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拍品专文
This work will be included in the forthcoming Robert Indiana Catalogue Raisonné being prepared by Simon Salama-Caro.
"'It's always been a matter of impact, the relationship of color to color and word to shape and word to complete piece - both the literal and visual aspects. I'm most concerned with the force of its impact.'
(Robert Indiana)
"In this comment Indiana's desire to grab hold of the viewer has led him to emphasize formal concerns, concerns he shared with his painting mentor, Ellsworth Kelly. Indiana's flat, symmetrical, hard-edge compositions-near abstracts despite their simple words-reproduce accurately and easily transfer to other media. So visually strong are they that, in 1966, the critic Aldo Pellegrini placed them 'in a zone between pop and optical [Op Art]' In fact, the late Clement Greenberg, that lion of formalist criticism who rarely bothered with subject-bound styles such as Pop art-or with Pop artists, for that matter-said of Indiana's work: '[It has] more 'body' to it than the run of Pop it hit my eye more, was 'plastic,' i.e. more 'formalist'. He filled out more, worked more with the medium as against the schematicism or stunting of a lot of Pop.'"
(S. E. Ryan in Love and the American Dream: The Art of Robert Indiana, Maine, 1999, p. 76)
"'It's always been a matter of impact, the relationship of color to color and word to shape and word to complete piece - both the literal and visual aspects. I'm most concerned with the force of its impact.'
(Robert Indiana)
"In this comment Indiana's desire to grab hold of the viewer has led him to emphasize formal concerns, concerns he shared with his painting mentor, Ellsworth Kelly. Indiana's flat, symmetrical, hard-edge compositions-near abstracts despite their simple words-reproduce accurately and easily transfer to other media. So visually strong are they that, in 1966, the critic Aldo Pellegrini placed them 'in a zone between pop and optical [Op Art]' In fact, the late Clement Greenberg, that lion of formalist criticism who rarely bothered with subject-bound styles such as Pop art-or with Pop artists, for that matter-said of Indiana's work: '[It has] more 'body' to it than the run of Pop it hit my eye more, was 'plastic,' i.e. more 'formalist'. He filled out more, worked more with the medium as against the schematicism or stunting of a lot of Pop.'"
(S. E. Ryan in Love and the American Dream: The Art of Robert Indiana, Maine, 1999, p. 76)