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Robert Indiana
"Saw Tooth" 1964, Pop-Art, Colorful, Mid-Century, Yellow and Purple

1964

$3,500
£2,636.44
€3,076.06
CA$4,950.90
A$4,981.23
CHF 2,891.27
MX$60,707.70
NOK 33,372.78
SEK 34,244.95
DKK 22,992.66

About the Item

Robert Indiana Saw Tooth, 1964 Signed lower left, dated lower right, titled upper left Colored Marker on the reverse of an Al Brundelle poster fragment 7 1/2 x 5 1/2 inches Robert Indiana was orphaned at birth and adopted as an infant by Earl and Carmen Clark. His childhood was tumultuous, as his family moved twenty-one times before his parents divorced when he was a teenager. Indiana was determined to pursue art, and chose to serve in the US Army Air Corps at the age of seventeen in order to attend the Art Institute of Chicago on the GI Bill following his service. After completing his degree, he moved to Lower Manhattan, where he lived and worked with several other artists. In 1956, two years after moving to New York, Indiana met Ellsworth Kelly, and upon his recommendation took up residence in Coenties Slip, once a major port on the southeast tip of Manhattan. There he joined a community of artists that would come to include Kelly, Agnes Martin, James Rosenquist, and Jack Youngerman. The environment of the Slip had a profound impact on Indiana’s work, and his early paintings include a series of hard-edge double ginkgo leaves inspired by the trees which grew in nearby Jeannette Park. He also incorporated the ginkgo forms into his nineteen-foot mural Stavrosis (1958), a crucifixion pieced together from forty-four sheets of paper that he found in his loft. It was upon completion of this work that Indiana adopted the name of his native state as his own. In 1958 he began using Indiana as his last name because he felt Clark was too common, and he wanted to copy Renaissance artists whose last names were the names of their towns. He is best known for his iconic 1966 Love sculpture and related prints, on which the widely distributed US postage stamp is based. Although acknowledged as a leader of Pop, Indiana distinguished himself from his Pop peers by addressing important social and political issues and incorporating profound historical and literary references into his works. American literary references appear in paintings such as The Calumet (1961) and Melville (1961), exhibited in 1962 in Indiana’s first New York solo exhibition, held at Eleanor Ward’s Stable Gallery. In 1964 Indiana accepted Philip Johnson’s invitation to design a new work for the New York State Pavilion at the New York World’s Fair, creating a twenty–foot EAT sign composed of flashing lights, and collaborated with Andy Warhol on the film Eat, a silent portrait of Indiana eating a mushroom in his Coenties Slip studio. His first European solo exhibition took place in 1966 at Galerie Schmela in Düsseldorf, Germany, and featured his Number paintings (1964–65), a series of works on a theme that he has explored in various formats throughout his career.
  • Creator:
    Robert Indiana (1928 - 2018, American)
  • Creation Year:
    1964
  • Dimensions:
    Height: 7.5 in (19.05 cm)Width: 5.5 in (13.97 cm)
  • Medium:
    Paper,Permanent Marker
  • Movement & Style:
    Pop Art
  • Period:
    1960-1969
  • Framing:
    Framing Options Available
  • Condition:
  • Gallery Location:
    New York, NY
  • Reference Number:
    1stDibs: LU1841217573432

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