. Traveled to Chrysler Museum, Norfolk; Indianapolis Museum of Art; Neuberger Museum, State University of New York, Purchase and South Bend Art Center.

1980

1981

Philadelphia College of Art, Pennsylvania. Artists’ Sets and Costumes: Recent Collaborations between Painters and Sculptors and Dance, Opera and Theater. October 31-December 17. Traveled to Performing Arts Center Gallery, Sarah Lawrence College, Bronxville Kennedy Galleries, New York. Artists Salute Skowhegan. December 8-21. South Bend Art Center, Indiana. Twentieth Century American Masters: Inaugural Exhibition. January 14-February 26. Nancy Roth Gallery, Katonah, New York. Pop Posters! Pop Prints!. July. Whitney Museum of American Art, New York. Art about Art. July 19-September 24. Traveled to North Carolina Museum of Art, Raleigh; Frederick S. Wight Art Gallery, University of California, Los Angeles and Portland Art Museum, Oregon. Whitney Museum of American Art, New York. 20th Century American Drawings: Five years of acquisitions. July 28-October 1. Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. The Sixties Collection Revisited. September-December. Centre d’Arts Plastiques Contemporains, Bordeaux, France. L’art depuis 1960: Collection Ludwig. May 4-July 13. Museo de Arte Moderno, Bogotá, Colombia. 25 años despues: Robert Indiana, Ellsworth Kelly, Agnes Martin, Edgar Negret, Louise Nevelson, Jack Youngerman. September. Norman MacKenzie Art Gallery, Regina, Saskatchewan, Canada. American Painting 1955 to 1976: Twenty Five Selections from the Collection of the Albright-Knox Art Gallery, Buffalo, New York. September 14-October 28. Art Institute of Chicago. 100 Artists, 100 Years: Alumni of the School of the Art Institute of Chicago Centennial Exhibition. November 24, 1979-January 20, 1980. Museum of Modern Art, New York. Printed Art: A View of Two Decades. February 14-April 1. Institute of Contemporary Art, University of Pennsylvania, Philadelphia. Urban Encounters: Art, Architecture, Audience. March 19-April 30. Whitney Museum of American Art, New York. American Sculpture: Gifts of Howard and Jean Lipman. April 15-June 15. Syracuse University, College of Visual and Performing Arts, New York. All in Line. November 23, 1980-January 18, 1981. * Colby College Museum of Art, Waterville, Maine. Decade: Autoportraits, Vinalhaven Suite. May 10-June 14.

181

1982

1983

1984

Minnesota Museum of Art, St. Paul. West ’81 Art and the Law. June 12-July 12. Nationalgalerie, Berlin, Germany. Druckgraphik: Wandlungen eines Mediums seit 1945. June 17-August 16. CDS Gallery, New York. Drawing Is Thinking. August-September. Indianapolis Museum of Art, Indiana. Indiana Collects: 100 Years of American Prints and Drawings. January 5-March 1. Whitney Museum of Art, Downtown Branch, New York. Lower Manhattan From Street to Sky. February 23-April 30. Center for the Study and Exhibition of Drawings, New York. New York: Visions of the City. April 26-July 22. * William A Farnsworth Library and Art Museum, Rockland, Maine. Indiana’s Indianas: A 20 Year Retrospective of Painting and Sculpture from the Collection of Robert Indiana. July 16-September 26. Traveled to Colby College Museum of Art, Waterville; Reading Public Museum; Danforth Museum and School of Fine Art, Framingham; Currier Gallery of Art, Manchester and Berkshire Museum, Pittsfield. High Museum of Art, Atlanta, Georgia. Chase Manhattan: The First Ten Years of Collecting, 1959-1969. October 5-31. Brooklyn Museum, New York. The Great East River Bridge, 19831993. March 19-June 19. Miami University Art Museum, Oxford, Ohio. Living with Art, Two: The Collection of Walter and Dawn Clark Netsch. September 10-December 16. Whitney Museum of American Art, New York. Sculptor as Draftsman: Selections from the Permanent Collection. September 15-November 13.

Age of Indiana Landscape Painting; Indiana’s Modern Legacy. April 18-June 24. 1985 1986

National Museum of Modern Art, Kyoto, Japan. The Modern American Poster. October 21-December 4. Traveled to National Museum of Modern Art, Tokyo. Circle Gallery, Ltd., New York. “New York, New York” Portfolio. October-November. Kaiser Wilhelm Museum, Krefeld, Germany. Sammlung Helga und Walther Lauffs - Amerikanische und Europäische Kunst der sechziger und siebziger Jahre. November 1983-April 1984 Whitney Museum of American Art at Champion, Stamford, Connecticut. Autoscape: The Automobile in the American Landscape. March 30-May 30. Nassauischer Kunstverein Wiesbaden, Germany. Theaterplakate heute. April 15-May 27. Fort Wayne Museum of Art, Indiana. Indiana Influence: The Golden

Neuberger Museum, State University of New York at Purchase. The Private Eye. April-June.

* National Museum of American Art, Smithsonian Institution, Washington, D.C. Wood Works: Constructions by Robert Indiana. May 1-September 3. Traveled to Portland Museum of Art, Maine.

Marisa del Re Gallery, New York. Masters of the Sixties: From New Realism to Pop Art. November 7-December 31. Art Gallery of New South Wales, Sydney, Australia. Pop Art, 195570. February 27-April 14. Traveled to Queensland Art Gallery, Brisbane and National Gallery of Victoria, Melbourne. Emily Lowe Gallery, Hofstra University, Hempstead, New York. Artists of the Kennedy Era. March 12-April 2. Smith College Museum of Art, Northampton, Massachusetts. Dorothy C. Miller: With an Eye to American Art. April 19-June 16. Musée d´art contemporain de Montréal, Canada. 1 Cent Life. May 5-August 17. Museen Haus Lange and Haus Esters, Krefeld, Germany. Dreißig Jahre durch die Kunst: Museum Haus Lange 1955–1985. September 15-December 1. Galerie Denise René, Paris, France. Graphiques 1953- 1985 Multiples 1965-1985. December 13, 1985-January 18, 1986.

1987

1988

Whitney Museum of American Art at Champion, Stamford, Connecticut. Connecticut Collects: American Art Since 1960. January 29-March 26.

Seattle Art Museum, Washington. Treasures from the National Museum of American Art. February 20-April 13. Traveled to Minneapolis Institute of Arts; Cleveland Museum of Art; Amon Carter Museum, Fort Worth; High Museum of Art, Atlanta and National Museum of American Art, Smithsonian Institution, Washington, D.C.

David Winton Bell Gallery, List Art Center, Brown University, Providence, Rhode Island. Definitive Statements: American Art, 1964-66: An Exhibition by the Department of Art, Brown University. March 1-30. Traveled to Parrish Art Museum, Southampton. Storm King Art Center, Mountainville, New York. 29 Sculptures from the Howard and Jean Lipman Collection. May 21-October 31.

1989

Fondation Cartier pour l’art contemporain, Paris, France. Les Années 60. June 1-September 30. Van Abbemuseum, Eindhoven, The Netherlands. Ooghoogte: Stedelijk Van Abbemuseum 1936-1986. June 14-November 9.

* O’Farrell Gallery, Brunswick, Maine. Robert Indiana. June 19July 31.

Albert Totah Gallery, New York. America. June-July.

Wilhelm Hack Museum, Ludwigshafen, Germany. Mathematik in der Kunst der letzten 30 Jahre. November 29, 1986-January 18, 1987. Aspen Art Museum, Colorado. Pop Art, Minimal Art Etc.: Artists in Residence in Aspen 1965-1970. December 11, 1986-February 8, 1987. Holly Solomon Gallery, New York. Text and Image: The Wording of American Art. December 11, 1986-January 3, 1987. McNay Art Museum, San Antonio. Texas, Thespis Adorned. January. Institute of Contemporary Art, University of Pennsylvania, Philadelphia. 1967: Art at the Crossroads. March 13-April 26. Herbert F. Johnson Museum of Art, Ithaca, New York. Pop Art Images from Popular Culture. March 17-May 9.

Städtisches Museum Abteiberg Mönchengladbach, Germany. Pop Art und Umfeld. Druckgraphik aus der Sammlung Etzold. June 18-August 20. Maine Coast Artists Gallery, Rockport. The Vinalhaven Press: The First Five Years; Selected Prints, 1984-1989. August 24-September 23. Traveled to Museum of Art, Olin Arts Center, Bates College, Lewiston. * Galerie Natalie Seroussi, Paris. Robert Indiana. September 28-November 25. Portland Art Museum, Maine. Pop Art; Variations on a Theme. October. Virginia Lust Gallery, New York. Aspects of the Sixties. October 19-December 3. Susan Sheehan Gallery, New York. American Prints from the Sixties. November-December.

1990

Baxter Gallery, Portland School of Art, Maine. Prints as Process. January 29-March 10.

James Goodman Gallery, New York. Pop on Paper. May 4-June 15.

Nassau County Museum of Art, Roslyn Harbor, New York. Two Decades of American Art: The 60’s and 70’s. May 20-September 3

Milwaukee Art Museum, Wisconsin. Word as Image: American Art 1960-1990. June 15-August 26. Traveled to Oklahoma City Art Museum and Contemporary Arts Museum, Houston.

Des Moines Art Center, Iowa. American Pop: The Works of the Post-Industrial Age. July 14-November 4.

Edith C. Blum Art Institute, Bard College, Annandale-onHudson, New York. Art What Thou Eat: Images of Food in American Art. September 2-November 18. Traveled to the New York Historical Society.

Montgomery Gallery, Pomona College, Claremont, California. Crossing the Line: Word and Image in Art. September 20-October 14.

Richard Green Gallery, Santa Monica, California. Five Artists From Coenties Slip, 1956-1965. September 20-October 27.

* Virginia Lust Gallery, New York. Robert Indiana. March.

* Marisa del Re Gallery, New York. Robert Indiana: Decade Autoportrait. November 27-December 31.

Whitney Museum of American Art at Champion, Stamford, Connecticut. The ‘Junk’ Aesthetic: Assemblage of the 1950s and Early 60’s. April 7-June 14. Traveled to Whitney Museum of American Art at Equitable Center, New York.

University Art Museum, University of California, Berkeley. Made in U.S.A.: An Americanization in Modern Art, the ‘50s and ‘60s. April 4-June 21. Traveled to Nelson-Atkins Museum of Art, Kansas City and Virginia Museum of Fine Arts, Richmond. Odakyu Grand Gallery, Tokyo. Pop Art: U.S.A-U.K.: American and British Art of the ‘60s in the ‘80s. July 24-August 18. Traveled to Daimaru Museum, Osaka; Funabashi Seibu Museum of Art and Sogo Museum of Art, Yokohama. Museum of Modern Art, New York. Committed to Print: Social and Political Themes in Recent American Printed Art. January 31-April 19. Whitney Museum of American Art, Federal Reserve Plaza, New York. Made in the 60’s: Painting and Sculpture from the Permanent Collection of the Whitney. April 18-July 13. Federal Reserve Board Building, New York. American Screenprints. May 17-September 2. El Paso Museum of Art, Texas. Pop Art: Works on Paper from the Collection of the Dayton Art Institute. December 3-31. Traveled to Kerns Art Center, Eugene; Art Center Waco; Turman Art Gallery, Indiana State University, Terre Haute; Art Center Gallery, College of DuPage, Glen Ellyn; Canton Art Institute and West Bend Gallery of Fine Art.

Newark Public Library, New Jersey. Contemporary American Prints. April.

* O’Farrell Gallery, Brunswick, Maine. The Hartley Elegies: The Berlin Series. November 29-December 22. Roanoke Museum of Fine Arts, Virginia. The Common Wealth: American Masterpieces from Virginia Collections. December 1, 1990-February 3, 1991.

183

1991 1992

IIIème Biennale de Sculpture Monte Carlo, Monaco. MaySeptember. Museum of Contemporary Art, Wright State University, Dayton, Ohio. Words & #s. April 7-May 10. Centraal Museum, Utrecht, The Netherlands. Nachtregels = Night lines : words without thoughts never to heaven go. April 27-October 15. * Susan Sheehan Gallery. Robert Indiana Prints: A Retrospective. May-June. Fondation Cartier pour l’art contemporain, Paris, France. La Vitesse. June 7-September 30. Whitney Museum of American Art at Federal Reserve Plaza, New York. Constructing American Identity. June 19-August 30. Whitney Museum of American Art, New York. American Life in American Art, 1950-1990, Selections from the Permanent Collection. July 11, 1991-January 5, 1992. Museum of Fine Arts, Boston. American Screenprints: 1930s-1960s. July 17-September 29.

* Bates College Museum of Art, Olin Arts Center, Lewiston, Maine. Robert Indiana: The Hartley Elegies. August 30-December 20. * Salama-Caro Gallery, London, England. Robert Indiana: Early Sculpture, 1960-1962. September 12-November 9. Royal Academy of Arts, London, England. The Pop Art Show. September 13-December 15. Traveled to Museum Ludwig, Cologne, Germany and Centro de Arte Reina Sofía, Madrid, Spain. * Curwen Gallery, London, England. Robert Indiana. October 17November 16. Columbus Museum of Art, Ohio. A Nation’s Legacy: 150 Years of American Art from Ohio Collections. January 9-March 15. Traveled to Isetan Museum, Tokyo, Japan; Yamaguchi Prefectural Museum of Art; Fukushima Prefectural Museum of Art; Takamatsu City Museum of Art and Daimaru Museum Umeda, Osaka. Lingotto, Turin, Italy. Arte Americana 1930-1970. January 11March 31.

1993

Nassauischer Kunstverein Wiesbaden, Germany. Sammlung Junge Kunst der König-Brauerei. January 26-March 1. Philippe Staib Gallery, New York. Then and Now: A Selection of Artists Who Early in Their Museum Careers Exhibited at the Aldrich Museum of Contemporary Art. April 23-May 30. McNay Art Museum, San Antonio, Texas. Six Operas: Six Artists. May 17-September 6.

1994

* Galería 57, Madrid, Spain. Robert Indiana, Early Works. June 8September 12. Musée d’Art Moderne et d’Art Contemporain, Nice, France. Le portrait dans l’art contemporain, 1945-1992. July 3-September 27. Maine Coast Artists Gallery, Rockport. On the Edge: Forty Years of Maine Painting, 1959-1992. August 15-September 27. Traveled to Reed Art Gallery, University of Maine at Presque Isle and Portland Museum of Art, Maine. Bowdoin College Museum of Art, Brunswick, Maine. Vinalhaven at Bowdoin: One Press, Multiple Impressions. September 18-November 29.

Wacoal Art Center of Spiral Garden, Tokyo, Japan. Three or More - Multiplied Art from Duchamp to the Present. October. Montreal Museum of Fine Arts, Canada. The “POP ART” Exhibition. October 23, 1992-January 24, 1993. Württemberger Hypo, Stuttgart, Germany. Kunst + Zahlen. November 5-22. Museum of Contemporary Art, Los Angeles. Hand-Painted Pop: American Art in Transition, 1955-62, December 6, 1992-March 7, 1993. Traveled to Museum of Contemporary Art, Chicago and Whitney Museum of American Art, New York. Pace Gallery, New York. Indiana, Kelly, Martin, Rosenquist, Youngerman at Coenties Slip. January 16-February 13. Espace lyonnais d’art contemporain, Lyon, France. Autoportraits Contemporains: Here’s Looking at Me. January 29-April 30.

1995

Museum of Modern Art, New York. Reading Prints. March 4-July 6.

* McNay Art Museum, San Antonio, Texas. Robert Indiana’s Hartley Elegies. March 14-May 9.

Rose Art Museum, Brandeis University, Waltham, Massachusetts. Prefab: Reconsidering the Legacy of the Sixties. April 1-May 23.

IVème Biennale de Sculpture Monte Carlo, Monaco. MaySeptember. Baltimore Museum of Art, Maryland. Drawings of the 1960s from the Thomas E. Benesch Memorial Collection. November 1993January 1994.

Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. 30 Years: Art in the Present Tense. May 15-September 18. Odakyu Museum, Tokyo, Japan. View of the Twentieth-Century Masterpieces of the Stedelijk Van Abbemuseum Eindhoven. June 8- July 3. Traveled to Himeji City Museum of Art.

Santa Barbara Museum of Art, California. Printed Pop. July 16November 27.

McNay Art Museum, San Antonio, Texas. Masterworks from the Tobin collection of theatre arts. October 4, 1994-February 5, 1995.

Oklahoma City Art Museum, Oklahoma. Made in the USA, October 10, 1994-May 1995.

1996

Museum of Modern Art, New York. A Century of Artists Books. October 23, 1994-January 24, 1995.

Institute of Contemporary Art, Boston. Elvis + Marilyn 2X Immortal. November 2, 1994-January 8, 1995. Traveled to Contemporary Arts Museum, Houston; Mint Museum of Art, Charlotte; Cleveland Museum of Art; New York Historical Society; Philbrook Museum of Art, Tulsa; Columbus Museum of Art; Tennessee State Museum, Nashville; San Jose Museum of Art and Honolulu Academy of the Arts.

Marlborough Gallery, New York. The Pop Image: Prints and Multiples. November 9-December 3. Museu de Arte Moderna, São Paulo, Brazil. Master American Contemporaries II. January 17-February 28. Nara Prefectural Museum of Art, Nara-Shi, Japan. Meisterwerke des Museum Ludwig Köln. February 11-March 19. Traveled to Museum of Art, Kochi; Tobu Museum of Art and Yokohama Museum of Art. * Indianapolis Museum of Art, Indiana. Robert Indiana Prints from the IMA Collection. February 28-April 10. Heide Museum of Modern Art, Bulleen, Victoria, Australia. In Five Words or Less: The Use of Language in Art. March 21-May 21. The Neuberger Museum, State University of New York at Purchase. Crossing State Lines: 20th Century Art from Private Collections in Westchester and Fairfield Counties. March 26June 18. Kunsthal Rotterdam, The Netherlands. Pop Art. April 8-October 29. Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis. Dictated by Life: Marsden Hartley’s German Paintings and Robert Indiana’s Hartley Elegies. April 14-June 18. Traveled to Terra Museum of American Art, Chicago and the Art Museum at Florida International University, Miami.

Vème Biennale de Sculpture de Monte Carlo, Monaco. MaySeptember.

1997

La Societe du Vieux-Port de Montreal, Canada. Skulptura Montréal 95 : exposition internationale de sculptures extérieures. June 15September 17. Marisa del Re Gallery and O’Hara Gallery, New York. The Popular Image: Pop Art in America. October 26-December 9. Traveled to Marisa del Re/O’Hara Gallery Palm Beach. * Indianapolis Museum of Art, Indiana. Robert Indiana: The Hartley Elegies. January 13-March 31. Archer M. Huntington Art Gallery, Austin, Texas. The new spirit: pop prints and their legacy. January 19-March 3. Traveled to El Paso Museum of Art. School of the Art Institute of Chicago. From America’s Studio: Twelve Contemporary Masters. May 10-June 14. Museum of Modern Art, New York. Thinking Print: Books to Billboards, 1980-1995. June 20-September 10. Elise Goodheart Fine Arts, Sag Harbor, New York. Coenties Slip Artists: Now and Then. June 22-July 14. Galerie Beyeler, Basel, Switzerland. I Love Yellow. June-September. The Art Museum at Florida International University, Miami.Miami Pops! Pop Art from Miami Collections. September 20-November 20. Kunstraum Innsbruck, Austria. Pop Art und Hyperrealism in den USA. October 26, 1996-January 11, 1997. Rose Art Museum, Brandeis University, Waltham, Massachusetts. The Persistence of Pop. November 7-December 15. Centre George Pompidou, Paris, France. Face à l’histoire, 1933- 1996: l’artiste moderne devant l’événement historique. December 19-April 7, 1997. Staatsgalerie Stuttgart, Germany. Magie der Zahl. January 1-May 19. Sintra Museu de Arte Moderna, Portugal. The Berardo Collection. January 1-August 31. * Portland Museum of Art, Maine. Robert Indiana: Decade. February 15-April 13. Portland Museum of Art, Maine. In Print: Contemporary Artists at the Vinalhaven Press. April 13-June 4. Traveled to McMullen Museum of Art, Boston College.

VIème biennale de sculpture Monte-Carlo, Monaco. MaySeptember. University Art Museum, California State Museum, Long Beach. The Great American Pop Art Store: Multiples of the Sixties. August 26-October 26. Traveled to Jane Voorhees Zimmerli Art Museum, Rutgers University, New Brunswick; Baltimore Museum

185

of Art; Montgomery Museum of Fine Arts; Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis; McNay Art Museum, San Antonio; Wichita Art Museum; Muskegon Museum of Art; Joslyn Art Museum, Omaha; Lowe Art Museum, University of Miami, Coral Gables and Toledo Museum of Art.

1998

Tokyo Fuji Art Museum, Japan. Twentieth Century Art from the Tokyo Fuji Art Museum Collection. September 1-October 20. Centro Cultural de Belem, Lisbon, Portugal Pop ‘60’s Transatlantic Crossing. September 11-November 17. * Murphy J. Foster Hall Art Gallery, Louisiana State University, Baton Rouge. Dream-Work: Robert Indiana Prints. September 15October 15. Fisher Landau Center, Long Island City, New York. Wood Work. October 25, 1997-March 31, 1998. Schloß Mainau, Germany. Made in USA Pop-Art aus dem Museum Ludwig Köln. October 31, 1997-March 1, 1998. Musée d’Art Moderne et d’Art Contemporain, Nice, France. De Klein à Warhol: face-à-face France / Etats-Unis : collections du Musée National d’Art Moderne et du Musée d’Art Moderne et Contemporain de Nice. November 14, 1997-March 16, 1998. Hessischen Landesmuseums Darmstadt, Germany. Galerie der Straße: Höhepunkte der Plakatkunst von ihren Anfängen bis heute. February 1-March 22. Yale University Art Gallery. Then and Now: Art since 1945 at Yale. February 10-July 31. Columbus College of Art and Design. Write is Might: An Exhibition of Type and Graffiti. March 13-April 25. Associated American Artists, New York. Five Sides to a Square. March 26-April 25. Palazzo Ducale, Genoa, Italy. American Pop Art. April 10-May 1. * Musée d’Art Moderne et d’Art Contemporain, Nice, France. Robert Indiana: Rétrospective, 1958-1998. June 26- November 22. Sezon Museum, Tokyo, Japan. Pop Art Spirits. Masterpieces from the Ludwig Collection. August 15-October 5. Traveled to Hyôgo, Himeji City Museum of Art. Milwaukee Art Museum, Wisconsin. From Figure to Floor: Sculpture in the 20th Century. September 11-November 8. High Museum of Art, Atlanta, Georgia. Pop Art: Selections from The Museum of Modern Art. October 24, 1998-January 17, 1999. Travelled to New York State Museum, Albany.

1999

University of Virginia Art Museum, Charlottesville. Hot Off the Press: Contemporary Prints from the Museum Collection. January 9- March 14.

* Woodward Gallery, New York. Robert Indiana: Prints. January 14-March 6. Colorado University Art Museum, Boulder. POP! Selections from the Colorado Collection. January 21-March 20. ARKEN Museum for Moderne Kunst, Ishøj, Denmark. Europop - A Dialogue with the US. January 30-May 2. Museum of Modern Art, New York. Pop impressions : Europe/USA: Prints and Multiples from the Museum of Modern Art. February 18-May 18. Museum of Fine Arts, Houston, Texas. Art at Work: Forty Years of the Chase Manhattan Collection. March 3-May 2. Traveled to Queens Museum of Art. Chiostro del Bramante, Rome, Italy. I Love Pop. March 23-July 25. Castellani Art Museum of Niagara University, Lewiston, New York. In Company: Robert Creeley’s Collaborations. April -June. Traveled to New York Public Library, Humanities and Social Sciences Library; Weatherspoon Art Gallery at the University of North Carolina in Greensboro; University of South Florida Contemporary Art Museum, Tampa; Green Library at Stanford University and University of New Mexico Art Museum, Albuquerque. University of Virginia Art Museum, Charlottesville. In Honor of Alan Groh ‘49: the Buzz Miller Collection of American Art. June 4-July 18. Nassau County Museum of Art, Roslyn Harbor, New York. Contemporary American Masters: The 1960s. June 13-Septemember 12. * Portland Museum of Art, Maine. Love and the American Dream: The Art of Robert Indiana. June 24-October 17. Traveled to Marietta/ Cobb Museum of Art, Marietta. Tehran Museum of Contemporary Art, Iran. Pop Art. August 16, 1999-January 22, 2000. Van Abbemuseum, Eindhoven, The Netherlands. The Collection part III: The Choice of Jean Leering: Acquisitions from the period 1964-1973. September 4-October 31. Museum of Contemporary Art, Cleveland, Ohio. Pop Impact! From Johns to Warhol. September 9-November 14. Weisman Art Museum, University of Minnesota, Minneapolis.World Views: Maps and Art. September 11, 1999-January 2, 2000. Whitney Museum of American Art, New York. The American Century: Art & Culture 1900-2000, Part II, 1950-2000. September 26, 1999-February 13, 2000.

2000 2001

McNay Art Museum, San Antonio, Texas. Creativity at Work. October 6, 1999-January 16, 2000. Sintra Museu de Arte Moderna, Portugal. Nova Apresentação da Colecção Berardo. November 8, 1999-March 1, 2000. Lowe Art Museum, University of Miami, Coral Gables, Florida. Pop! The Permanent Collection. February 10-April 2. Florida State University Museum of Fine Arts, Tallahassee. ABC’s of Pop Art: America, Britain, Canada, major artists and their legacy. February 18-April 2. Longmont Museum, Colorado. Graphics by Twentieth Century Masters. April-June. Katonah Museum of Art, New York. Maine and the Modern Spirit. July 16-September 24.

Vancouver International Sculpture Project, Canada. July-October.

Walker Art Center, Minneapolis, Minnesota. The Cities Collect. September 24, 2000-January 7, 2001.

2002

Palace of the Legion of Honor, San Francisco, California. An American Focus: The Anderson Graphic Arts Collection. October 7-December 31. Indianapolis Museum of Art, Indiana. Crossroads of American Sculpture. October 14, 2000-January 21, 2001. Traveled to New Orleans Museum of Art. Museum moderner Kunst Stiftung Ludwig, Vienna, Austria. Zwischenquartier. October 26, 2000-March 11, 2001. The Menil Collection, Houston, Texas. Pop Art: US/UK Connections: 1956-1966. January 26-May 13. Centre Georges Pompidou, Paris, France. Les Années Pop: 1956 à 1968. March 15-June 18. * Galerie Denise René, Paris, France. Hommage à Indiana. March 30-May 23. Stadtgalerie Klagenfurt, Austria. Macht der Dinge: Nouveau Réalisme - POP ART - Hyperrealismus. March 30-July 29. Centre Georges Pompidou, Paris, France. Denise René l’intrépide. April 4-June 4. * Galería Ateneo de Caracas, Venezuela. Los Estados Unidos Bajo La Optica de Robert Indiana. May 6-June 17. Tel Aviv Museum of Art, Israel. The Return of the Real: A Selection from the Daniel Hechter Art Collection. June 26-September 15. Gallery Hyundai, Seoul, Korea. Lumière et Mouvement dans l’art abstrait du XXeme siècle. June 27-August 15.

2003

Pampelonne Beach, Ramatuelle, France. l’art à la plage. July 22, 2001-August 18, 2002. * Galerie Guy Pieters, Saint-Paul-de-Vence, France. Robert Indiana. September. Rose Art Museum, Brandeis University, Waltham, Massachusetts, A Defining Generation: Then and Now, 1961 and 2001, September 30-December 9 Walker Art Center, Minneapolis, Minnesota. American Tableaux. November 10, 2001-June 16, 2002. Traveled to Miami Art Museum; Delaware Art Museum, Wilmington; University of Iowa Museum of Art, Iowa City; Winnipeg Art Gallery, Canada and Plains Art Museum, Fargo. University of Virginia Art Museum, Charlottesville. From Alf to Zox: Contemporary Art from the Museum Collections. December 8-23. Galerie Proarta, Zurich, Switzerland. Licht und Hoffnung. December 8, 2001-February 16, 2002. Charles H. Wright Museum of African American History, Detroit, Michigan. In the Spirit of Martin. January 12-August 4. Traveled to Bass Museum of Art, Miami Beach; Weisman Art Museum, University of Minnesota, Minneapolis; International Gallery, Smithsonian Institution, Washington, D.C.; Brooks Museum of Art, Memphis and Montgomery Museum of Fine Art. Palazzo Reale, Milan, Italy. New York Renaissance. Dal Whitney Museum of American Art. March 21-September 15. Museum Haus Lange, Krefeld, Germany. Pow! Werke der Pop Art aus der Sammlung Lauffs. March 24-August 18. Gerhard Marcks Haus, Bremen, Germany. Die Pop Art und die zeitgenössische Bildhauerkunst. April 28-July 21. Tacoma Art Museum, Washington. Pressed: The Silkscreen. June 28-September 8. * Shanghai Art Museum, China. Robert Indiana. July 5-August 8. Center for Maine Contemporary Art, Rockport. Past, Present, Future. August 10-October 5. Museum of Contemporary Art, Denver, Colorado. POPjack: Warhol to Murakami. September 27, 2002-January 5, 2003. Museu de Arte Contemporanea, Madeira, Portugal. Arte Pop na Colecção Berardo. October 1, 2002-January 31, 2003. Colby College Museum of Art, Waterville, Maine. Contemporary Prints and Photographs from the Bruce Brown Collection. January 19-March 23. Conner Contemporary Art, Washington, D.C. P[OP]. January 21-February 22.

187

Blanton Museum of Art, Austin, Texas. Painting Explosion: 19581963, Part I. January 24-April 13. * Park Avenue Malls, New York. Art in the Parks: Robert Indiana, One Through Zero. February 3-May 3. * C&M Arts, New York. Robert Indiana: Letters, Words and Numbers. February 12-March 22. * Paul Kasmin Gallery, New York. Robert Indiana: Recent Paintings. February 14-March 22. Tobey C. Moss Gallery, Los Angeles. Sculptors in Print. May 15-August 30. Carnegie Hall Galleries, University of Maine, Orono. I.D.: Four Artists from Vinalhaven. May 30-August 21. Wäinö Aaltonen Museum of Art, Turku, Finland. Pop International. June 18-October 19.

2004

Museum Kunstpalast, Düsseldorf, Germany. The Power of Pop. June 21-August 31. Arizona State University Art Museum, Tempe. Andy Warhol and the Pop Aesthetic. June 21-September 13. Erie Art Museum, Pennsylvania. Modern Masters: Works from the Collection of the Mellon Financial Corporation. June 28-September 2. Paul Kasmin Gallery, New York. The American Landscape. July 9-August 15. Williams College Museum of Art, Williamstown, Massachusetts. Pop Art from the Collection. August 2, 2003-February 1, 2004. Logan Art Gallery, Queensland, Australia. POP: The Continuing Influence of Popular Culture on Contemporary Art. August 6-September 6. Traveled to Toowoomba Regional Art Gallery; Artspace Mackay; Redcliffe City Art Gallery; Bundaberg Arts Centre; Gladstone Regional Art Gallery and Museum; Caloundra Regional Art Gallery and Perc Tucker Regional Gallery, Townsville. University of Virginia Art Museum, Charlottesville. Roads Taken: 20th Century Prints and Drawings from the Collection. August 16, 2003-October 5. * Michael Kohn Gallery, Los Angeles. Robert Indiana: Peace Paintings. September 19-October 25. * Bobbie Greenfield Gallery, Santa Monica, California. Robert Indiana: Prints and Sculptures. September 20-October 1. Montreal Museum of Fine Arts, Canada. Global Village: The 1960s. October 2, 2003-January 18, 2004. Traveled to Dallas Museum of Fine Art.

2005

Galerie Wolfgang Exner, Vienna, Austria. pop art - Druckgraphiken. December 16, 2003-January 10, 2004. * Scottsdale Museum of Contemporary Art, Arizona. Robert Indiana: The Story of Love. December 20, 2003-May 2, 2004. The Mary Brogan Museum of Art and Science, Tallahassee, Florida. POP Art and The Space Age. February 20-May 16. * Paul Kasmin Gallery, New York. Robert Indiana: Peace Paintings. April 21-May 29. * Price Tower Arts Center, Bartlesville, Oklahoma. Robert Indiana 66: Paintings and Sculpture. April 23-July 4. Mori Art Museum, Tokyo, Japan. Modern Means: Continuity and Change in Art, 1880 to the Present, Highlights from the Museum of Modern Art, New York. April 28-August 1. ARoS Aarhus Kunstmuseum, Denmark. Pop classics : Allan d’Arcangelo, Jim Dine, Robert Indiana, Jasper Johns, Allan Kaprow, Edward Kienholz, Yayoi Kusama, Roy Lichtenstein, Marisol, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Wayne Thiebaud, Andy Warhol, Tom Wesselmann. May 28-September 5.

Sean Kelly Gallery, New York. Marilyn: From Anastasi to Weegee. June 11-July 23. Fresno Metropolitan Museum, California. Variations on a Theme: American Prints from Pop Art to Minimalism. June 28-September 26. Paul Kasmin Gallery, New York. Summer 2004: Sculpture by Barry Flanagan, Robert Indiana, Andrew Lord, Santi Moix, Nancy Rubins and Frank Stella. July 15-August 13. * Waddington Galleries, London, England. Robert Indiana: Paintings and Sculpture 1961-2003. September 29-October 23. * Galería Javier López, Madrid, Spain. Robert Indiana: Obra Reciente. November 5-December 31. * Gallery Hyundai, Seoul, Korea. Robert Indiana. December 15, 2004-January 16, 2005. Paul Kasmin Gallery, New York. COLOR. February 24-March 26. Hood Museum of Art, Hanover, New Hampshire. Marks of Distinction: Two Hundred Years of American Drawings and Watercolors from the Hood Museum of Art. March 29-May 29. Hamburger Bahnhof, Museum für Gegenwart, Berlin, Germany. Do it yourself - Positionen von den sechziger Jahren bis Heute. May 12-August 14. Tate Liverpool, England. Summer of Love: Art of the Psychedelic Era. May 27-September 25. Traveled to Schirn Kunsthalle Frankfurt, Germany; Kunsthalle Wien, Austria and Whitney Museum of American Art, New York.

2006

University of Michigan Museum of Art, Ann Arbor. Pop!. June 5-September 25.

* Paul Thiebaud Gallery, San Francisco, California. Robert Indiana: American Love. June 7-July 9.

Winston Wächter Fine Art, New York. Dimensions. June 29-September 17.

Langen Foundation, Hombroich, Germany. Perfect Painting - 40 Jahre Galerie Hans Mayer. July 10-October 3.

Galerie & Edition Bode GmbH, Nuremberg, Germany. Made in USA – ausgewählte Graphik. July 23-August 27. Museum of Fine Arts, Boston. Things I Love: The Many Collections of William I. Koch. August 31-November 27.

* Paul Kasmin Gallery, New York. Robert Indiana: Wood. September 9-October 8.

* Bates College Museum of Art, Lewiston, Maine. Robert Indiana: The Hartley Elegies. October 1-December 17.

2007

Andrea Rosen Gallery, New York. Looking at Words: The Formal Use of Text in Modern and Contemporary Works on Paper. November 2-December 31.

Polk Museum of Art, Lakeland, Florida. Pop Art 1956-2006: The First 50 Years. February 18-April 16. * Seoul Museum of Art, Korea. Robert Indiana: A Living Legend. March 11-April 30. Stedelijk Museum ‘s-Hertogenbosch, The Netherlands. Do the Right Bling. March 24-June 11. Mead Art Museum, Amherst College, Massachusetts. Pop!. April 20-August 21. * Paseo del Prado y Paseo de Recoletos, Madrid, Spain. 15 esculturas, 15 besos.May 4-July 31. Delaware Art Museum, Wilmington. Iconic Impressions: Prints from the 20th Century. July 27-September 17. Museum Ludwig, Cologne, Germany. Das Achte Feld. August 19-November 12. * Miami University Art Museum, Oxford, Ohio. Social Justice: Robert Indiana. August 29-December 16. Joslyn Art Museum, Omaha, Nebraska. Art on the Edge: Modern & Contemporary Art from the Permanent Collection. September 2-October 22. Godwin-Ternbach Museum, Queens College, Flushing, New York. Popstars!. September 18-December 14.

Fondation Beyeler, Riehen, Switzerland. Eros in der Kunst der Moderne. October 8, 2006-February 18, 2007. Traveled to BA-CA Kunstforum, Vienna, Austria. La Maison Rouge, Paris, France. Busy Going Crazy: the Sylvio Perlstein Collection. October 29, 2006-January 14, 2007. Arithmeum, Bonn, Germany. Zahlen - Robert Indiana - Anton Stankowski. November 15, 2006-April 15, 2007. Traveled to Heinz Nixdorf MuseumsForum, Paderborn. * Institute of Contemporary Art at Maine College of Art, Portland. Robert Indiana’s Hartley Elegies. November 22, 2006-February 4, 2007. Galerie Julius Hummel, Vienna, Austria. Das Öffnen und Schließen des Mundes. November 24, 2006-January 27, 2007. Museum Moderner Kunst, Vienna, Austria. Konzept. Aktion. Sprache. December 15, 2006-October 23, 2007. * Gran Vía Marqués del Turia, Valencia, Spain. Por amor al arte. January 1-February 25. Traveled to Gran Vía Don Diego López de Haro, Bilbao and Avenida da Liberdade, Lisbon, Portugal. Princeton University Art Museum, New Jersey. Pop Art at Princeton: Permanent and Promised. March 24-August 12. * Galerie Laurent Strouk, Paris, France. Robert Indiana - Peintures/ Sculptures. April 1-May 1. Johyun Gallery, Busan, Korea. Long life the Childhood. May 1-30. Galerie Burkhard Eikelmann, Düsseldorf, Germany. News on Paper. May 9-June 15. Oklahoma City Museum of Art, Oklahoma. Breaking the Mold: Selections from the Washington Gallery of Modern Art, 1961-1968. May 11-August 19. Woodward Gallery, New York. When Art Worlds Collide: The 60’s. May 17-July 14. Galerie Beyeler, Basel, Switzerland. Poetry in Motion. June 12-September 15. Palazzo delle Papesse, Siena. Italy, Numerica. June 22, 2007-January 6, 2008. Des Moines Art Center, Iowa. Sign Language. August 24-November 23. * Museum Kurhaus Kleve, Germany. Robert Indiana: Der Amerikanische Maler der Zeichen. August 26, 2007-January 6, 2008. Traveled to Museum Wiesbaden. Witte de With Contemporary Art, Rotterdam, The Netherlands. BODYPOLITCX, September 8-December 16.

189

2008

* Park Avenue Malls, New York. Art in the Parks: Robert Indiana, Love Wall. October 1, 2007-May 15, 2008. Kunsthalle Wien, Vienna, Austria. True Romance. October 5, 2007-February 3, 2008. Traveled to Museum Villa Stuck, Munich, Germany and Kunsthalle zu Kiel der Christian-AlbrechtsUniversität. National Portrait Gallery, London, England. Pop Art Portraits. October 11, 2007-January 20, 2008. Traveled to Staatsgalerie Stuttgart, Germany. Scuderie del Quirinale, Rome, Italy. Pop Art! 1956 - 1968. October 26, 2007-January 27, 2008. Leslie/Lohman Gay Art Foundation Gallery, New York. StageStruck: The Magic of Theatre Design. November 13-December 12. * Galerie Gmurzynska, Zurich, Switzerland. Robert Indiana: Retrospective. November 20, 2007-January 31, 2008. Galerie Gmurzynska, St. Moritz, Switzerland. Modern Contemporary Masters. December 1, 2007-January 1, 2008. Des Moines Art Center, Iowa. Pressing Issues. January 11-April 27.

Stedelijk Museum voor Actuele Kunst, Ghent, Belgium. The Hands of Art. January 26-March 16. Traveled to MARTa Herford, Germany.

de Saisset Museum, Santa Clara, California. Eye on the Sixties: Vision, Body and Soul - Selections from the Collection of Harry W. and Mary Margaret Anderson. February 2-June 15.

Nassau County Museum of Art, Roslyn Harbor, New York. Pop and Op. February 17-May 4.

2009

Opera Gallery, New York. Made in New York 100%. April 4-18. Van Abbemuseum, Eindhoven, The Netherlands. Living Archive: Mixed Messages. April 15-September 14. Kelowna Art Gallery, British Columbia, Canada. Pop Prints. May 10-July 27. Traveled to Kamloops Art Gallery; Surrey Art Gallery and Two Rivers Gallery, Prince George.

Galerie Gmurzynska, Zurich, Switzerland. Aspects of Pop Art. June 1-July 31.

McNay Art Museum, San Antonio, Texas. American Art Since 1945: In a New Light. June 7-August 24.

Louisiana State University Museum of Art, Baton Rouge. American Masters from the Blanton Museum of Art’s Mari and James A. Michener Collection. June 27-November 30.

* Padiglione d’Arte Contemporanea, Milan, Italy. Robert Indiana a Milano. July 4-September 14.

Forum Gallery, Los Angeles. Direct Encounters: The Essence of Portraiture. July 11-September 6.

Museum Kurhaus Kleve, Germany. Neue Ansichten – Die Sammlung zeitgenössischer Kunst. August 6-September 7.

Von Lintel Gallery, New York. More than Words. September 4-October 11.

Kunsthalle Weishaupt, Ulm, Germany. ZERO lebt. September 6, 2008-June 7, 2009.

Armacost Library Gallery, Eckerd College, St. Petersburg, Florida. Kent Bicentennial Portfolio: Spirit of Independence. September 7-October 17.

Jane Voorhees Zimmerli Art Museum, New Brunswick, New Jersey. Pop Art and After: Prints and Popular Culture. September 8-December 14. * Paul Kasmin Gallery, New York. Robert Indiana: Hard Edge. September 18-November 1. Ackland Art Museum, University of North Carolina at Chapel Hill. Circa 1958: Breaking Ground in American Art. September 21, 2008-January 4, 2009. Armand Bartos Fine Art, New York. SIGN/AGE: Signs, signs everywhere a sign. September 26-October 24. Musée du Luxembourg, Paris, France. De Miró a Warhol. La Collection Berardo á Paris. October 16, 2008-February 22, 2009. Bruce Museum, Greenwich, Connecticut. Innovations in the Third Dimension: Sculpture of Our Time. January 23-May 23. Galería Barcelona, Spain. La Cultura del Pop Art. February 12-April 11. The Columns, Seoul, Korea. Art In Blue Blue in Art. February 17-April 25. Flint Institute of Art, Michigan. POP!: Prints from the FIA’s Collection. March 28-May 10. * Galerie Boisserée, Cologne, Germany. Robert Indiana. April 22-May 30. Museum für Angewandte Kunst, Cologne, Germany. Von Picasso bis Warhol, Künstlerschmuck der Avantgarde. May 10-July 19.

2010

Maxwell Davidson Gallery, New York. Sculpture: Post-War to Present. May 11-June 26. Arizona State University Art Museum, Tempe. Hits from the 60s and 70s. June 13-October 29. * Farnsworth Art Museum, Rockland, Maine. Robert Indiana and the Star of Hope. June 20, 2009-January 1, 2010.

Rose Art Museum, Brandeis University, Waltham, Massachusetts. Numbers, Color and Text: Works from the Collection. July 22-September 25.

Städtische Galerie Bietigheim-Bissingen, Germany. Pop, Polit und Pin ups. Pop Art Grafik aus der Sammlung Beck. July 25-October 11.

* Galleria Farsetti Arte, Cortina d’Ampezzo, Italy. From LOVE to AMOR. August 8-September 15.

Polk Museum of Art, Lakeland, Florida. A Perfect Mesh. September 5-November 8.

2011

Patricia Low Contemporary, Geneva, Switzerland. Pop My Cherry. September 7-November 7. L & M Arts, New York. Beyond Black, White, and Gray. September 12-October 10. Minneapolis Institute of Arts, Minnesota. Wordscapes: Text as Image in Contemporary Art. September 12, 2009-March 14, 2010. Centro di Arte Moderna e Contemporanea, La Spezia, Italy. Da Hartung a Warhol. Presenze internazionali nella Collezione Cozzani. Opere dalle raccolte del CAMeC. September 25-November 11. Museum Junge Kunst, Frankfurt/Oder, Germany. Rückschau in die Moderne. October 25, 2009-January 3, 2010. Fisher Landau Center for Art, Long Island City, New York. Five Decades of Passion. November 15, 2009-April 3, 2010.

Walker Art Center, Minneapolis, Minnesota. Event Horizon. November 21, 2009-August 5, 2012.

Farnsworth Art Museum, Rockland, Maine. The State Of Printmaking Since 1940. January 30-April 18.

Farnsworth Art Museum, Rockland, Maine, Real and Abstract: Contemporary Art from the Farnsworth, February 2-May 16.

June Fitzpatrick Gallery at MECA, Portland, Maine.Vinalhaven Press. April 1-24.

2012

Von der Heydt-Museum, Wuppertal, Germany. Retour de Paris - Unsere Meisterwerke vom Expressionismus bis heute. April 2-August 1.

Sheldon Museum of Art, Lincoln, Nebraska. Messaging: Text and Visual Art. May 7-August 1. Traveled to Chadron State College; McKinley Education Center, North Platte; Museum of the High Plains, McCook; Gallery 92 West/Fremont Area Art Association; Columbus Art Gallery, Cornerstone Bank and Library and Arts Center, Stalder Gallery, Falls City. Lehr Zeitgenössische Kunst, Cologne, Germany. Drucksachen. June 12-July 31.

Hyundai Gallery, Seoul, Korea. Collector’s Favorite. July 9-August 3. Galerie Ernst Hilger, Vienna, Austria. BildTexte - TextBilder. September 7-October 16. Weatherspoon Art Museum, Greensboro, North Carolina. Inquiring Eyes: Greensboro Collects Art. October 16-December 12. Farnsworth Art Museum, Rockland, Maine. Contemporary Works from the Collection. November 13, 2010-April 24, 2011. Alexandre Hogue Gallery, University of Tulsa, Oklahoma. The Power of Typography. January 20-February 24. Kunsthaus Bregenz, Austria. Living Archives. January 22-April 3. Contemporary Jewish Museum, San Francisco. Seeing Gertrude Stein: Five Stories. May 12-September 6. Traveled to National Portrait Gallery, Washington, D.C. Galleria d’Arte Maggiore, Bologna, Italy. Origins & Evolutions. June 4-July 31. * Galerie Gmurzynska, Zurich, Switzerland. Robert Indiana - Rare Works from 1959 on Coenties Slip. June 12-September 20. KM Fine Arts, Chicago, Illinois. A Summer of American Masters with Robert Indiana. June 28-September 30. Sheldon Art Museum, Lincoln, Nebraska. Histories: The Sheldon Permanent Collection. August 5, 2011-July 15, 2012. Benrimon Contemporary, New York. Word Up! A Survey of Recent Text Based Work. September 8-October 22. Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria. Museum der Wünsche. September 10, 2011-January 8, 2012. Tempe Center for the Arts, Arizona. Mixing It Up: Building an Identity. September 17, 2011-January 28, 2012. Museum van Hedendaagse Kunst, Antwerp, Belgium. Spirits of Internationalism: 6 European Collections 1956-1986. January 19May 6. University of Virginia Art Museum, Charlottesville, Virginia. Curator’s Choice: People, Places and Things. January 20-May 20. Galerie Gmurzynska, Zurich, Switzerland. 20th Century Pop Masters. January 26-May 5. Rudolf Budja Galerie, Salzburg, Austria. American Idols: Popart from America. January 28-February 18. Museum of Contemporary Art, Jacksonville, Florida. ReFocus: Art of the 1960s. January 28-April 8.

191

2013

Museum Moderner Kunst, Vienna, Austria. Pop and the Sixties. February 19-September 2. Galerie Laurent Strouk, Paris, France. Inauguration. March 22-April 30. Andy Warhol Museum of Modern Art, Medzilaborce, Slovakia. Writing as an Image, Writing within an Image. April 9-June 30. Westwood Gallery, New York. On the Bowery, 1971. April 14-June 9. Speed Art Museum, Louisville, Kentucky. The Declaration of Independence: The Stone Copy and the Kent Bicentennial Portfolio. May 26-July 15. Kunsthalle Bremen, Germany. Zauberspiegel: Die Sammlung nach 1945. June 23-August 26. Museo de Pasión, Valladolid, Spain. This is POP ART!. July 19-September 19. Kymara Gallery, Biddeford, Maine. Two Loves - Sex, Art and Love that Dares Not Speak its Name. July 27-December 31. Indiana State University Art Gallery, Terre Haute. Love and Fame: Works by Robert Indiana and Andy Warhol from Indiana State University’s Permanent Art Collection. September 24-October 26. Museum der bildenden Künste Leipzig, Germany. Living with Pop! Graphic Art from the 60s - From Warhol to Richter. September 30, 2012-January 13, 2013. * Waddington Custot Galleries, London, England. Robert Indiana: Sculptures. October 3-November 10. Vitra Design Museum, Weil am Rhein, Germany. Pop Art Design . October 13, 2012-February 3, 2o13. Traveled to Louisiana Museum of Modern Art, Humlebæk, Denmark, Moderna Museet, Stockholm, Sweden and Barbican Art Gallery, London. Österreichische Galerie Belvedere, Vienna, Austria. Die Nacht im Zwielicht. October 24, 2012-February 17, 2013. Agnelli Arte Moderna, Brescia, Italy. American Dream. October 29, 2012-March 16, 2013. Contini Galleria D’Arte, Venezia, Italy. October 20th 2012 – July 21 2013 Henry Art Gallery, University of Washington, Seattle. Now Here is Also Nowhere: Part II. January 26-May 5. Wichita Art Museum, Kansas. Under Pressure: Contemporary Prints from the Collections of Jordan D. Schnitzer and His Family Foundation. February 2-May 19.

Stadtgalerie Klagenfurt, Austria. ABENTEUER KUNST – Highlights der Sammlung Kurt Fried aus dem Ulmer Museum. March 1-June 9. Lyman Allyn Art Museum, New London, Connecticut. POP Goes the Easel: Pop Art & Its Progeny. March 2-July 10. Seoul Museum, Korea. Love Actually. March 14-June 16. Staatsgalerie Stuttgart, Germany. Op + Pop: Experimente amerikanischer Künstler ab 1960. March 23-June 16. Aquavella Galleries, New York. The Pop Object: The Still Life Tradition in Pop Art. April 10-May 24. Mori Art Museum, Tokyo, Japan. All You Need is LOVE: From Chagall to Kusama and Hatsune Miku. April 26-September 1. Figge Art Museum, Davenport, Iowa. American POP! Selections from the CU Art Museum Collection. May 4-September 8. Long-Sharp Gallery, Indianapolis, Indiana. Rethinking the American Dream. May 15-June 30. * Indianapolis Museum of Art, Indiana. Indiana by the Numbers. May 24, 2013-May 4, 2014. Farnsworth Art Museum, Rockland, Maine. American Treasures: Maine Voices. May 18-December 29. * Galerie Gmurzynska, Zurich, Switzerland. The Monumental Woods. June 8-July 30. Stadtgalerie Bamberg – Villa Dessauer, Germany. 190 Jahre Kunstverein Bamberg - Eine Sammlung zeigt ihr Gesicht. June 16July 21. London, England. Sculpture in the City. June 20, 2013-May 31, 2014. Museum Kunstpalast, Düsseldorf, Germany, Farbenfroh.Graphik aus der Sammlung Kemp. July 26-October 27. International Museum of Art & Science, McAllen, Texas.Dialogue with Art. August 1-September 29. * de Sarthe Gallery, Hong Kong. Robert Indiana: Decade Autoportrait. September 17-October 26. * Whitney Museum of American Art, New York. Robert Indiana: Beyond LOVE. September 26, 2013-January 5, 2014. Krannert Art Museum, University of Illinois at UrbanaChampaign. Correspondents of Ray Johnson. September 30, 2013-January 5, 2014. Waddington Custot Galleries, London, England. Pop Imagery. October 2-November 2.

2014

Centro Cultural BOD-Corp Banca, Caracas, Venezuela. Pop Art/ Figuración: Estados Unidos-Venezuela. October 3-November 3.

Städtische Galerie, Karlsruhe, Germany. Zeichen. Sprache. Bilder: Schrift in der Kunst seit den 1960er Jahren. November 9, 2013-February 23, 2014.

* Currier Museum of Art, Manchester, New Hampshire. Signs from the Sixties: Robert Indiana’s Decade. November 27, 2013-April 30, 2014. * McNay Art Museum, San Antonio, Texas. Robert Indiana’s Hartley Elegies. February 5-May 25. * McNay Art Museum. Robert Indiana: The Mother Of Us All. February 5-May 25. Swope Art Museum, Terre Haute, Indiana. From the Swope’s Collection: Selected Art Inspired by Literature. February 7-March 22. * Farnsworth Art Museum, Rockland, Maine. Celebrating Love!. February 14-March 16. * Indianapolis Museum of Art, Indiana. The Essential Robert Indiana. February 16-May 4. Brooklyn Museum, New York. Witness: Art and Civil Rights in the Sixties. March 7-July 6. Traveled to Hood Museum of Art, Dartmouth College, Hanover. Memphis Brooks Museum of Art, Tennessee. The Eclectic Sixties. March 17-September 21. Waddington Custot Galleries, London, England. Group Exhibition of European and International Paintings and Sculptures. March 20-May 3. Smithsonian American Art Museum, Washington, D.C. Pop Art Prints. March 21-August 31.

2015

Cantor Arts Center at Stanford University, Stanford, California. Pop Art from the Anderson Collection. August 13, 2014-October 26, 2015. Museum Moderne Kunst Stiftung Ludwig, Vienna, Austria. Ludwig Goes Pop. October 2, 2014-January 11, 2015. Seattle Art Museum, Washington. Pop Departures. October 9, 2014-January 11, 2015. Weatherspoon Art Museum, Greensboro, North Carolina. Innovations in Painting: Selections from the Collection. October 25, 2014-February 15, 2015. Art Gallery of New South Wales, Sydney, Australia. Pop to Popism. November 1, 2014-March 1, 2015. Walker Art Center, Minneapolis. 75 Gifts for 75 Years. February 5-August 2. Hammer Museum, Los Angeles. Apparitions: Frottages and Rubbings from 1860 to Now. February 7-May 31. Traveling to Menil Collection, Houston. Museo de Arte de El Salvador, San Salvador. Del Arte Pop al Posmodernismo. March 17-May 3. Nassau County Museum of Art, Roslyn Harbor, NY. Out of the Vault: 25 Years of Collecting. March 21-July 12. Triennale di Milano, Milan, Italy. Arts & Foods. Rituals since 1851. April 9-November 1. Whitney Museum of American Art, New York City. America Is Hard to See. May 1-September 27. Palazzo Fortuny, Venice, Italy. PROPORTIO. May 9-November 22. Portland Museum of Art, Portland, ME. Directors’ Cut: Selections from the Maine Art Museum Trail. May 21-September 20.

Wilhelm-Hack-Museum, Ludwigshafen, Germany. Liebe. March 22-June 29. The Aldrich Contemporary Art Museum, Ridgefield, Connecticut. Standing in the Shadows of Love: The Aldrich Collection 1964–1974 Robert Indiana, Robert Morris, Ree Morton, Robert Rauschenberg, Robert Smithson. April 6-September 21.

* Indicates Solo Exhibition

Lancaster Museum of Art, Pennsylvania. Art Goes Pop: American Pop Art. April 12-July 6. Bates College Museum of Art, Lewiston, Maine. Encountering Maine. June 6-October 12, 2014. Museo Thyssen-Bornemisza, Madrid, Spain. Pop Art Myths. June 10-September 14.

193

SELECTED PUBLIC COLLECTIONS Kaiser Wilhelm Museum, Krefeld, Germany Krannert Art Museum, Champaign Illinois Los Angeles County Museum of Art, California Louisiana Museum, Humlebaek, Denmark McNay Art Museum, San Antonio, Texas Menil Collection, Houston, Texas Metropolitan Museum of Art, New York Museum Ludwig, Cologne, Germany HOPE, (Red/Yellow), 2009, Stainless steel, Ed. AP I/I Courtesy of private collection, Australia

Museum moderner Kunst Stiftung Ludwig Wien, Vienna, Austria

Albright-Knox Gallery of Art, Buffalo, New York

National Gallery of Art, Washington D.C.

Allentown Museum of Art, Pennsylvania Art Gallery of Ontario, Toronto, Canada Art Institute of Chicago, Chicago Baltimore Museum of Art, Maryland Carnegie Museum of Art, Pittsburgh

Museum of Modern Art, New York

New Orleans Museum of Art, Louisiana Portland Museum of Art, Maine Rose Art Museum, Brandeis University, Waltham, Massachusetts San Francisco Museum of Modern Art, California

Chrysler Museum of Art, Norfolk, Virginia Currier Museum of Art, New Hampshire Delaware Art Museum, Wilmington Detroit Institute of Art, Michigan Farnsworth Museum, Rockland, Maine Fonds National d’Art Contemporain, France Hirshorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Indiana University Art Museum, Bloomington

TIKVA (WHITE/BLU), 2009, Ed. III/IX. Courtesy of private collection, Italy

Indiana State Museum, Indianapolis, Indiana Indianapolis Museum of Art, Indianapolis, Indiana Israel Museum, Jerusalem Jack S. Blanton Museum of Art, the University of Texas at Austin

Scottsdale Museum of Contemporary Art, Scottsdale, Arizona Shanghai Art Museum, China Sheldon Museum of Art, University of Nebraska, Lincoln Sintra Museu de Arte Moderna, Portugal Smithsonian American Art Museum, Washington, D.C. Stedelijk Museum Amsterdam, The Netherlands Stedelijk Van Abbemuseum, Eindhoven, The Netherlands Tel-Aviv Museum of Art, Israel The Bertrand Russell Peace Foundation, London, England Walker Art Center, Minneapolis, Minnesota Whitney Museum of American Art, New York

HOPE (Red/White), 2009, Ed. II/IX. Courtesy of private collection, Switzerland

195

SELECTED BIBLIOGRAPHY MONOGRAPHS AND SOLO EXHIBITION CATALOGUES

Mecklenburg, Virginia M. Wood Works: Constructions by Robert Indiana. Exhibition catalogue. Washington, D.C.: National Museum of American Art, 1984.

GROUP EXHIBITION CATALOGUES AND GENERAL LITERATURE

Mahsun, Carol Anne Runyon. Pop Art and the Critics. Ann Arbor: UMI Research Press, 1987.

Bonet, Juan Manuel, and Adrian Dannatt. Robert Indiana: Paseo de Recoletos y Paseo del Prado. Exhibition catalogue. Madrid: Aqualium, S.L., 2006.

Péladeau, Marius B., and Martin Dibner. Indiana’s Indianas: A 20-Year Retrospective of Paintings and Sculpture from the Collection of Robert Indiana. Exhibition catalogue. Rockland, Maine: William A. Farnsworth Library and Art Museum, 1982.

Alloway, Lawrence. Topics in American Art Since 1945. New York: W. W. Norton, 1975.

McCoubrey, John W., Denise Scott Brown, and Robert Venturi. The Highway: An Exhibition. Exhibition catalogue. Philadelphia: University of Pennsylvania, Institute of Contemporary Art, 1970.

Pincuss-Witten, Robert. Robert Indiana: Letters, Words and Numbers. Exhibition catalogue. New York: C & M Arts in association with Simon Salama-Caro, 2002.

Becker, Wolfgang. Kunst um 1970 – Art Around 1970. Exhibition catalogue. Aachen: Neue Galerie Der Stadt Aachen, 1972.

Miller, Dorothy C., ed. Americans 1963. Exhibition catalogue. New York: The Museum of Modern Art, 1963.

Pissarro, Joachim, and Hélène Depotte. Robert Indiana: Rétrospective 1958-1998. Exhibition catalogue. Nice: Musée d’Art Moderne et d’Art Contemporain, 1988.

Brauer, David. Pop Art: US/UK Connections: 1956-1966. Exhibition catalogue. Houston: The Menil Collection, 2001.

Nine Artists: Coenties Slip. Exhibition catalogue. New York: Whitney Museum of American Art, 1974.

Pissarro, Joachim. Robert Indiana: Rare Works from 1959 at Coenties Slip. Exhibition catalogue. Zurich: Galerie Gmurzynska, 2011.

Calas, Nicholas, and Elena Calas. Icons and Images of the Sixties. New York: E. P. Dutton, 1971.

Osterwold, Tilman. Pop Art. Cologne: Taschen, 2003.

Robert Indiana. Exhibition catalogue. New York: Stable Gallery, 1962.

Champa, Kermit S. et al. Definitive Statements: American Art, 1964-66: An Exhibition. Exhibition catalogue. Providence: David Winton Bell Gallery, List Art Center, Brown University, 1986.

Celant, Germano. Robert Indiana a Milano. Exhibition catalogue. Milan: Silvana Editoriale, 2008. Cladders, Johannes. Robert Indiana, Number Paintings. Exhibition catalogue. Krefeld: Museum Haus Lange, 1966. Dannatt, Adrian. Robert Indiana: Paintings and Sculpture, 1961 to 2003. Exhibition catalogue. London: Waddington Galleries, 2004. Dannatt, Adrian. Robert Indiana: Wood. Exhibition catalogue. New York: Paul Kasmin Gallery, 2005. Dannatt, Adrian. Robert Indiana: A Living Legend. Exhibition catalogue. Seoul: Seoul Museum of Art, 2006. Dannatt, Adrian. Robert Indiana: Hard Edge. Exhibition catalogue. New York: Paul Kasmin Gallery, 2008. Dauer, Jörg, ed. Robert Indiana: The American Painter of Signs. Exhibition catalogue. Wiesbaden: Museum Wiesbaden, 2008. Depotte, Hélène. Hommage à Indiana. Exhibition catalogue. Paris: Galerie Denise René, 2001. Foster, Stephen C. Robert Indiana. Exhibition catalogue. Shanghai: Shanghai Art Museum, 2002. Gallant, Aprile, Daniel E. O’Leary, and Susan Elizabeth Ryan. Love and the American Dream: The Art of Robert Indiana. Exhibition catalogue. Portland, Maine: Portland Museum of Art, 1999. Haskell, Barbara. Robert Indiana: Beyond LOVE. Exhibition catalogue. With essays by René Paul Barilleaux and Sasha Nicholas. New York: Whitney Museum of American Art, 2013. Homer, Valerie Vadala. Robert Indiana: The Story of Love. Exhibition catalogue. Scottsdale: Scottsdale Museum of Contemporary Art, 2004. Katz, William, and Robert Indiana. Robert Indiana: Druckgraphik und Plakate, 1961-1971. Stuttgart and New York: Edition Domberger, 1971. Katz, William. Robert Indiana: Early Sculpture, 1958-1962. Exhibition catalogue. London: Salama-Caro Gallery, 1991. Kernan, Nathan. Robert Indiana: Recent Paintings. Exhibition catalogue. New York: Paul Kasmin Gallery, 2003.

Robert Indiana: Peace Paintings. Exhibition catalogue. New York: Paul Kasmin Gallery, 2004. Robert Indiana Sculptures. Exhibition catalogue. London: Waddington Custot Galleries, 2012. Ryan, Susan Elizabeth. Robert Indiana: Figures of Speech. New Haven: Yale University Press, 2000. Ryan, Susan Elizabeth, and William Ganis. Love and Fame: Works by Robert Indiana and Andy Warhol. Exhibition catalogue. Terre Haute: Indiana State University Art Gallery, 2012. Salama-Caro, Simon, ed. Robert Indiana. With essays by Joachim Pissarro, Robert Pincus-Witten, and John Wilmerding. New York: Rizzoli International, 2006. Sheehan, Susan. Robert Indiana Prints: A Catalogue Raisonné, 1951-1991. New York: Susan Sheehan Gallery, 1991. Sogbe, Beatriz. Los Estados Unidos Bajo La Optica de Robert Indiana. Exhibition catalogue. Caracas: Galería Ateneo de Caracas, 2001. Tobin, Robert L.B., William Katz, and Donald B. Goodall. Robert Indiana. Exhibition catalogue. Austin: University Art Museum, University of Texas at Austin, 1977. Unruh, Allison, ed. Robert Indiana: New Perspectives. With essays by Robert Storr, Thomas Crow, Jonathan D. Katz, Kalliopi Minioudake, and Allison Unruh. Ostfildern: Hatje Cantz Verlag, 2012. Van der Marck, Jan, and Gene R. Swenson. Robert Indiana. Exhibition catalogue. Minneapolis: Dayton’s Gallery 12, 1966. Weinhardt, Jr., Carl J. Robert Indiana. New York: Harry N. Abrams, 1990. Wilmerding, John, and Michael Komanecky. Robert Indiana and the Star of Hope. Exhibition catalogue. Rockland, Maine: Farnsworth Art Museum, 2009.

Amaya, Mario. Pop Art . . . and After. New York: Viking Press, 1966.

Compton, Michael. Pop Art: Movements in Modern Art. New York: Hamlyn, 1970. Creeley, Robert. 5 Numbers: A Sequence for Robert Indiana, January 16, 1968. New York: Poets Press, 1968. Crow, Thomas. The Long March of Pop: Art, Music, and Design, 1930-1995. New Haven: Yale University Press, 2015. Day, Holliday T., Dore Ashton, and Lena Vigna. Crossroads of American Sculpture: David Smith, George Rickey, John Chamberlain, Robert Indiana, William T. Wiley, Bruce Nauman. Exhibition catalogue. Indianapolis: Indianapolis Museum of Art, 2000. Diederichsen, Diedrich, et al. Pop Art Design. Exhibition catalogue. Weil am Rhein: Vitra Art Museum, 2012.

Documenta 4: Internationale Ausstellung, Katalog 1. Exhibition catalogue. Kassel: Kunsthalle Museum Fridericianum, 1968.

Perlein, Gilbert, and Sophie de Duplaix. De Klein à Warhol: face-à-face France / Etats-Unis. Exhibition catalogue. Paris: Centre Georges Pompidou, 1997. Russell, John, and Suzi Gablik. Pop Art Redefined. New York and Washington, D.C.: Frederick A. Praeger, 1969. Seitz, William C. The Art of Assemblage. Exhibition catalogue. New York: The Museum of Modern Art, 1961. Seitz, William C., and Lloyd Goodrich. São Paulo 9: Environment USA: 1957 – 1967. Exhibition catalogue. São Paulo: Museum of Modern Art, 1967. Stringer, John et al. 25 Años Despues. Exhibition catalogue. Bogotá: El Museo de Arte Moderno de Bogotá, 1979. Umland, Anne. Pop Art: Selections from The Museum of Modern Art. Exhibition catalogue. Atlanta: High Museum of Art, 1998. Van der Marck, Jan. Richard Stankiewicz, Robert Indiana: An Exhibition of Recent Sculptures and Paintings. Exhibition catalogue. Minneapolis: Walker Art Center, 1963.

Eldredge, Charles C. et al. Gene Swenson: Retrospective for a Critic. Exhibition catalogue. Lawrence: University of Kansas Museum of Art, 1971.

Williams, Jr., Herman Warner. The Twenty-Ninth Biennial Exhibition of Contemporary American Painting. Exhibition catalogue. Washington, D.C.: The Corcoran Gallery of Art, 1965.

Ferguson, Russell, ed. Hand-Painted Pop: American Art in Transition, 1955-62. Exhibition catalogue. Los Angeles: Museum of Contemporary Art, 1992. Francis, Mark et al. Les Années Pop: 1958 à 1968. Exhibition catalogue. Paris: Centre Georges Pompidou, 2001.

Wilmerding, John. The Pop Object: The Still Life Tradition in Pop Art. Exhibition catalogue. New York: Acquavella Galleries, 2013.

Glimcher, Mildred. Indiana, Kelly, Martin, Rosenquist, Youngerman at Coenties Slip. Exhibition catalogue. New York: Pace Gallery, 1993. Janis, Sidney, and Pierre Restany. The New Realists: An Exhibition of Factual Paintings and Sculptures from France, England, Italy, Sweden, and the United States by the Artists. Exhibition catalogue. New York: Sidney Janis Gallery, 1962.

Krause, Martin, and John Wilmerding. The Essential Robert Indiana. New York: Prestel, 2013. Lust, Herbert. Robert Indiana. Exhibition catalogue. Paris: Galerie Natalie Seroussi, 1989.

Robert Indiana. Hope. Exhibition catalogue. Venice: Contini Galleria D’Arte, 2012.

Lipman, Jean, Richard Marshall, and Leo Steinberg. Art About Art. Exhibition catalogue. New York: Whitney Museum of American Art, 1978. Lippard, Lucy R. Pop Art. New York: Frederick A. Praeger, 1966.

Maynes, Bill. Robert Indiana: Decade Autoportrait. Exhibition catalogue. New York: Marisa del Re Gallery, 1990.

Alloway, Lawrence, and Allan Kaprow. New Forms-New Media I. Exhibition catalogue. New York: Martha Jackson Gallery, 1960.

Livingstone, Marco. Pop Art: A Continuing History. London: Thames and Hudson, 1990.

McCoubrey, John W. Robert Indiana. Exhibition catalogue. Philadelphia: University of Pennsylvania, Institute of Contemporary Art, 1968.

Alloway, Lawrence. American Pop Art. Exhibition catalogue. New York: Whitney Museum of American Art, 1974.

Livingstone, Marco, ed. Pop Art: An International Perspective. Exhibition catalogue. London: Royal Academy of the Arts, 1991.

FILMS Robert Indiana: American Dreamer, DVD. Directed by Eric Breitbart. New York: Eric Breitbart Productions and Muse Film and Television, 2007. Robert Indiana Portrait. Directed by John Huszar. 1973. Film transferred to DVD. Chatham, New York: FilmAmerica, 2008. A Visit to the Star of Hope: Conversations with Robert Indiana and Installing Indiana. DVD, 2 discs. Directed by Dale Shierholt. Rockland, Maine: Acadia Moving Pictures in association with the Farnsworth Art Museum, 2009.

197

Copyright information Pg. 167 - “Alan Groh and Robert Indiana installing a show at the stable gallery, 1964/ Nancy Astor, photographer. Stable gallery records. Archives of American Art, Smithsonian Institution. “

Pg. 168, 169 - “Courtesy of the Vinalhaven [ME] Historical Society”

A special thank you to our sponsors: