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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. We Are So Glad We Found You by Elena Brokaw, Ramiro García, Image 1.

    Elena Brokaw, Ramiro García

    We Are So Glad We Found You, 2023

    Altered black and white photograph

    48 x 36 in

  2. Assemblage with Pallet by Alexa Hoyer, Image 1.

    Alexa Hoyer

    Assemblage with Pallet, 2015

    Archival pigmented print on Dibond

    43 x 54.75 x 1.75 in

  3. Horror Vacui! (International) by Matthew Couper, Image 1.

    Matthew Couper

    Horror Vacui! (International), 2014

    Oil on linen

    10.5 x 13.75 in

  4. Panoptic Liger IV by Michael Ogilvie, Image 1.

    Michael Ogilvie

    Panoptic Liger IV, 2005

    Acrylic

    24.75 x 36 in

  5. Hugs 'End of the Rainbow' Series XVII by Michael Ogilvie, Image 1.

    Michael Ogilvie

    Hugs 'End of the Rainbow' Series XVII, 2005

    Pencil, ink, acrylic

    20 x 30 in

  6. Hugs 'End of the Rainbow' Series XV by Michael Ogilvie, Image 1.

    Michael Ogilvie

    Hugs 'End of the Rainbow' Series XV, 2005

    Pencil, ink, acrylic

    30 x 20 in

  7. Hoax (Three Times Lucky) by Yek, Image 1.

    Yek

    Hoax (Three Times Lucky), 2004

    Acrylic latex and enamel on panel

  8. Ruler by Lew Thomas, Image 1.

    Lew Thomas

    Ruler, 1975

    Black and white photograph

    5.25 x 49.125 x 1.5 in

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About the artist

Robert Indiana

American

1928-2018

Robert Indiana was born in Newcastle, Indiana. As an adult he adopted the name of the state for his "nom de brush" -- his original surname was Clark. He served for three years in the Air Force during World War Il and went to the Art Institute of Chicago on the G.I. Bill from 1949 to 1953. A traveling fellowship sent him overseas to the University of Edinburgh and the Edinburgh College of Art, where he studied typography among other things. Returning to the United States at the end of 1954 he rented a studio in New York with the help of Ellsworth Kelly. His subsequent work showed the influence of Kelly's hard-edged graphic minimalism. He also worked in assemblage, and his first large-scale success was an inclusion in the Museum of Modern Art's 1961 group show, The Art of Assemblage. Signs, he acknowledged, had made an impact on him. His childhood had been "haunted" by an illuminated Phillips 66 sign over the place where his father worked: "the one most fascinating visual object in my entire youth." His mother had been employed at roadside diners, which was an inspiration when the New York World's Fair commissioned him to produce a work for display in 1964 and he made Eat. "I have always been impressed how with a little concentration and a little mental exercise, if one concentrates long enough on a word or figure, it's very easy to lose the conscious grasp of what that is, and one can look at a word, and after concentrating on it for a little while, one has almost forgotten what that word is," he told an interviewer in 1963. "And I should like in a way this to be a part of my work, too." Literary quotations appeared in his early pieces, then the words became simple and terse. His 1965 Love has been widely reproduced. In 1964 Andy Warhol filmed him consuming a mushroom but he came to feel rejected by the art culture of New York. The commercial dissemination of Love affected his reputation as a serious artist without bringing in a commensurate degree of monetary remuneration. "The image has been endlessly ripped off," he told the New York Times. "I'm not a tortured artist, just an abused one." The Whitney Museum will open a major retrospective of his work in late 2013.

Deanne Sole, UNLV Marjorie Barrick Museum 2013